The Mirror Man Sessions [ORIGINAL RECORDING REMASTERED]

Captain Beefheart

Product Details

• Audio CD (June 1, 1999)
• Original Release Date: June 1, 1999
• Number of Discs: 1
• Format: Original recording remastered
• Label: Buddha
• ASIN: B00000J7A4
• In-Print Editions: MP3 Download
• Average Customer Review: 4.4 out of 5 stars See all reviews (21 customer reviews)
• Amazon.com Sales Rank: #12,964 in Music (See Bestsellers in Music)

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Editorial Reviews

Amazon.com essential recording
There are times when a set of recordings begs not only to be remastered and reissued, but restored according to the artist's original intent. Mirror Man Sessions is an unqualified success of this sort. It's a resequenced approximation of the planned, half-live-in-the-studio/half-studio double album It Comes to You in a Plain Brown Wrapper, which Beefheart and band started on several months after the release of their debut, Safe as Milk. Most importantly, the disc includes many of the songs off the botched Strictly Personal album (the tapes of which were maliciously slathered with heavy echo and phasing effects by producer Bob Krasnow, without Beefheart's approval) in blissful clarity. The sound throughout is vibrant, with all the sparks of the dual-guitar interplay and massive slide sound that would typify the Magic Band in years to come. The album has far fewer tempo changes than Milk or the records that follow it; the band for the most part digs deep blues-based grooves and stays within their confines. But there are lengthy, monochromatic stomp-trance workouts, such as "Tarotplane" and "Gimme Dat Harp Boy," which stretch out and explore John French's jagged drumming, the guitarists' uniquely deft, pan-tonal playing, and Beefheart's harp playing, gruff vocal style, and impressionistic lyrics. Note: Seven more tracks from this session are included on the reissue of Safe as Milk. --Mike McGonigal

Customer Reviews

Most Helpful Customer Reviews

15 of 15 people found the following review helpful:

4.0 out of 5 stars A reconstruction of the "lost" Beefheart album..., August 21, 2005

By	ewomack "ewomack" (MN USA) - See all my reviews (TOP 500 REVIEWER)

Captain Beefheart (who now only responds to Don Van Vliet) and (at the time) His Magic Band (later changed to "The Magic Band") were coming off of a very tepid success in 1967. Their first release, "Safe As Milk", didn't attract much attention, and Van Vliet very much wanted to expand his musical horizons. After Ry Cooder left the band, a new Magic Band was formed and they entered the studio to record the "Mirror Man Sessions".

The material from these sessions subsequently languished in Buddha Record's vaults from 1967 to 1971. Most likely the fledgling label found the material uncompromisingly uncommercial (especially compared to the relatively more accessible "Safe As Milk"). So they sat on it until "Captain Beefheart" began to attract a following in the early 1970s. They then chose to release a single record with four long avant-garde blues magnum opuses (the first four tracks on this CD). For some reason they also claimed that the sessions dated from 1965 (this mistake even made it onto the early CD pressings of "Mirror Man").

Van Vliet's original vision for a follow-up to "Safe As Milk" comprised a double album entitled "It Comes To You In A Plain Brown Wrapper". He also wanted to turn the experimentation up a notch. One record was the "live" record (which ended up being recorded in the studio), and made up of the four long blues numbers. In these adventurous numbers Van Vliet plays off-key on a shenai (legend claims that Ornette Coleman gave this Indian reed instrument to him), sings through guitar pickups, experiments with cutting the power to the microphone off an on while singing, and howls highly poetic and ad-libbed lyrics. The second album, the "studio" album, would have likely resembled "Strictly Personal" (the actual follow-up to "Safe As Milk", released in 1968 on Blue Thumb Records). Songs recorded for Buddha that subsequently made it onto the next album include: "Trust Us", "Beatle Bones N' Smokin' Stones", "On Tomorrow", "Safe As Milk", and "Gimmee Dat Harp Boy" (truncated versions of "Mirror Man" and "Kandy Korn" also made it). In addition, the band recorded "Moody Liz", "Korn Ring Finger", "Big Black Baby Shoes", "Flower Pot", and "Dirty Blue Gene". Truly, they had enough material for a double album. But Buddha stopped the project in its tracks and refused to release the tapes of the sessions to the band. So the band found another label and the rest remains (overly-flanged and processed) history.

This CD, and the reissue of "Safe As Milk", finally allow all of the material recorded for Buddha in 1967-1968 to see the light of day. Here are most of the unprocessed and unflanged "Strictly Personal" songs (Blue Thumb released the follow-up with a heavy layer of processing). Here they come alive. Hearing these versions will heighten the experience of listening to "Strictly Personal" (and allow fans a glimpse of just how much greater the album could've been). Plus, the remastering of the original songs from 1971's "Mirror Man" sound great. The band really moved forward with these sessions. Not only that, harbingers of "Trout Mask Replica" peek out here and there. The rhythms become more angular and unpredictable. The notes bend and disharmonize with more fury. And the Captain's voice begins to take on the tone and agressiveness that later became his trademark (in defiance of those at the time who wanted him to "just sing the blues" and make boatloads of money). These sessions highlight Van Vliet's integration of free jazz and rock and showcase the band's amazing developments and innovations that still influence popular music today. An absolute must for any Beefheart fan.

5 of 5 people found the following review helpful:

5.0 out of 5 stars It's the Magic Band - What else can be said?, November 1, 2000

By A Customer

This album has been one of my favorites ever since it was first released. It has a deep delta blues flavor to it (think Son House on acid). As with all Beefheart albums, it demands repeated listening in order to absorb it all. The tracks here are long, but not a wasted note. The music is mesmerizing. I can listen to this for hours and always hear something new. It's impossible to get bored with this album. If you are a fan of slide guitar, the country blues style of slide, you'll find this very interesting. It's the delta turned inside out, courtesy of Jeff Cotton and Alex Snouffler. Rock solid thumping bass by Jerry Handley, and probably the most creative drumming you'll ever hear thanks to John French. The Captain's lyrics, vocal delivery and harmonica are outstanding as usual.

The additional tracks are a real BONUS! Out takes from the Strictly Personal album. Just to add my two cents, I often read complaints about the electronic effects added to the Strictly Personal, and how it takes away from the music. I must disagree. It's interesting to hear the out takes without the electronics, but the effects don't hurt Strictly Personal...which is another five star CD. Get both and thank me in the morning.

4 of 4 people found the following review helpful:

4.0 out of 5 stars Stiff Swing, December 6, 2001

By	Henry Zeno (Dallas) - See all my reviews

For years, Beefheart fans were under the impression that this music was recorded in 1965. To have done something like this at a time when the Beatles were doing "Ticket to Ride" and the Byrds "Mr. Tambourine Man" and Dylan "Highway 61" would be mind-blowing. Turns out that this was recorded in late 1967, between the time of "Safe as Milk" and "Strictly Personal." Although this wouldn't be my recommendation for the first Beefheart purchase (that would be "Spotlight Kid"/"Clear Spot" or "Safe as Milk"), "Mirror Man" is a good intro to Beefheart's art. The key is John French, whose stiff yet swinging drumming encapsulates the whole Beefheart approach. I would call this music static jazz or swinging blues. As Lester Bangs pointed out some years back, this is better blues jamming than anything that Cream ever came up with. The highlight here is "Kandy Korn," which is superior in this elongated version to the one found on "Strictly Personal." It's become clear that Beefheart's music, far from being one man's vision, was a collaboration among Van Vliet and his musicians, especially Harkleroad and John French. So maybe we ought to reconsider some of our ideas about "genius."