Moonlight on Vermont - Captain Beefheart & His Magic Band

Rola: Moonlight on Vermont
Traducción: Brillo de luna en Vermont
Intérprete: Captain Beefheart & His Magic Band
Compositor: Don Van Vliet, Herb Bermann
Disco: Trout Mask Replica
Productor: Frank Zappa


"Moonlight in Vermont" is a popular song about the U.S. state of Vermont, written by John Blackburn and Karl Suessdorf and published in 1943.

Captain Beefheart recorded a song called "Moonlight on Vermont" for his album Trout Mask Replica (1969), which could be considered a parody of this song.


Duración: 03:59
Año: 1969
Formato: L.P.
A la venta: 16/06/1969
Disquera: Reprise


Don Van Vliet (Captain Beefheart) – voz, saxofones tenor y soprano, clarinete bajo, musette, corno de caza
Bill Harkleroad (Zoot Horn Rollo) – guitarra slide y flauta
Jeff Cotton (Antennae Jimmy Semens) – "guitarra steel
Victor Hayden (The Mascara Snake) – clarinete bajo y voces adicionales
Gary "Magic" Marker – bajo
John French (Drumbo) – batería y percusión



Moonlight on Vermont affected everybody
Even Mrs. Wooten, well, as little Nitty
Even lifebuoy floatin'
With his lil' pistol showin'
With his lil' pistol Totin'

Well, that goes to show you what, uh, moon can do
No more bridge from Tuesday to Friday
Everybody's gone high society
Hope lost his head and got off on alligators

Somebody's leavin' peanuts on the curbings
For, uh, white elephant escaped from zoo with love
Goes to show what, uh, moon can do

Moonlight on Vermont
Well, it did it for Lifebuoy
And it did it t' you
And it did it t' zoo
And it can do it for me
And it can do it for you

Moonlight on Vermont
Gimme dat ole time religion
Gimme dat ole time religion
Don't gimme no affliction

Dat ole time religion is good enough for me
And it's good enough for you
Well, come out to show dem

Come out to show dem
Come out to show dem
Come out to show dem
Come out to show dem
Come out to show dem
Come out to show dem

Gimme dat ole time religion
Gimme dat ole time religion
Gimme dat ole time religion
It's good enough for me

Without yer new affliction
Don't need yer new restrictions
Gimme dat ole time religion
It's good enough for me

Moonlight on Vermont



1. "Frownland"
2. "The Dust Blows Forward 'n the Dust Blows Back"
3. "Dachau Blue"
4. "Ella Guru"
5. "Hair Pie: Bake 1"
6. "Moonlight on Vermont"

1. "Pachuco Cadaver"
2. "Bills Corpse"
3. "Sweet Sweet Bulbs"
4. "Neon Meate Dream of a Octafish
5. "China Pig"
6. "My Human Gets Me Blues"
7. "Dali's Car"

1. "Hair Pie: Bake 2"
2. "Pena"
3. "Well"
4. "When Big Joan Sets Up"
5. "Fallin' Ditch"
6. "Sugar 'n Spikes"
7. "Ant Man Bee"

1. "Orange Claw Hammer"
2. "Wild Life"
3. "She's Too Much for My Mirror"
4. "Hobo Chang Ba"
5. "The Blimp (mousetrapreplica)"
6. "Steal Softly thru Snow"
7. "Old Fart at Play"
8. "Veteran's Day Poppy"

Critically acclaimed as Van Vliet's magnum opus,[59] 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 USA, 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, whilst the cover of the gatefold enigmatically shows Beefheart in a 'Quaker' 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 infamous '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", would also became a temp 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 the band members would find sleep in various corners of one, whilst 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. 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.

Physical assaults were encouraged at times, along with verbal degradation. Beefheart spoke of studying texts on brainwashing at a public library at about this time, and appeared to be applying brainwashing techniques to his bandmembers: sleep deprivation, food deprivation, constant negative reinforcement, and rewarding bandmembers when they attacked each other or competed with each other. At one point Cotton ran from the house and escaped for a few weeks, during which time Alex Snouffer filled in for him and helped to work up "Ant Man Bee". French, who had thrown a metal cymbal at Cotton, ran after him yelling that he too wanted to come. Cotton later returned to the house with French's mother, who took him away for a few weeks, but he later felt compelled to return, as did Cotton. Mark Boston at one point hid clothes in a field across the street, planning his own getaway.

John French's 2010 book Through the Eyes of Magic describes some of the "talks" which were initiated by his actions such as being heard 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, and eventually of Beefheart threatening to throw him out of 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, French was ejected from the band by Beefheart throwing him down a set of stairs with violence, 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 8½ hour session at the piano, an instrument in which 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. 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 title came from its cover artwork, which was photographed and designed by Cal Schenkel; 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 synch with the music by hearing the slight sound leakage through the studio window. Zappa said of Van Vliet's approach, "[it was] impossible 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 which 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. Last, 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 fifty-eighth 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 that "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 disc jockey John Peel said of the album: "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work."


Captain Beefheart & His Magic Band: Glendale

Don Van Vliet (January 15, 1941 – December 17, 2010) was an American musician, singer-songwriter and artist best known by the stage name Captain Beefheart. His musical work was conducted with a rotating ensemble of musicians called The Magic Band, active between 1965 and 1982, with whom he recorded 12 studio albums. Noted for his powerful singing voice with its wide range,[4] Van Vliet also played the harmonica, saxophone and numerous other wind instruments. His music blended rock, blues and psychedelia with free jazz, avant-garde and contemporary experimental composition. Beefheart was also known for exercising an almost dictatorial control over his supporting musicians, and for often constructing myths about his life.

During his teen years in Lancaster, California, Van Vliet developed an eclectic musical taste and formed "a mutually useful but volatile" friendship with 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, in 1965. The group drew attention with their cover of Bo Diddley's "Diddy Wah Diddy", which became a regional hit. It was followed by their acclaimed debut album Safe As Milk, released in 1967 on Buddah Records. After being dropped by two consecutive record labels, they signed to Zappa's Straight Records. As producer, Zappa granted Beefheart the unrestrained artistic freedom in making 1969's Trout Mask Replica, ranked fifty-eighth in Rolling Stone magazine's 2003 list of the 500 greatest albums of all time. In 1974, frustrated by lack of commercial success, he released two albums of more conventional rock music that 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 contemporary approval through three final albums: Shiny Beast (Bat Chain Puller) (1978), Doc at the Radar Station (1980) and Ice Cream for Crow (1982).

Van Vliet has been described as "one of modern music's true innovators" with "a singular body of work virtually unrivalled in its daring and fluid creativity". Although he achieved little commercial or mainstream critical success, he sustained a cult following as a "highly significant" and "incalculable" influence on an array of New Wave, punk, post-punk, experimental and alternative rock musicians. Known for his enigmatic personality and relationship with the public, Van Vliet made few public appearances after his retirement from music (and from his Beefheart persona) in 1982. He pursued a career in art, an interest that originated in his childhood talent for sculpture. His expressionist paintings and drawings command high prices, and have been exhibited in art galleries and museums across the world. Van Vliet died in 2010 after many years of suffering from multiple sclerosis.

Among those who took notice were The Beatles. Both John Lennon and Paul McCartney were known as great admirers of Beefheart. Lennon displayed two of the album's promotional 'baby bumper stickers' in the sunroom at his home. Later, the Beatles planned to sign Beefheart to their experimental Zapple label (plans that were scrapped after Allen Klein took over the group's management). 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, strawberry fields forever". It should also be noted that 'strawberry fields' could also be an oblique reference to a form of LSD circulating at the time. The album's five 'acid stamps' and first track "Ah Feel like Ahcid" may underline this, whilst 'Smokin' Stones' is probably a 'pro comment' on the contrasting rhythm and blues style of the Rolling Stones. 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". Van Vliet did meet McCartney in Cannes during the Magic Band's 1968 tour of Europe, though McCartney later claimed to have no recollection of this meeting.

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