Bluejeans & Moonbeams

Ah hero ism pop weasel killing floor slow down to a groove a BASF encore wounds elastic cheap plastic gimme lack o'people no more mo more show me your interior I'll give you my cuffs..had to come out Ramadan to review .Dug the buckwheat Charade but so southern Had ti hiccup in Rashaan Roland Kirk's horn . Why did it suck,baby? Coz times were toinin' in a bad wally. I was downbeat and beat too, already diggin Bitche's Brew and Moicury put out such a recycled poly vinyl chloride disk, I neva hoid "New Electric Ride"or "roch n roland's evil house pillory" Through snuff and hooch I bought this thing this cadaver but it weren't blues ,boogie boy, it was this hoitin hologram betrayal at sub-continental drift. Hark I see Jesus and bread too, my muffin hast come unglued. Thanks for the thimnks the gimmicks I'm sick. I disqualify my credibility as a review.er.

Arrived early and in excellent condition! The sound quality is better than some of the other vinyls I have! More than satisfied Thank you!

I have put this record on a lot recently. Later in the evening after a night out perhaps.Lights low, me, I have a good glow Sit back and enjoy the party of special things. Honestly I was dismissive at first listen and Uncon. Guar. was his worst record ever. We all tried to like it sometimes, just because it was still the same line-up. Then with Moonbeams just could not trust a new Magic Band. And its true, its not his best. But, however goofy, wrap yourself up in Observatory Crest, sink into Pompadour Swamp, turn that guitar bit in Further than weve Gone way up. Its a storybook of a record and deserves a second play. Gus Simpson

Great music re-edited by producers over the objections of the musicians (by contract).

Under appreciated and misunderstood oddness. Captain Beefheart music isn't complex and almost annoying in a sense. Like a well aged single scotch it requires an understanding

If you were a fan of Captain Beefheart then you would want this badly if you didn't already have it.

Expectations will dictate how listeners approach "Bluejeans & Moonbeams," Captain Beefheart's second headlong foray into commercialism. Those expecting edgy, challenging and ground-breaking music found on albums such as "Trout Mask Replica" or "Lick My Decals Off, Baby" will likely curse this album to eternal damnation. Many have decried it as a cheap and obvious sell-out, mostly because, for Beefheart at least, it is. Unlike many of his other albums, this one genuinely sounds like a product of its time. Many mid-1970s motifs, along with some 1970s clichés, pervade the production. This is by far the closest the Captain ever came to "bar rock." Detractors probably dislike the album's lack of ingenuity and inventiveness, especially in comparison to his other classics. For that reason, very few would likely call this a masterpiece. As such, many will continue to consider it a Beefheart low point.Nonetheless, those who can somehow manage to extract Beefheart's stellar creative reputation from this album, and who happen to enjoy mid-1970s rock, can find much to enjoy here. The opening song, covered by the White Stripes in 2000, sets the stage for a true Beefheart-esque escapade. It opens with Beefheart growling "the camel wore a nightie" and then "Party of Special Things To Do" kicks the door in, though more conventionally as usual. This first song in particular could have fit on "Clear Spot." Even Beefheart's trademark growl turns out in full force. This salient feature was nearly absent from his previous album, "Unconditionally Guaranteed," on which Beefheart sounds like he sang with a smooth lozenge-caked throat. Next, "Same Old Blues," a J.J. Cale cover, actually grooves. Though it breaks no new ground it's still pleasant enough as a blues number. "Pompadour Swamp" and "Rock 'N Roll's Evil Doll" emanate as much angularity as this album's mood will allow. The latter's bridge even evokes the sounds of Beefheart's first album, "Safe As Milk." And The Captain could wail out a good ballad when he wanted to, as evidenced on "Further Than We've Gone" and the title track. Though "Bluejeans & Moonbeams," which closes the album, features a rather dated overly flanged keyboard sound that might grate on some discriminating cochleas. In at least one place the keyboard solo becomes unbearably high-pitched. One can almost imagine this as a great song with different instrumentation. It really wants to be a great song, but it doesn't quite get there, despite its somewhat cheesy charm.Most Beefheart fans can probably dismiss his 1974 releases. Just why he leapt into this pit of marketability remains a subject of some debate, but the least interesting answer probably tells the truth: he wanted, or needed, to make money. He didn't, which may explain why he soon returned to form when touring with Frank Zappa in 1975. Those hankering for the Beefheart of old probably fell down sobbing for joy when "Bongo Fury" appeared. But it took another three years for "Shiny Beast (Bat Chain Puller)" to appear and fully christen Beefheart's final musical phase that once again embraced the experimentation of his earlier work. The middle phase was over and The Captain even disowned his 1974 albums. Who knows what could have resulted had they attained mainstream success. Would "Doc at the Radar Station" and "Ice Cream For Crow" have happened? Luckily they did and the albums that many fans call "tragic" can now seem like less of an outright tragedy and more like temporary failed experiments. They really aren't as bad as many claim, though they definitely remain the weakest items in an otherwise extraordinarily impressive and innovative catalog of unforgettable music.

I like the sound on this album.