Trout Mask Replica

Pay no mind to the tin-eared, unsophisticated ABBA and KC & The Sunshine Band enthusiasts who routinely trash and belittle the astoundingly beautiful (Monk might call it "Ugly Beauty"), complex, and, ultimately, logically constructed musical pieces on this superb double LP (single CD). Many of the most respected of today's writers and musicians claim that this album was life changing and altered the manner in which they perceived and processed music. Indeed, this is radically creative, boundary smashing music, informed by delta blues, doo-wop, soul, free jazz, country and western, theatrical, psychedelic, and garage rock styles. The songs are filled with precisely played and hugely difficult guitar, slide guitar, woodwind, and drum parts that often seem, on the first few listens, to be musicians playing on different worlds from each other. Rhythms and time signatures shift constantly, with different instruments playing in different times from one another, leading to an effect of cacophony that gradually turns into simpatico playing only to diverge again into seemingly dissimilar parts. In addition, traditional song structures (chorus, verse, chorus, verse, bridge, chorus, verse) are very rare. This is not to say that the songs have no structure. Indeed, what may at first seem to be random riffing and noodling is, in every case, an intentional, fixed arrangement that the mighty Magic Band learned to play precisely and exactly the same way, instructed by a tyrannical (some say emotionally abusive) Beefheart (Don Van Vliet), during ten to fourteen hour daily practices that continued for six or eight months, prior to the recording. During this time, the large band shared one vehicle, all slept and lived in the same house, were not paid, subsisted on cheap bologna and white bread, and took orders from Don, who was not to be crossed.

There are a lot of good reviews here, and I suggest anyone new to Beefheart's music check them out. You can also go to Wiki or read other reviews online to get an idea of what you're dealing with here. Most of the reviews I've seen here are from people who are long time fans of Captain Beefheart (aka Don Van Vliet) and don't really need anyone to explain this album to them because they've probably already listened to it at least a hundred times. They "get it" and are mostly trying to help those who don't. That being said, I'm going to skip the other reviews because there's not a lot to add that hasn't already been covered. The first thing I'd like to say is that I'm not going to "preach to the choir" because they already know. What I want to try here is to offer a few things that may help those new to this album and Beefheart in general. First of all, Beefheart's music isn't for everyone, and Trout Mask Replica can even be hard for fans who like some of his other albums. If anyone just likes music that makes them feel good, then this album is NOT for you. Don't buy it and don't listen to it because you WON'T like it! If you enjoy music that was created as an art form that pushes the boundaries of every previous musical concept that came before it and what followed, you NEED to listen to this album....many times. To understand it, a good idea is to find out some of the history of how it was made and what went into making it. Once you understand this, you'll begin to see the sheer complexity and genius behind it and the unbelievable will power, mental strength, and actual physical toll it took on the musicians who made it. This is a lengthy work (28 songs, 1:18 minutes running time) and can be difficult to get through all at once. I would even go as far to say that someone who is borderline schizophrenic could possibly be pushed over the edge by this music. I would also caution anyone dropping acid for the first time to be careful with it. Am I exaggerating here? Maybe, but only slightly. Now, here's my reply to those who say "You could take five people who have never played music, give them instruments, put them in a recording studio together for a few hours, and it would sound as good as this". Maybe that's true, but then ask yourself this. Could the same group of people go back to the studio the next day and play the same thing EXACTLY like the first time? Captain Beefheart and his Magic Band did. They also played it EXACTLY the same live. When you wrap that around your head, you might begin to get an idea of why this album is one of the greatest recordings of all time. Most musicians would say it couldn't be done. Don Van Vliet said it could and he proved it on Trout Mask Replica. That's about all I have to say. You either "get it" or you don't. Don't worry if you don't because you're in the majority. If you do, you've found a musical "gift" that keeps on giving.

When I first heard this album decades ago it immediately turned me off. I mean, so much dissonance and discord combined with a poetry slam. But, like countless others, I gave a 2nd, 3rd, 4th, 5th, and 6th listen. By that time, I was hooked. Plus when I found out the music was scored and rehearsed like a classical composition--and that most of it was recorded in 6 hours--everything fell into proper context.I just wish someone would remaster this America pop culture classic for the 50th anniversary of its release this month. FAST AND BULBOUS!!

Great remaster on 180 weight vinyl. Beefheart never sounded better, and Third Man should be commended for their high production values. Unfortunately, after waiting months to receive my copy, I was heartbroken to find ugly tears to both top sleeve seams of the gatefold. Oh well, maybe it will be available again sometime soon... UPDATE: Amazon finally got it back in stock and my second copy was perfect. Proud to have it in my collection. Thanks to Third Man and Amazon!

The classic Beefheart. Every Beefheart collector has this and Beefheart has never disowned this album of course. Sounds at first like the band just walked into the studio, smashed out of their skulls and played whatever was in their mixed up heads; not so. This album on careful listening reflects a stunning vision, meticulous arrangement and weeks of practice. In fact, they walked into the studio and played exactly what they had practiced and precisely what was in Don Van Vliet's head. This man, at this point was at the very peak of his career and had a very wonderful musical imagination. Takes some listening if you're not already a Captain Beefheart fan. Worth the effort.

...for me anyway! I already had 'The Spotlight Kid/Clear Spot' but was advised nay warned not to dip even so much as a toe into this too quickly, but curiosity got the better of me and I ordered a 'like new' second hand copy. Around 30 seconds in I thought someone was taking the p, then I started chuckling, then wanted to congratulate the previous owner for showing commendable restraint, then wanted a refund, then along came 'Moonlight on Vermont'.....I can fully understand the sentiments behind the 1 star reviews. At first, it can hit you as an uncoordinated cacophonous racket with little discernible structure or shape in a conventional sense. There is recognisable rhythm and melody here, but more often than not these are buried within dense layers of jarring, irregular rhythms and oblique, discordant guitars. Unless you happen to be one of the special ones who can 'get' this first time, I would suggest relinquishing any preconceptions of how music should be structured and start with a completely open mind, a clean slate, then try to find a foothold somewhere/anywhere. To be honest, after my first listen I only liked 'Moonlight on Vermont' then like a cake I quartered the album into smaller, more digestible slices, and most of the rest have now followed suit. Will I grow to enjoy the entire album unequivocally?.... I like to think so. I'm struggling with 'Pena' at the moment, but hey, only yesterday the instrumental 'Dali's Car' sounded like the musical equivalent of 'flatline' but today I detected a strengthening sinus rhythm! And besides, seeing as I've only been listening heavily to this for little more than a week, I reckon I'm not doing too bad! Thanks for taking time to read my review.

I bought the original TMR release on Zappa's Straight label back when I was 16 in 1969. I'd never heard anything like it and even today it's unsurpassed although Lick My Decals Off, Baby is another fave. This album still makes me feel good and I've always found it hugely, hugely enjoyable . Still doesn't sound dated. I still have the '69 release, the CD and various outtakes and now this....beautifully pressed on 180gm black vinyl in a sturdy heavy duty cardboard sleeve. Just finished listening to it (again) and so glad I got it. Clear as a bell, joyous. Treat yourself, you (probably ) deserve it.

This is a very belated review as I first heard this many years ago in my 6th Form common room! At that time there was a group of guys that just loved anything 'weird' and I got to listen to many different bands and artists - some I actually enjoyed! Now 'Trout Mask Replica' was not one of them - but even then there was something strangely captivating about it. In between those days and now I have grown to like many forms of music and literature - especially modern classical and jazz, and read many so-called 'difficult' books - including Gravity's Rainbow, Nightwood, Ulysses and Finnegans Wake (the later several times). The relevance? Only now do I feel that I have the artistic tools to understand this amazing composition. It most reminds me of Finnegans Wake as an essentially new musical language that is both serious and funny. Some things are, I guess, slow-burners!

Far too many styles of music in one place, often in the same song. A bit of a mental breakdown of an album that some people love and some hate. I think Captain Beefheart is a musical genius and it is a worthy work to be remembered for. A bit of musical history. He dared.

I'm amazed that there is so much written here about TMR and that much of it is wildly conflicting. Yeah, the album's reputation is forbidding and it is difficult to approach because that weighs so heavily and also because the album was of its time and sounds so alien to digitalised ears. I can listen to it quite easily (I listen to lots of noisy things: Ornette Coleman, Albert Ayler, Can, Magma, Ubu but nothing quite compares) and it sounds very melodic and very rhythmic. At the same time it is crammed full of opposite things: dissonance, conflicting rhythms and as the Captain liked to say: juxtapositions. The amazing thing is that you grow to learn that it is all COMPOSED! These are not wild jams even though they may have grown out of wild jams. There are a lot of ideas on TMR and that perhaps is the key to understanding and getting along with it. It demands attention and it demands a certain awareness of things like Dadaist sound poetry, early blues, free jazz, as well as realising that there is an abstractness present which is usually only found in modern art, & Don was much more a painter of things than a qualified musician.