The Band – The Last Waltz

The Last Waltz

The Band – The Last Waltz Warner Bros. 3WS 3146 (1978)

Though sometimes deemed a “great album,” The Band’s Last Waltz is a humdrum affair that all too often relies on the mere presence of guest artists as a substitute for working toward interesting musical statements.  There are still a few choice performances.  “Helpless” with Neil Young, “Caravan” with Van Morrison, and “Life Is a Carnival” with just The Band are all quite good.  Bob Dylan‘s appearance is rather poor, on the other hand.  This would have been better as a single album than a triple one, and the movie made about the concert special seems crassly self-important.  It is worth mentioning that some songs from the concert film are not on the album, and vice-versa.  Some of the album tracks were also later overdubbed.  In 1976, when this concert was recorded, The Band’s style of “roots rock” no longer seemed to hold much relevance as the punks were well on their way and reveling in feel-good nostalgia seemed like a pretty tepid attitude in turbulent times.

Captain Beefheart & His Magic Band – Trout Mask Replica

Trout Mask Replica

Captain Beefheart & His Magic Band – Trout Mask Replica Straight STS 1053 (1969)

Imagine if Cecil Taylor, Ornette Coleman, Jack Kerouac, Luis Buñuel and Jackson Pollock joined Howlin’ Wolf’s blues band. The result would probably sound like something resembling Trout Mask Replica. Exuding a disjointed zaniness, the Captain [a/k/a Don Van Vliet] was unlike anything else out there. One of the watershed recordings of the 20th Century, this is essential listening (though his debut Safe As Milk makes the best introduction).

Though the Captain pays respect to free jazz legends, it is more a slapstick homage. He plays two saxophones simultaneously (vaudevillian and/or Rahsaan Roland Kirk-style) on “Ant Man Bee.” This happens while he manipulating textures like early Steve Reich compositions. While he couldn’t really keep up in a free jazz group, the point is that no one had ever combined such seemingly disparate elements into a package so moving.

Beat poetry is subtly and perfectly delivered over a variety of backdrops. Desert-styled blues on “China Pig,” “Dachau Blues,” and “Orange Claw Hammer” highlight the backbone of Trout Mask Replica. Twisted gospel on “Moonlight On Vermont” makes it a standout song. Most of the material doesn’t make sense out of context though. The lengthy 70+ minute album must be digested together.  Comparing “Frownland” to “Veteran’s Day Poppy” shows the range in just this one album and why it takes time to absorb.

The most interesting aspect of Captain Beefheart is his zany, surreal approach to American music. A child-like determination fuels his humor. He tackles difficult topics without sacrificing an underlying idealism. His commentary is poignant and always deeply respectful. The clarity of his vision is what seems so unreal. Captain Beefheart was a child art prodigy almost from birth. He only attended school for a half a day of kindergarten. He brought an outsider’s perspective to the table. Trout Mask Replica is music the Captain wanted to play. It takes advantage of every bit of his abilities.

This is Captain Beefheart’s masterpiece. It is a testament to total creative control (Frank Zappa produces, but this one goes beyond Zappa’s world). The Captain’s debut hinted at British Invasion blues-rock. This sophomore effort can only hint at some other dimension of music.  The ingredients sound familiar but the soulful mixture is unique. Arty experiments and beat poetry never quite found a stage so absent of elitism. Trout Mask Replica is the kind of album that doesn’t get old.