Doug Moon

Don Van Vliet (; born Don Glen Vliet; January 15, 1941 – December 17, 2010) was an American singer, songwriter, multi-instrumentalist, and visual artist best known by the stage name Captain Beefheart. Conducting a rotating ensemble known as The Magic Band, he recorded 13 studio albums between 1967 and 1982. His music blended elements of blues, free jazz, rock, and avant-garde composition with idiosyncratic rhythms, absurdist wordplay, a loud, gravelly voice, and his claimed wide vocal range, though reports of it have varied from three octaves to seven and a half. Known for his enigmatic persona, Beefheart frequently constructed myths about his life and was known to exercise an almost dictatorial control over his supporting musicians. Although he achieved little commercial success, he sustained a cult following as an incalculable influence on an array of avant-garde and experimental rock artists.

A prodigy sculptor in his childhood, Van Vliet developed an eclectic musical taste during his teen years in Lancaster, California, and formed "a mutually useful but volatile" friendship with musician Frank Zappa, with whom he sporadically competed and collaborated. He began performing with his Captain Beefheart persona in 1964 and joined the original Magic Band line-up, initiated by Alexis Snouffer, the same year. The group released their debut album '' Safe as Milk'' in 1967 on Buddah Records. After being dropped by two consecutive record labels they signed to Zappa's Straight Records, where they released 1969's ''Trout Mask Replica;'' the album would later rank 58th in ''Rolling Stone'' magazine's 2003 list of the 500 greatest albums of all time. In 1974, frustrated by a lack of commercial success, he pursued a more conventional rock sound, but the ensuing albums were critically panned; this move, combined with not having been paid for a European tour, and years of enduring Beefheart's abusive behavior, led the entire band to quit.

Beefheart eventually formed a new Magic Band with a group of younger musicians and regained critical approval through three final albums: '' Shiny Beast'' (1978), ''Doc at the Radar Station'' (1980) and '' Ice Cream for Crow'' (1982). Van Vliet made few public appearances after his retirement from music in 1982. He pursued a career in art, an interest that originated in his childhood talent for sculpture, and a venture which proved to be his most financially secure. His abstract expressionist paintings and drawings command high prices, and have been exhibited in art galleries and museums across the world.McKenna, Kristina (July 29, 1990)
''A Crossover of a Different Color''
. ''Los Angeles Times''. Van Vliet died in 2010, having had multiple sclerosis for many years.

Biography

Early life and musical influences, 1941–62

Van Vliet was born Don Glen Vliet in Glendale, California, on January 15, 1941, to Glen Alonzo Vliet, a service station owner of Dutch ancestry from Kansas, and Willie Sue Vliet (née Warfield), who was from Arkansas. He said that he was descended from Peter van Vliet, a Dutch painter who knew Rembrandt. Van Vliet also said that he was related to adventurer and author Richard Halliburton and cowboy actor Slim Pickens, and he said that he remembered being born.

Van Vliet began painting and sculpting at age three.Rogers, John (June 22, 1995).
Captain Beefheart Gaining International Acclaim—for Painting
". AP. His subjects reflected his "obsession" with animals, particularly dinosaurs, fish, African mammals and lemurs. At the age of nine, he won a children's sculpting competition organized for the Los Angeles Zoo in Griffith Park by a local tutor, Agostinho Rodrigues. Local newspaper cuttings of his junior sculpting achievements can be found reproduced in the ''Splinters'' book, included in the ''Riding Some Kind of Unusual Skull Sleigh'' boxed CD work, released in 2004. The sprawling park, with its zoo and observatory, had a strong influence on young Vliet, as it was a short distance from his home on Waverly Drive. The track "Observatory Crest" on ''Bluejeans & Moonbeams'' reflects this continued interest. A portrait photo of school-age Vliet can be seen on the front of the lyric sheet within the first issue of the US release of ''Trout Mask Replica''.

For some time during the 1950s, Van Vliet worked as an apprentice with Rodrigues, who considered him a child prodigy. Van Vliet said that he was a lecturer at the Barnsdall Art Institute in Los Angeles at the age of eleven, although it is likely he simply gave a form of artistic dissertation. Accounts of Van Vliet's precocious achievement in art often include his statement that he sculpted on a weekly television show.Winner, Langdon (May 14, 1970).
The Odyssey of Captain Beefheart
''. ''Rolling Stone''. He said that his parents discouraged his interest in sculpture, based upon their perception of artists as "queer". According to one of Van Vliet's versions of this story, they declined several scholarship offers, including one from the local Knudsen Creamery to travel to Europe with six years' paid tuition to study marble sculpture. Van Vliet was deeply disappointed by their denial of this opportunity for him to realize his potential as an artist. He later claimed that the experience made him so bitter that he never listened to music and abandoned his art until he was twenty-three.

Van Vliet's artistic enthusiasm became so fervent, he said that his parents were forced to feed him through the door in the room where he sculpted. When he was thirteen the family moved from the Los Angeles area to the more remote farming town of Lancaster, in the Mojave Desert, where there was a growing aerospace industry supported by nearby Edwards Air Force Base. It was an environment that would greatly influence him creatively from then on. Van Vliet remained interested in art; several of his paintings, often reminiscent of Franz KlineOhrt, Roberto (1993).
The Painting of Don Van Vliet
''. In ''Stand Up to Be Discontinued'', Cantz, . were later used as front covers for his music albums. Meanwhile, he developed his taste and interest in music, listening "intensively" to the Delta blues of Son House and Robert Johnson, jazz artists such as Ornette Coleman, John Coltrane, Thelonious Monk and Cecil Taylor, and the Chicago blues of Howlin' Wolf and Muddy Waters. During his early teenage years, Vliet would sometimes socialize with members of local bands such as the Omens and the Blackouts, although his interests were still focused upon an art career. The Omens' guitarists Alexis Snouffer and Jerry Handley would later become founders of "the Magic Band" and the Blackouts' drummer, Frank Zappa, would later capture Vliet's vocal capabilities on record for the first time.Watson, 1996, ''Frank Zappa: The Negative Dialectics of Poodle Play'', p. 13. This first known recording, when he was simply "Don Vliet", is "Lost In A Whirlpool" – one of Zappa's early "field recordings" made in his college classroom with brother Bobby on guitar. It is featured on Zappa's posthumously released ''The Lost Episodes'' (1996).

Van Vliet said that he never attended public school, alleging "half a day of kindergarten" to be the extent of his formal education and saying that "if you want to be a different fish, you've got to jump out of the school". His associates said that he only dropped out during his senior year of high school to help support the family after his father's heart attack. His graduation picture appears in the school's yearbook. His statements that he never attended school – and his general disavowals of education – may have been related to his experience of dyslexia which, although never officially diagnosed, was obvious to sidemen such as John French and Denny Walley, who observed his difficulty reading cue-cards on stage, and his frequent need to be read aloud to. While attending Antelope Valley High School in Lancaster, Van Vliet became close friends with fellow teenager Frank Zappa, the pair bonding through their interest in Chicago blues and R&B. Van Vliet is portrayed in both ''The Real Frank Zappa Book'' and Barry Miles' biography ''Zappa'' as fairly spoiled at this stage of his life, the center of attention as an only child. He spent most of his time locked in his room listening to records, often with Zappa, into the early hours in the morning, eating leftover food from his father's Helms bread truck and demanding that his mother bring him a Pepsi. His parents tolerated such behavior under the belief that their child was truly gifted. Vliet's "Pepsi-moods" were ever a source of amusement to band members, leading Zappa to later write the wry tune "Why Doesn't Someone Give Him A Pepsi?" that featured on the ''Bongo Fury'' tour.

After Zappa began regular occupation at Paul Buff's PAL Studio in Cucamonga he and Van Vliet began collaborating, tentatively as ''the Soots'' (pronounced "suits"). By the time Zappa had turned the venue into Studio Z the duo had completed some songs. These were "Cheryl's Canon", "Metal Man Has Won His Wings" and a Howlin' Wolf styled rendition of Little Richard's "Slippin' and Slidin'". Further songs, on Zappa's ''Mystery Disc'' (1996), '"I Was a Teen-Age Malt Shop" and "The Birth of Captain Beefheart" also provide an insight to Zappa's "teenage movie" script titled ''Captain Beefheart vs. the Grunt People'', the first appearances of the Beefheart name. It has been suggested this name came from a term used by Vliet's Uncle Alan who had a habit of exposing himself to Don's girlfriend, Laurie Stone. He would urinate with the bathroom door open and, if she was walking by, would mumble about his penis, saying "Ahh, what a beauty! It looks just like a big, fine beef heart". In a 1970 interview with ''Rolling Stone'', Van Vliet requests "don't ask me why or how" he and Zappa came up with the name. Johnny Carson also asked him the same question to which Van Vliet replied that one day he was standing on the pier and saw fishermen cutting the bills off pelicans. He said it made him sad and put "a beef in his heart". Carson appeared nervous and uncomfortable interviewing Van Vliet and after the next commercial break Van Vliet was gone. He would later say in an appearance on '' Late Night with David Letterman'' that the name referred to "a beef in my heart against this society". In the "Grunt People" draft script Beefheart and his mother play themselves, with his father played by Howlin' Wolf. Grace Slick is penned in as a "celestial seductress" and there are also roles for future Magic Band members Bill Harkleroad and Mark Boston.

Van Vliet enrolled at Antelope Valley College as an art major, but decided to leave the following year. He once worked as a door-to-door vacuum cleaner salesman, and sold a vacuum cleaner to the writer Aldous Huxley at his home in Llano, pointing to it and declaring, "Well I assure you sir, this thing sucks." After managing a Kinney's shoe store, Van Vliet relocated to Rancho Cucamonga, California, to reconnect with Zappa, who inspired his entry into musical performance. Van Vliet was quite shy but was eventually able to imitate the deep voice of Howlin' Wolf with his wide vocal range.Zappa, Frank (March 1977). ''International Times''. He eventually grew comfortable with public performance and, after learning to play the harmonica, began playing at dances and small clubs in Southern California.

Initial recordings, 1962–69

In early 1965 Alex Snouffer, a Lancaster rhythm and blues guitarist, invited Vliet to sing with a group that he was assembling. Vliet joined the first Magic Band and changed his name to Don Van Vliet, while Snouffer became Alex St. Clair (sometimes spelled ''Claire''). Captain Beefheart and his Magic Band signed to A&M and released two singles in 1966. The first was a version of Bo Diddley's "Diddy Wah Diddy" that became a regional hit in Los Angeles. The followup, "Moonchild" (written by David Gates, later of the band Bread) was less well received. That year the band began to play some larger west coast venues, such as the Avalon Ballroom in San Francisco.

''Safe as Milk''

After fulfilling their deal for two singles the band presented demos to A&M during 1966 for what would become the '' Safe as Milk'' album. A&M's Jerry Moss reportedly described this new direction as "too negative" and dropped the band from the label, although still under contract. Much of the demo recording was accomplished at Art Laboe's Original Sound Studio, then with Gary Marker on the controls at Sunset Sound on 8-track. By the end of 1966 they were signed to Buddah Records and much of the demo work was transferred to 4-track, at the behest of Krasnow and Perry, in the RCA Studio in Hollywood, where the recording was finalized. Tracks that were originally laid down in the demo by Doug Moon are therefore taken up by Ry Cooder's work in the release, as Moon had departed over "musical differences" at this juncture.

Drummer John French had now joined the group and it would later (notably on ''Trout Mask Replica'') be his patience that was required to transcribe Van Vliet's creative ideas (often expressed by whistling or banging on the piano) into musical form for the other group members. On French's departure this role was taken over by Bill Harkleroad for ''Lick My Decals Off, Baby''.

Many of the lyrics on the ''Safe as Milk'' album were written by Van Vliet in collaboration with the writer Herb Bermann, who befriended Van Vliet after seeing him perform at a bar-gig in Lancaster in 1966. The song "Electricity" was a poem written by Bermann, who gave Van Vliet permission to adapt it to music. Unlike the album's mostly blues rock sound, songs such as "Electricity" illustrated the band's unconventional instrumentation and Van Vliet's unusual vocals, which guitarist Doug Moon described as "hinting of things to come".

Much of the ''Safe as Milk'' material was honed and arranged by the arrival of 20-year–old guitar prodigy Ry Cooder, who had been brought into the group after much pressure from Vliet. The band began recording in spring 1967, with Richard Perry cutting his teeth in his first job as producer. The album was released in September 1967. Richie Unterberger of Allmusic called the album "blues–rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk–rock influences than he would employ on his more avant garde outings".

John Lennon displayed two of the album's promotional "baby bumper stickers" in the sunroom at his home. The Beatles planned to sign Beefheart to their experimental Zapple label (plans that were scrapped after Allen Klein took over the group's management). Vliet claimed to have met Paul McCartney in a Cannes hotel nightclub during their tour of Europe on January 27, 1968, urinated together on a statue outside the hotel at the prodding of journalists and photographers, and participated in a jam session together with McCartney and Penny Nichols. Producer attempts to convince McCartney to switch labels to Kama Sutra obstructed the possibility of a pleasant evening. McCartney later said he had no recollection of this meeting.

Van Vliet was often critical of the Beatles, however. He considered the lyric "I'd love to turn you on" from their song " A Day in the Life" to be ridiculous and conceited. Tiring of their "lullabies", he lampooned them with the ''Strictly Personal'' song "Beatle Bones 'n' Smokin' Stones", that featured the sardonic refrain of "strawberry fields, all the winged eels slither on the heels of today's children, strawberry fields forever". Vliet spoke badly of Lennon after getting no response when he sent a telegram of support to him and wife Yoko Ono during their 1969 "Bed-In for peace".

The flipside of success

Doug Moon left the band because of his dislike of the band's increasing experimentation outside his preferred blues genre. Ry Cooder told of Moon's becoming so angered by Van Vliet's unrelenting criticism that he walked into the room pointing a loaded crossbow at him, only to have Van Vliet tell him, "Get that fucking thing out of here, get out of here and get back in your room", which he did. (Other band members dispute this account, though Moon is likely to have "passed through" the studio with a weapon.) Moon was present during the early demo sessions at Original Sound studio, above the Kama Sutra/Buddah offices. The works Moon laid down did not see the light of day, as he was replaced by Cooder when they continued on material at Sunset Sound with Marker. Marker then fell by the wayside when recording was moved by Krasnow and Perry to RCA Studio. This would have a profound effect on the quality of the ''Safe as Milk'' work, as the former studio was 8-track and the subsequent studio a 4-track.

To support the album's release the group had been scheduled to play at the 1967 Monterey Pop Festival. During this period, Vliet had severe anxiety attacks that made him convinced that he was having a heart attack, possibly exacerbated by his heavy LSD use and the fact that his father had died of heart failure a few years earlier. At a vital "warm-up" performance at the Fantasy Fair and Magic Mountain Music Festival (June 10–11) shortly before the scheduled Monterey Festival (June 16–18), the band began to play "Electricity" and Van Vliet froze, straightened his tie, then walked off the stage and landed on manager Bob Krasnow. He later claimed he had seen a girl in the audience turn into a fish, with bubbles coming from her mouth. This aborted any opportunity of breakthrough success at Monterey, as Cooder immediately decided he could no longer work with Van Vliet, effectively quitting both the event and the band on the spot. With such complex guitar parts there was no means for the band to find a competent replacement in time for Monterey. Cooder's spot was eventually filled for a short spell by Gerry McGee, who had played with the Monkees. According to French the band did two gigs with McGee, one of which was at The Peppermint Twist near Long Beach. The other was at Santa Monica Civic Auditorium, August 7, 1967, as opening act for the Yardbirds.French, John. ''Beefheart: Through The Eyes Of Magic'' p. 264. McGee was in the group long enough to have an outfit made by a Santa Monica boutique that also created the gear worn by the band on the ''Strictly Personal'' cover stamps.

''Strictly Personal''

In August 1967, guitarist Jeff Cotton filled the guitar spot vacated, in turn, by Cooder and McGee. In October and November 1967 the Snouffer/Cotton/Handley/French line–up recorded material for what was planned to be the second album. Originally intended to be a double album called ''It Comes to You in a Plain Brown Wrapper'' for the label, it was released later in pieces in 1971 and 1995. After rejection from Buddah, Bob Krasnow encouraged the band to re-record four of the shorter numbers, add two more, and make shorter versions of "Mirror Man" and "Kandy Korn". Krasnow created a strange mix full of "phasing" that, by most accounts (including Beefheart's), diminished the music's strength. This was released in October 1968 as ''Strictly Personal'' on Krasnow's Blue Thumb label. Stewart Mason in his Allmusic review of the album described it as a "terrific album" and a "fascinating, underrated release ... every bit the equal of ''Safe as Milk'' and ''Trout Mask Replica''". Langdon Winner of ''Rolling Stone'' called ''Strictly Personal'' "an excellent album. The guitars of the Magic Band mercilessly bend and stretch notes in a way that suggests that the world of music has wobbled clear off its axis", with the lyrics demonstrating "Beefheart's ability to juxtapose delightful humor with frightening insights".Winner, Langdon (May 14, 1970).
The Odyssey of Captain Beefheart
"

''Mirror Man''

In 1971 some of the recordings done for Buddah were released as '' Mirror Man'', bearing a liner note stating that the material had been recorded in "one night in Los Angeles in 1965". This was a ruse to circumvent possible copyright issues. The material was recorded in November and December 1967. Essentially a "jam" album, described as pushing "the boundaries of conventional blues–rock, with a Beefheart vocal tossed in here and there. Some may miss Beefheart's surreal poetry, gruff vocals, and/or free jazz influence, while others may find it fascinating to hear the Magic Band simply letting go and cutting loose." The album's "miss-credit errors" also state band members as "Alex St. Clare Snouffer" (Alex St. Clare/Alexis Snouffer), "Antennae Jimmy Simmons" (Semens/Jeff Cotton) and "Jerry Handsley" (Handley). First vinyl was issued in both a die-cut gatefold (revealing a "cracked" mirror) and a single sleeve with same image. The UK Buddah issue was part of the Polydor-manufactured "Select" series.

During his first trip to England in January 1968, Captain Beefheart was briefly represented in the UK by mod icon Peter Meaden, an early manager of the Who. The Captain and his band members were initially denied entry to the United Kingdom, because Meaden had illegally booked them for gigs without applying for appropriate work permits. After returning to Germany for a few days, press coverage and public outcry resulted in the band being permitted to re-enter the UK, where they recorded material for John Peel's radio show and on Friday January 19 appeared at the ''Middle Earth'' venue, introduced by Peel, where they played tracks from ''Safe as Milk'' and some of the experimental blues tracks from ''Mirror Man''. The band was met by an enthusiastic audience; French recalled the event as a rare high moment for the band: "After the show, we were taken to the dressing room where we sat for hours as a line of what seemed like hundreds of people walked in one by one to shake our hand or get an autograph. Many brought imports of ''Safe as Milk'' with them for us to autograph ... It seemed like we had finally gained some reward ... Suddenly all the criticizing and intimidation and eccentricities seemed very unimportant. It was a glorious moment, one of the very few I ever experienced". By this time, they had terminated their association with Meaden. On January 27, 1968, Beefheart performed in the MIDEM Music Festival on the beach at Cannes, France.

Alex St. Claire left the band in June 1968 after their return from a second European tour and was replaced by teenager Bill Harkleroad; bassist Jerry Handley left a few weeks later.

''The 'Brown Wrapper' Sessions''

After their Euro tour and the Cannes beach performance the band returned to the US. Moves were already in the air for them to leave Buddah and sign to MGM and, prior to their May tour – mainly in the UK – they re-recorded some Buddah material of the partial ''Mirror Man'' sessions at Sunset Sound with Bruce Botnick. Beefheart had also been conceptualizing new band names, including ''25th Century Quaker'' and ''Blue Thumb'', while making suggestions to other musicians that they might get involved. The thought-process of ''25th Century Quaker'' was that it would be a "blues band" alias for the more avant-garde work of the Magic Band. Photographer Guy Webster photographed the band in Quaker-style outfits, and the picture appears in ''The Mirror Man Sessions'' CD insert. It would later transpire that much of this situation was transient and that Buddah's Bob Krasnow was to set up his own label. The label that was unsurprisingly named ''Blue Thumb'' launched with its first release ''Strictly Personal'', a truncated version of the original Beefheart vision of a double album. Thus "25th Century Quaker" became a track and a potential band-name became a label.

In overview, the works for the double album in this period were intended to be packaged in a plain brown wrapper, with a "strictly personal" over-stamp and addressed in a manner that could have connotations of drug content, pornographic or illicit material; as per the small ads of the time: "It comes to you in a plain brown wrapper." Given that Krasnow had effectively poached the band from Buddah there were limitations on what material could be released. ''Strictly Personal'' was the result, contained in its enigmatically addressed parcel sleeve. The raft of material left behind eventually emerged, firstly on CD as ''I May Be Hungry, But I Sure Ain't Weird'' and later on vinyl, implemented by John French, as ''It Comes To You in a Plain Brown Wrapper'' (which has two tracks that are missing from the former release). Both ''Blue Thumb'' and the stamps on the cover of ''Strictly Personal'' have LSD connotations, as does the track "Ah Feel Like Ahcid", although Beefheart himself refuted this (claiming that this is a rendering of "I feel like I said").

''Trout Mask Replica'', 1969

Critically acclaimed as Van Vliet's magnum opus, ''Trout Mask Replica'' was released as a 28-track double album in June 1969 on Frank Zappa's newly formed Straight Records label. First issues, in the US, were auto-coupled and housed in the black "Straight" liners along with a 6-page lyric sheet illustrated by the Mascara Snake. A school-age portrait of Van Vliet appears on the front of this sheet, while the cover of the gatefold shows Beefheart in a modified Pilgrim hat, obscuring his face with the head of a fish. The fish is a carp – arguably a "replica" for a trout, photographed by Cal Schenkel. The inner spread " infra-red" photography is by Ed Caraeff, whose Beefheart vacuum cleaner images from this session also appear on Zappa's '' Hot Rats'' release (a month earlier) to accompany "Willie The Pimp" lyrics sung by Vliet. Alex St. Clair had now left the band and, after Junior Madeo from the Blackouts was considered, the role was filled by Bill Harkleroad. Bassist Jerry Handley had also departed, with Gary Marker stepping in. Thus the long rehearsals for the album began in the house on Ensenada Drive in Woodland Hills, L.A. that would become the Magic Band House.

The Magic Band began recordings for ''Trout Mask Replica'' with bassist Gary "Magic" Marker at T.T.G. (on "Moonlight on Vermont" and "Veteran's Day Poppy"), but later enlisted bassist Mark Boston after his departure. The remainder of the album was recorded at Whitney Studios, with some field recordings made at the house. Boston was acquainted with French and Harkleroad via past bands. Van Vliet had also begun assigning nicknames to his band members, so Harkleroad became ''Zoot Horn Rollo'', and Boston became ''Rockette Morton'', while John French assumed the name ''Drumbo'', and Jeff Cotton became '' Antennae Jimmy Semens''. Van Vliet's cousin Victor Hayden, ''the Mascara Snake'', performed as a bass clarinetist later in the proceedings. Vliet's girlfriend Laurie Stone, who can be heard laughing at the beginning of "Fallin' Ditch", became an audio typist at the Magic Band house.

Van Vliet wanted the whole band to "live" the ''Trout Mask Replica'' album. The group rehearsed Van Vliet's difficult compositions for eight months, living communally in their small rented house in the Woodland Hills suburb of Los Angeles. With only two bedrooms in the house, band members would find sleep in various corners of one, while Vliet occupied the other, and rehearsals were accomplished in the main living area. Van Vliet implemented his vision by completely dominating his musicians, artistically and emotionally. At various times, one or another of the group members was "put in the barrel", with Van Vliet berating him continually, sometimes for days, until the musician collapsed in tears or in total submission. Guitarist Bill Harkleroad complained that his fingers were a "bloody mess" as a result of Beefheart's orders that he use heavy strings. Drummer John French described the situation as "cultlike" and a visiting friend said "the environment in that house was positively Mansonesque". Their material circumstances were dire. With no income other than welfare and contributions from relatives, the group barely survived and were even arrested for shoplifting food (Zappa bailed them out). French has recalled living on no more than a small cup of beans a day for a month. A visitor described their appearance as "cadaverous" and said that "they all looked in poor health". Band members were restricted from leaving the house and practiced for 14 or more hours a day.

John French's 2010 book ''Through the Eyes of Magic'' describes some of the "talks", which were initiated by his doing such things as playing a Frank Zappa drum part ("The Blimp (mousetrapreplica)") in his drumming shed and not having finished drum parts as quickly as Beefheart wanted. French writes of being punched by band members, thrown into walls, kicked, punched in the face by Beefheart hard enough to draw blood, being attacked with a sharp broomstick. Eventually Beefheart, French says, threatened to throw him out an upper floor window. He admits complicity in similarly attacking his bandmates during "talks" aimed at them. In the end, after the album's recording, Beefheart ejected French from the band by throwing him down a set of stairs, telling him to "Take a walk, man" after not responding in a desired manner to a request to "play a strawberry" on the drums. Beefheart replaced French with drummer Jeff Bruschel, an acquaintance of Hayden. Referred to as "Fake Drumbo" (playing on French's drumset) this final act resulted in French's name not appearing on the album credits, either as a player or arranger. Bruschel toured with the band to Europe but was replaced by the next recording.

According to Van Vliet, the 28 songs on the album were written in a single -hour session at the piano, an instrument he had no skill in playing, an approach Mike Barnes compared to John Cage's "maverick irreverence toward classical tradition", though band members have stated that the songs were written over the course of about a year, beginning around December 1967. (The band did watch Federico Fellini's 1963 film ''8½'' during the creation of the album). It took the band about eight months to mold the songs into shape, with French bearing primary responsibility for transposing and shaping Vliet's piano fragments into guitar and bass lines, which were mostly notated on paper.Miles, Barry (2005). ''Zappa: A Biography'', Grove Press, pp. 182–183. Harkleroad in 1998 said in retrospect: "We're dealing with a strange person, coming from a place of being a sculptor/painter, using music as his idiom. He was getting more into that part of who he was instead of this blues singer. The band had rehearsed the songs so thoroughly that the instrumental tracks for 21 of the songs were recorded in a single four-and-a-half-hour recording session. Van Vliet spent the next few days overdubbing the vocals. The album's cover artwork was photographed and designed by Cal Schenkel and shows Van Vliet wearing the raw head of a carp, bought from a local fish market and fashioned into a mask by Schenkel.

''Trout Mask Replica'' incorporated a wide variety of musical styles, including blues, avant garde/experimental, and rock. The relentless practice prior to recording blended the music into an iconoclastic whole of contrapuntal tempos, featuring slide guitar, polyrhythmic drumming (with French's drums and cymbals covered in cardboard), honking saxophone and bass clarinet. Van Vliet's vocals range from his signature Howlin' Wolf-inspired growl to frenzied falsetto to laconic, casual ramblings.

The instrumental backing was effectively recorded live in the studio, while Van Vliet overdubbed most of the vocals in only partial sync with the music by hearing the slight sound leakage through the studio window. Chusid, Irwin (2000). ''Songs in the Key of Z: The Curious Universe of Outsider Music'', pp. 129–140. London: Cherry Red Books. Zappa said of Van Vliet's approach, "t wasimpossible to tell him why things should be such and such a way. It seemed to me that if he was going to create a unique object, that the best thing for me to do was to keep my mouth shut as much as possible and just let him do whatever he wanted to do whether I thought it was wrong or not."

Van Vliet used the ensuing publicity, particularly with a 1970 ''Rolling Stone'' interview with Langdon Winner, to promulgate a number of myths that were subsequently quoted as fact. Winner's article stated, for instance, that neither Van Vliet nor the members of the Magic Band ever took drugs, but Harkleroad later contradicted this. Van Vliet claimed to have taught both Harkleroad and Boston to play their instruments from scratch; in fact, the pair were already accomplished young musicians before joining the band. Lastly, Van Vliet claimed to have gone a year and half without sleeping. When asked how this was possible, he claimed to have only eaten fruit.

Critic Steve Huey of AllMusic writes that the album's influence "was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point. However, its inspiring reimagining of what was possible in a rock context laid the groundwork for countless experiments in rock surrealism to follow, especially during the punk and new wave era." In 2003, the album was ranked sixtieth by ''Rolling Stone'' in their list of The 500 Greatest Albums of All Time: "On first listen, ''Trout Mask Replica'' sounds like raw Delta blues", with Beefheart "singing and ranting and reciting poetry over fractured guitar licks. But the seeming sonic chaos is an illusion—to construct the songs, the Magic Band rehearsed twelve hours a day for months on end in a house with the windows blacked out. (Producer Frank Zappa was then able to record most of the album in less than five hours.) Tracks such as 'Ella Guru' and 'My Human Gets Me Blues' are the direct predecessors of modern musical primitives such as Tom Waits and PJ Harvey." Guitarist Fred Frith noted that during this process "forces that usually emerge in improvisation are harnessed and made constant, repeatable".

Critic Robert Christgau gave the album a B+, saying, "I find it impossible to give this record an A because it is just too weird. But I'd like to. Very great played at high volume when you're feeling shitty, because you'll never feel as shitty as this record." BBC
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