I digitized some vinyl the other day. I go tape out of our stereo amp into Quicktime on our laptop and then edit it in Audacity. One of the things I digitized was an old Personal Effects 45. Peggi’s voice and sax sounded too high. Peggi got her sax out to play along and we confirmed that our turntable runs fast. We changed the pitch by -110 cents and it came out fine.
Brad Fox sent me a 33 1/3 book on “Trout Mask Replica” and I’ve been reading that and thinking about the cassette recording I made of Captain Beefheart at the Red Creek in Rochester in 1977. I remembered Beefheart saying something nasty about Drumbo (aka John French) between songs. And of course there are a lot of quotes from Drumbo in the book, some of them lambasting Beefheart. So I got an old cassette deck out of the basement and put the tape in but the deck wouldn’t go into play. It was just sort of froze in the eighties. Luckily we had another old deck down there and I transferred the tape. I posted one of the songs below with the quote from The Captain. You can hear Brad Fox scream as the band begins this song.
I remember there was some dreadful magic act (someone saw Magic Band and thought why not?) that went on first and there were two shows. We went to the second. I still have the ticket. When we got there Greg Prevost (Chesterfield Kings) and Carl Mack’s (Zenith Effluveum get compared to MX-80 in this review) were interviewing The Captain in the parking lot. I think Kevin Patrick’s wife, Corrine, took this photo of him and gave me a print. The stage was still in the front of the room there. The Captain mentioned the the chocolate pie that owner, Jeff Springut, gave him before the show. The band was amazing and included Jeff Moris Tepper, Eric Drew Feldman, Denny Walley and Robert Williams. They faithfully recreated the older material and went on to record “Doc at the Radar Station”.
When David Greenberger was here he was telling us that he was in a Boston band in the eighties called Men & Volts and they did Beefheart covers and Beefheart-like material. I told him about seeing the Trout Mask Replica tour in Columbus at Ludlow’s Garage with Hampton’s Grease Band and the Screaming Gypsy Bandits opening. And he said he was talking to the Bandit’s Mark Bingham in New Orleans about doing a project. And then along comes this little book from Brad.
Bruce Fowler was also on the Bat Chain Puller lp and by another coincidence we just saw him playing in the band that appeared throughout Robert Altman’s “Short Cuts”. We’ve been watching the entire Altman catalog in order but have been breaking it up with other stuff. It took us three nights to watch that one because I kept falling asleep. So each time we came back to it we re-watched large portions. There is such a large cast in this one and all these interweaving stories that it worked well in small doses. Tom Waits’ character hangs out in this bar where Annie Ross from Lambert, Hendricks and Ross sings with Terry Adams from NRBQ on piano and Bobby Previte on drums and Bruce Fowler on trombone.
Here is my recording of Captain Beefheart Live at Red Creek in Rochester, NY
That is a great recording of a great song.
paul,
this was so cool, nice recording.
thanks
To Hell With Love. Track down a copy of the soundtrack to Short Cuts, http://product.half.ebay.com/Short-Cuts_W0QQtgZinfoQQprZ3135266
…it’s so cool…
and/also…Can’t wait till you get to Kansas City.
Fantastical good bass playing.
So awesome! Brightened my afternoon!
re: Altman catalog. I got the dvd of “McCabe and Mrs. Miller” the other day and really enjoyed the audio commentary. Altman said that he was really hurt when Leonard Cohen initially didn’t like the movie. Altman says he had worn-out 2 copies of the album in ’68 and ’69 and anyone can see the influence the music has on the film. Cohen a year later told Altman his initial impression was wrong and he loved the film.
The other interesting comment comes from one of the film’s producers, David Foster. He said that the film is in the archive collection of the Museum of Modern Art, among others, and that the film is considered a masterwork for some of the techniques Vilmos Zsigmond used to shoot the production.