April 29, 2025 • 28 mins
"Safe as Milk" is the debut album by Captain Beefheart and His Magic Band, released in 1967. The record is a wild blend of blues, psychedelic rock, and experimental music, showcasing the unique and often eccentric vision of frontman Don Van Vliet (aka Captain Beefheart).
While rooted in traditional electric blues, Safe as Milk already hints at the avant-garde style that would define Beefheart's later work. The album features intricate guitar work, odd rhythms, and surreal, poetic lyrics. It's more accessible than Beefheart’s later records like Trout Mask Replica, but still packed with creative risks and strange beauty.
The album features a young Ry Cooder on guitar, whose contributions helped shape the sound and keep it grounded, even as Beefheart pushed boundaries.
Though it wasn't a commercial hit at the time, Safe as Milk has since become a cult classic and an essential record for fans of psychedelic and experimental rock. It marks the beginning of one of the most iconoclastic careers in 20th-century music.
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Episode Transcript
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unknown (00:00):
It's just the normal noises in here.
SPEAKER_05 (00:13):
This is Polyphonic Press, the podcast where two
music fans pick a classic albumcompletely at random.
Using the patented random albumgenerator, they are given an
album to review from a curatedlist of over 1,000 classic
releases spanning multiplegenres.
And now onto the show.
(00:34):
Here are your hosts, Jeremy Boydand John Van Dyke.
SPEAKER_02 (00:49):
I'm John Van Dyke.
And uh let's not waste any time.
We've got the patented randomalbum generator right in front
of us here.
Uh so let's hit the button andsee what album we're going to be
listening to this week.
SPEAKER_04 (01:01):
The album you will be reviewing is Safe as Milk by
Captain Beefheart and his magicband.
SPEAKER_03 (01:07):
All right.
I have this one on vinyl and onCD, I think.
So cool.
SPEAKER_02 (01:12):
Um so here is a uh a description of the album.
It says Safe as Milk is thedebut album by Captain Beefheart
and his magic band, released in1967.
The record is a wild blend ofblues, psychedelic rock, and
experimental music, showcasingthe unique and often eccentric
vision of frontman Don VanVlier, aka Captain Beefheart.
(01:35):
While rooted in traditionalelectric blues, Safe as Milk
already hints at the avant-gardestyle that would define
Beefheart's later work.
The album features intricateguitar work, odd rhythms, and
surreal poetic lyrics.
Is more accessible thanBeefheart's later records like
Trout Mask Replica, but stillpacked with creative risks and
(01:56):
strange beauty.
The album features a youngwriter Rai Cooter on guitar
whose contributions helped shapethe sound and keep it grounded,
even as Beefheart pushedboundaries.
Though it wasn't a commercialhit at the time, Safe as Milk
has become a cult classic and anessential record for fans of
psychedelic and experimentalrock.
(02:16):
It marks the beginning of one ofthe most iconoclastic careers in
20th century music.
So the album was released inAugust of 1967, and it was the
genres are blues rock, garagerock, rhythm and blues, acid
rock, and folk rock.
And uh was released on BuddhaRecords, and it was produced by
(02:39):
Richard Perry and Bob Krasnow.
And um we encourage you tolisten along, and we've uh
linked the uh album in the shownotes to both Spotify and Apple
Music.
And what we like to do is welike to pause halfway uh through
the album, and the album issplit pretty even.
There's 12 songs on the album,and it's split pretty evenly,
uh, six and six.
(03:01):
And it's the album starts withSure Enough and Yes I Do, and uh
side one ends with the songElectricity.
So if you're listening along,you want to pause it at that uh
point, you can go ahead and dothat.
And um I want to remind you ifyou're enjoying the show, you
can uh help us out on Patreon.
Go to patreon.com slashpolyphonic press and you can get
(03:21):
these episodes the day beforethey go live, and uh lots of
cool stuff there as well.
You can pick an album for us toreview and uh and lots of
interesting uh things going onthere.
And check out the website, go topolyphonicpress.com uh so you
can get all the uh previous uhepisodes.
And so without further ado, allright, so here we go.
(03:44):
Here's the uh first song on thealbum, sure enough, and yes I
do.
Okay, and uh ending side onewith electricity.
(04:06):
Uh yeah, this is um I I I reallylike this.
Um I figured you would.
It it's not as weird as Ithought it would be.
Um but it is a little weird.
It is a little weird, yeah.
It's just the right amount ofweird.
Um yeah.
It's because like um what wasthe song I'm glad?
(04:30):
Yeah.
That's like a like a soul song.
Yeah, the Black Keys coveredthat one.
SPEAKER_03 (04:35):
In fact, they covered another song on this
album.
I can't remember which the otherone was, but yeah, they I know
uh um yeah, uh Dan Auerbach is abig fan of this album in
particular, but he's a big fanof like Captain Beef art stuff.
Oh yeah, I can hear theinfluence on them from this for
sure.
Absolutely.
Like Ry Cooter's guitar playinghas definitely come through on
(04:59):
his guitar playing, soespecially his slide playing.
Yeah.
SPEAKER_02 (05:02):
Yeah.
Yeah, no, I can I can definitelyhear that.
Um yeah, it's a it's a littlemore uh I guess it's a little
more rock than I was expecting.
I I don't know why I wasexpecting it to not.
Um be I I thought it was gonna Idon't know for some reason I had
this idea of Captain Beefheartof just being this cacophony of
(05:24):
noise.
SPEAKER_03 (05:26):
That's Trout Mask Replica will probably have given
you that.
Did you ever listen to that?
I've heard parts of it.
Okay.
I haven't heard the whole thing.
Uh it might come up.
That'll be an interesting.
I mean, I enjoy it just becauseit's just plain bizarre, but I
wouldn't it's not one of thosealbums you just put on for the
sake of putting on, unlessyou're like really strange.
(05:50):
So it's it's it's uh it's a tripfor sure.
But this one is uh definitelymore um approachable.
SPEAKER_02 (06:01):
So yeah, yeah, I can definitely definitely hear that.
I guess this is sort of a a goodum a good introduction to his
his stuff.
Around this time, like that thatuh box set, that nuggets box
set.
I don't know, I could be wrongabout this, but there's there's
like a couple of different typesof psychedelic music.
(06:23):
There's like the psychedelicpop, and and then there's like
the garage rock that had somesome a little bit experiment a
little bit of experimentation,and that this is a little bit
more like that.
But then then there's the wayout there stuff.
And everything in between.
And everything in between.
And I feel like this is one ofthose things that's kind of in
(06:45):
between.
This is like the that last song,Electricity, the well it wasn't
that weird using the thereminthere, but um a little weird.
It's definitely psychedelic.
It's unusual.
It's not it's not really weird,it's just unusual.
It's uh it's not like i i it'snot um uh I guess it's not a uh
(07:09):
it's not a typical thing,especially at that time.
Like a theremon was used mostlyfor film soundtracks at that
point.
SPEAKER_03 (07:17):
Um Yeah, it wasn't really until I mean obviously it
gets used here because, youknow, Captain Beefheart's kind
of a bit of a he's a bit of asociopath, but he's uh he he
he's an odd duck and he would hepick something like that.
(07:38):
And I you know, I kinda like Ilike that about him.
Um but yeah, it wasn't reallynot not until Jimmy Page started
playing with one, then youstarted to see a little bit more
of an explosion in them.
But again, it's still a prettysmall explosion.
It's it's a cherry bomb goingoff as opposed to a a nuke.
(08:00):
Right.
SPEAKER_02 (08:01):
Yeah, yeah, because uh it wasn't actually it wasn't
that long after this that thatwhole lot of love came out.
No, it came out uh 69, yeah.
At that time, like psychedelicmusic had been around for maybe
a year at this point, certainlyin the underground in 65, 66.
Yeah, psychedelic rock anyway.
(08:21):
Psychedelic rock, yeah.
Cause when when was the thirdthe 13th floor elevators?
That album was, I think, is consthe sort of the considered the
first uh psychedelic rock album.
SPEAKER_03 (08:32):
Yeah, it was 66, but honestly, there's stuff that
kind of goes uh along with that.
Like uh Garage Rock was um uhthe monks in Germany.
I'm talking about the British orthe American monks stationed in
Germany.
They put out their first albumin '66 as well.
Um I don't know if that wasquite psychedelic, but it's
(08:55):
definitely uh a garage rock,sort of a proto-punk.
But that sort of goes the twowere very, very well meshed
together at the time.
Like it was experimental rockand roll.
Yeah, it I would say it got itsbig push in 66, certainly when
the Beatles startedexperimenting on Revolver with
(09:16):
uh, you know, um turn off yourmind and relax and float
downstream.
SPEAKER_02 (09:22):
Uh and well we'll we'll talk a little bit about
that.
I did manage what when we talkabout the some of the facts
about the album.
There is there is a Beatlesconnection to this album.
The critical reception of thealbum uh at the time it wasn't a
hit at the time.
Let's just say that.
It um it is it's one of thosealbums that has become a
(09:46):
classic.
It's not it wasn't reallyanything when it came out.
SPEAKER_03 (09:52):
Cult classic, it it didn't make any splashes, and I
think it probably w as as asapproachable as this is compared
to Captain Beefheart's otherstuff, it was still a little out
there for the average listener.
SPEAKER_02 (10:07):
Yeah.
Yeah, it was um like I I can'tfind any reviews on it from the
time that it was released.
I don't know if it was even onanybody's radar, really.
Yeah, I don't know if it was onanyone's radar.
It was uh it yeah, it it justseemed like one of those things
(10:27):
that if you know about it, youknow about it.
But if it like if you're just umyou know, like a high school kid
that's kind of sheltered, youwouldn't there it's not being
played on top 40 radio, that'sfor sure.
Uh so yeah, yeah, I couldn'tfind any reviews about it uh at
the time that it came out.
SPEAKER_03 (10:48):
I think this album mo mostly got its push.
I mean, through the musiciancommunity and stuff like that.
People who really, you know,like weirder stuff, the fact
that John Lennon liked it, thatgave it a push.
Yeah, at some of the songsappearing on the Nuggets
collection in the 70s.
That gave it a push.
(11:08):
Um But yeah, before that it waspretty underground.
SPEAKER_02 (11:12):
So like I I know we kind of always sort of talk
about this, but it's it isinteresting to think about like
what you know, if it were tocome out today.
I honestly think it would bepretty tame uh if it came out
today.
Like I don't I don't think itwould it might like the song I'm
glad that might be a hit um as athrowback sort of RB kind of
(11:34):
thing.
SPEAKER_03 (11:35):
Um some of the other stuff, yeah, it again, I think
it might do well amongst peoplewho listen to like uh, you know,
King Gizzard or stuff like that.
I say that a lot, but it's true.
I mean, people who listen tothose people, um, they dig this
sort of stuff.
SPEAKER_02 (11:54):
Honestly, yeah, like the the neo-psychedelic
movement, and I think that stuffis m is um starting to become a
little more a little morepopular.
I was uh looking through RollingStone magazine, and I can't
remember the name of the band.
Well, the m the the name of theband was Goose, but they're a
relatively new band, but they'relike a jam band, but they're
(12:15):
getting reviewed in RollingStone magazine.
So like m you know, that stuffis kind of becoming a little
more popular than it was maybe afew years ago.
SPEAKER_03 (12:25):
Yeah.
Um, but again, it's RollingStone.
They've always kind of I meanRolling Stone's sort of like the
pop side of the betweenunderground and and popular.
It's still very much rock androll.
So when something rock and rollcomes along, whether it's
psychedelic rock or classic rockor whatever like that, they're
on top of it, whether they likeit or not, but they're on top of
(12:47):
it.
They've heard it.
SPEAKER_02 (12:48):
So if it if this were to really be released
today, I think it would it wouldfit in well.
I think it would it would be inthat sort of niche of like it
might get reviewed in RollingStone and say, hey, this check
out this new psychedelic band,this psychedelic album.
Would it get played on top 40,though?
No.
It wouldn't get played on top40, but you know, a lot of
(13:11):
stuff, like you said, a lot ofstuff that Rolling Stone covers
doesn't.
Um so they they kind of straddlethat line of of being um almost
like covering mainstream stuff,but also covering the sort of
weird off-beat stuff as well.
So uh yeah, so I did manage tofind a few few facts about the
(13:31):
album.
Uh so yeah, uh Rikuter um playedon this and he he was 20 years
old when he he played on this,so he's very young.
Uh says uh a young Rikouter,later later known for his slide
guitar mastery and solo work,played on Safe as Milk at just
20 years old.
He was a stabilizing forceduring the sessions and even
served as a kind of musicaldirector, helping to translate
(13:54):
Beefheart's unconventional ideasinto playable parts.
I think his contribution isprobably why this album is not
as weird as it could be.
SPEAKER_03 (14:06):
Yeah.
Yeah.
Um again, like Ry Cooter is notsomeone who strayed away from
the weird for the most part, buthe definitely being in the room
with someone as weird as CaptainBeefheart is, um, he would be
definitely trying to he would bethe one trying to make it a
little bit more approachable.
(14:27):
But he wouldn't be trying tolike, he wouldn't be, you know,
um Mike loving it, like uhwhat's his name?
Yeah, Mike Love from uh theBeach Boys trying, yeah.
SPEAKER_02 (14:39):
Not trying to make it a a top 40 thing, but like,
hey, let's, you know, let's tonedown the squawking for a little
bit and play our instruments.
Let let's let's let's see if wecan make an actual song out of
this.
Yeah, exactly.
SPEAKER_03 (14:56):
Yeah.
Okay, you know smashing a filingcabinet with a ball peen hammer
is all great and fun andeverything.
SPEAKER_02 (15:04):
As fun as fun as that is, but can we get back to
the music?
The album was uh originallygoing to be on Buddha Records,
which uh uh uh uh on Wikipediait says that it was released on
Buddha Records.
But uh it was uh originallygoing to be Safe as Milk was
(15:24):
initially supposed to bereleased by Buddha Records, who
wanted to promote the band uh tothe pop market.
However, after hearing the finalrecordings, which were weirder
and darker than expected, theydropped the project.
It was ultimately re-released onBuddha's subsidiary, Kama Sutra
Records, instead.
Okay, that's okay.
SPEAKER_03 (15:43):
Yeah, Buddha was Buddha was the pop stuff, Kama
Sutra was the more undergroundsort of thing.
So, yes, actually that does makesense.
SPEAKER_02 (15:51):
Um, I didn't know this.
Uh so the song Electricity gotthem kicked off the Monterey Pop
Festival.
That's weird.
Why?
The band's performance of thesong Electricity at a soundcheck
for the Monterey Pop Festivalwas so intense and unhinged that
it reportedly scared theorganizers.
(16:12):
Uh Beefheart froze mid-song,claiming he saw a girl turn into
a fish, and the band was removedfrom the festival lineup as a
result.
Oh man.
That's sort of a shame.
Yeah, so they were going toplay, but you know, because
their soundtrack was so weird,they got kicked off.
SPEAKER_03 (16:29):
That's that's really a shame.
Kind of reminds me of thePaupers, another band from
Toronto who played the MontereyPop Festival.
I don't know if there's footageof them at all.
I would love to see it, eventhough apparently their bass
player, who is notorious forscrewing up their gigs, screwed
up the gig.
What did he do?
Oh, he was just on acidcompletely tripped out and
(16:53):
everything.
He he's okay.
I'm gonna this guy, uh DennyGirard, played bass with uh the
paupers and the very for thevery first album and everything,
and he was considered probablylike the Jimi Hendricks of the
bass at the time.
People were considering him likethat.
He was unreliable to uhdetrimental extent.
(17:17):
He would disappear while theywere on tour, they wouldn't know
where he was, they'd run out ofmoney, they'd have to come back
to Toronto, and then they'd geta haul from Denny Gerard
wondering where the hell he is.
Alright.
Okay, wow.
Um and uh another time he he wastesting out a wireless system
for a base, and he just decidedto walk down, I don't know,
(17:41):
Young Street or something likethat to see how far he could go
until the signal cut out on hisamp.
Well he just kept walking, andthen they lost him again.
This was a regular occurrencewith this guy.
So they had to they had to firehim and pick some of it.
But anyway, he tanked there.
He was completely out of it atthe Monterey Pop Festival.
(18:02):
And I don't know if there's anyfootage that survives of it.
If there is, I want to see it.
SPEAKER_02 (18:09):
That that was actually pretty common with a
lot of people in the 60s.
Yeah, I know.
Like who like who who they woulddo acid and it would just
completely fuck them up.
SPEAKER_03 (18:22):
Um the original Fleetwood Mac had that happen to
them several times.
SPEAKER_02 (18:26):
Yeah, there was one of their guitar players joined a
cult.
Yeah, I was just gonna say hedisappeared from a rehearsal and
he wound up in a they found himlike a year later in this cult.
SPEAKER_03 (18:38):
That was that was Jeremy Spencer, yeah.
Um and then uh Peter Greenhimself uh um he started going a
little bit weird towards the endof his tenure on in the band.
Wanted the whole band to todonate all the money to uh I
don't know, I can't rememberwhat it was, but uh it was not a
good move for the band and theband front plates are he he left
(19:02):
the band.
I don't know of whether theykicked him out or anything.
I think he left they didn't kickhim out because he was the band
leader, but he left because therest of the band didn't want to
go along with what he wanted todo at the time.
SPEAKER_02 (19:13):
So there yeah, there there is a Beatles connection.
Um John Lennon was a big fan ofSafest Milk.
He listed it as one of hisfavorite uh albums in
interviews, and it's said thathe played it frequently during
the white album sessions.
The Beatles' growingexperimentalism around that time
(19:34):
may have been influenced in partby Beefheart's battery pushing
style.
So I guess we can blame CaptainBeefheart for Revolution 9.
Well, yeah.
Partly.
Um and uh the other thing uhthat is interesting is the album
actually has a bizarre abandonedsequel.
(19:55):
Um so Captain Beefheart hadplans for a follow-up album
called It Comes to You in aPlain Brown Rapper, uh, which
would have continued theexperimental vibe of Safe as
Milk.
While the original sessions werescrapped, some of the songs
later resurfaced in altered faltered form on later albums,
including Mirror Man and SickStrictly Personal.
SPEAKER_03 (20:18):
Are they original like uh recordings or are they
like redone?
I think it says it said thatthey were like redone songs.
SPEAKER_02 (20:25):
Yeah, I think they the the original sessions were
scrapped, some of the songslater researched, yeah, they
would have been re-recorded.
SPEAKER_03 (20:33):
Boy, I'd love to hear some of those original
recordings.
SPEAKER_02 (20:36):
Yeah.
Um yeah, so those are uh some ofthe uh interesting facts that I
found.
Um so I guess we'll get into uhside two of the album.
Uh but before we do that, let'shear from our friend Jess over
at uh Music Notes with Jess.
Um so check that out.
SPEAKER_00 (20:58):
Hi, I'm Jessica Ann Katina.
I've always loved music andsurround myself with it every
day.
I've sung in choirs, tookdigital musical classes in
college, and used to work inradio.
To further share my knowledgeand experience with others, I
created this podcast, MusicNotes with Jess, in 2019.
(21:18):
I'm so fortunate of the listenergrowth and hearing back from
some of the celebs I discussedin past episodes.
That's why now I'm ready toexpand.
So let's have fun taking weeklymusic notes of throwbacks,
modern hits, and media.
Thank you.
Talk to you soon on Music Noteswith Jess.
SPEAKER_01 (21:38):
We'll now take a few seconds before we begin side
two.
Thank you.
SPEAKER_02 (21:46):
Okay, alright, and uh ending the album with uh
Autumn's Child.
Uh yeah, this is really reallyinteresting.
But it's good, right?
It's r it is good.
It is good.
I do like it, yeah.
Yeah, I I don't really know whatto say.
I mean, that male singer,American male singers in the 60s
(22:08):
had, and that's kind of all overthis.
SPEAKER_03 (22:12):
Captain Beefard's voice is pretty unique, but some
of the other voices that come inare a little more I don't know.
It's it's got probably to dowith the production sound and
the equipment they were usingthat just has a certain quality
to it that you're picking up on.
Yeah, probably, yeah.
Yeah.
SPEAKER_02 (22:31):
Um yeah, this is uh like the song Grown So Ugly.
I mean, that was Yeah, I lovethat song.
SPEAKER_03 (22:40):
It's another one the black keys covered.
SPEAKER_02 (22:42):
Yeah, it's so weird, but it's so cool at the same
time.
You know, yeah, it's it yeah, II don't um I'll be honest, I
don't know qu quite what to makeof it.
Um I think it's one of those theI think it I'm it's hard to sort
of quantify it on one listen.
Um on the first listen.
But what I do hear and what Ican say is that I do uh enjoy
(23:09):
it.
Like I do I do really like it.
It's it's um and I think it'sone of those things, it's like
the TV show like uh ArrestedDevelopment or Community where
the more times you watch it, themore you more you pick up.
SPEAKER_03 (23:24):
Yeah.
No, uh it's uh it's definitelythat sort of a thing.
Um and probably with the sameamount of approachability too.
Like not everybody's gonna beinto it, but those people who
are are probably gonna be reallyinto it because it is actually
really good.
SPEAKER_02 (23:43):
Even maybe by today's standards, it's a little
it's it's out there.
It's weird.
Because you know, sometimesthings like when when rock and
roll itself was presented,people thought it was weird, but
now it's sort of like, oh, okay,yeah, that's rock and roll.
So as as time goes on, as whensomething comes out and it's
(24:04):
it's perceived as as weird orshocking, you know, the more
time people get used to it.
I don't think that's the casehere.
I think, you know, because likethe psychedelic experimental
music that really didn't itcontinued in a way, and it
continued into progressive rockin a way that was a little more,
(24:27):
for lack of a better term,palatable to uh a casual
listener.
And if you were to play like uhfragile by yes or um the dark
side of the moon to someone now,they whether whether they're
into it or not, they wouldn'tnecessarily think it's weird
music.
Whereas this, I think if youwere to play play this for
(24:49):
someone now, they would stillthink that this is weird.
It didn't lose its weirdnesswith time.
SPEAKER_03 (24:59):
Oh, and I love it.
No, uh, it's it's exactly thesort of stuff that uh I don't
know, if I had a band, I wouldbe pulling out stuff like this,
not necessarily by them,although, you know, some of the
stuff by them, yeah, sure, whynot?
But it's it's the sort of thingthat I think is still kind of
fresh because it's just notoverdone.
(25:21):
Yeah, exactly.
SPEAKER_02 (25:22):
Yeah, it's it's still you're right, like like a
like it's it's it has it stillhas such a niche audience.
It's not overdone.
It it's not like you know,corporations were selling a
watered-down version of CaptainBeefheart.
Uh right, like a lot of like Youcan't even say Frank Zappa was
(25:45):
that.
Right.
So yeah, I think this is onelike one of those things that's
a hidden gem, and I think it'sif you're into it, you're into
it.
And if you're not, like it'sit's definitely not for
everybody, and you're eithergonna it's there's you can't
just be a casual fan of it.
You either love it or youabsolutely hate it.
SPEAKER_03 (26:05):
Well, I can imagine someone saying, It's okay, but
it's a little weird.
SPEAKER_02 (26:09):
Yeah.
SPEAKER_03 (26:10):
Yeah.
True.
True.
So I can actually imagine that,but I know what you mean.
Yeah.
It's uh yeah, you either get itor you don't.
SPEAKER_02 (26:19):
So this might be a a difficult uh task, but what
would be your uh your threestandout tracks?
SPEAKER_03 (26:26):
Always loved Zigzag Wanderer, that's a good song.
Um Dropout Boogies Always GotMe.
Um And Grown So Ugly is justhilarious.
I love that song.
I think I'm gonna pick thosethree.
Okay.
Alright.
Um, but there's other ones Ilove as well.
It's it is a little tough.
SPEAKER_02 (26:45):
I think mine would be I think yeah, mine would be
grown so ugly, because that'sjust it is it's hilarious.
I would go electricity.
That's good.
Yep.
And yeah, I I think I would pickDropout Boogie too.
I mean that's yeah.
So those would be my three.
That's it's tough, but yeah.
(27:05):
Yeah.
Upon First Listen, which is oneof those albums where that
requires multiple listens, whichI think ju I just answered the
the question, would you listento this again?
SPEAKER_03 (27:17):
I have.
In fact, I feel like I stillneed to listen to it again.
It's it's it's one of thosealbums that when you hear it,
you want to hear it again.
SPEAKER_02 (27:25):
Yeah.
For me anyway.
Yeah, for me too.
I think I have to hear thisagain.
Like I it's just because it'sthere's just so much that I just
I I have to hear it again.
Cause there's oh, I just yeah,it's so different, but so good
that I I just uh I want to hearwhat else is going on,
basically.
(27:46):
So yeah, I guess we'll uh endthe episode there.
Uh thank you so much forlistening if you made it this
far.
Uh be sure to uh subscribe anduh uh leave us a rating and
review if this uh if you feelinclined because that really
helps us um helps new listenersfind us.
And uh you can always go to thelike I said, go to the website
(28:07):
polyphonicpress.com.
Uh you can check out uh all thepast episodes and uh and get uh
uh updates on what's going on,and you can um also help us out
on Patreon.
Go to patreon.com slashpolyphonic press.
Got lots of cool perks there.
And uh yeah, I think that prettymuch does it.
(28:27):
Uh I'm Jeremy Boyd.
I'm John Van Dyke.
Take it easy.
It's just the normal noises in here.
SPEAKER_05 (00:13):
This is Polyphonic Press, the podcast where two
music fans pick a classic albumcompletely at random.
Using the patented random albumgenerator, they are given an
album to review from a curatedlist of over 1,000 classic
releases spanning multiplegenres.
And now onto the show.
(00:34):
Here are your hosts, Jeremy Boydand John Van Dyke.
SPEAKER_02 (00:49):
I'm John Van Dyke.
And uh let's not waste any time.
We've got the patented randomalbum generator right in front
of us here.
Uh so let's hit the button andsee what album we're going to be
listening to this week.
SPEAKER_04 (01:01):
The album you will be reviewing is Safe as Milk by
Captain Beefheart and his magicband.
SPEAKER_03 (01:07):
All right.
I have this one on vinyl and onCD, I think.
So cool.
SPEAKER_02 (01:12):
Um so here is a uh a description of the album.
It says Safe as Milk is thedebut album by Captain Beefheart
and his magic band, released in1967.
The record is a wild blend ofblues, psychedelic rock, and
experimental music, showcasingthe unique and often eccentric
vision of frontman Don VanVlier, aka Captain Beefheart.
(01:35):
While rooted in traditionalelectric blues, Safe as Milk
already hints at the avant-gardestyle that would define
Beefheart's later work.
The album features intricateguitar work, odd rhythms, and
surreal poetic lyrics.
Is more accessible thanBeefheart's later records like
Trout Mask Replica, but stillpacked with creative risks and
(01:56):
strange beauty.
The album features a youngwriter Rai Cooter on guitar
whose contributions helped shapethe sound and keep it grounded,
even as Beefheart pushedboundaries.
Though it wasn't a commercialhit at the time, Safe as Milk
has become a cult classic and anessential record for fans of
psychedelic and experimentalrock.
(02:16):
It marks the beginning of one ofthe most iconoclastic careers in
20th century music.
So the album was released inAugust of 1967, and it was the
genres are blues rock, garagerock, rhythm and blues, acid
rock, and folk rock.
And uh was released on BuddhaRecords, and it was produced by
(02:39):
Richard Perry and Bob Krasnow.
And um we encourage you tolisten along, and we've uh
linked the uh album in the shownotes to both Spotify and Apple
Music.
And what we like to do is welike to pause halfway uh through
the album, and the album issplit pretty even.
There's 12 songs on the album,and it's split pretty evenly,
uh, six and six.
(03:01):
And it's the album starts withSure Enough and Yes I Do, and uh
side one ends with the songElectricity.
So if you're listening along,you want to pause it at that uh
point, you can go ahead and dothat.
And um I want to remind you ifyou're enjoying the show, you
can uh help us out on Patreon.
Go to patreon.com slashpolyphonic press and you can get
(03:21):
these episodes the day beforethey go live, and uh lots of
cool stuff there as well.
You can pick an album for us toreview and uh and lots of
interesting uh things going onthere.
And check out the website, go topolyphonicpress.com uh so you
can get all the uh previous uhepisodes.
And so without further ado, allright, so here we go.
(03:44):
Here's the uh first song on thealbum, sure enough, and yes I
do.
Okay, and uh ending side onewith electricity.
(04:06):
Uh yeah, this is um I I I reallylike this.
Um I figured you would.
It it's not as weird as Ithought it would be.
Um but it is a little weird.
It is a little weird, yeah.
It's just the right amount ofweird.
Um yeah.
It's because like um what wasthe song I'm glad?
(04:30):
Yeah.
That's like a like a soul song.
Yeah, the Black Keys coveredthat one.
SPEAKER_03 (04:35):
In fact, they covered another song on this
album.
I can't remember which the otherone was, but yeah, they I know
uh um yeah, uh Dan Auerbach is abig fan of this album in
particular, but he's a big fanof like Captain Beef art stuff.
Oh yeah, I can hear theinfluence on them from this for
sure.
Absolutely.
Like Ry Cooter's guitar playinghas definitely come through on
(04:59):
his guitar playing, soespecially his slide playing.
Yeah.
SPEAKER_02 (05:02):
Yeah.
Yeah, no, I can I can definitelyhear that.
Um yeah, it's a it's a littlemore uh I guess it's a little
more rock than I was expecting.
I I don't know why I wasexpecting it to not.
Um be I I thought it was gonna Idon't know for some reason I had
this idea of Captain Beefheartof just being this cacophony of
(05:24):
noise.
SPEAKER_03 (05:26):
That's Trout Mask Replica will probably have given
you that.
Did you ever listen to that?
I've heard parts of it.
Okay.
I haven't heard the whole thing.
Uh it might come up.
That'll be an interesting.
I mean, I enjoy it just becauseit's just plain bizarre, but I
wouldn't it's not one of thosealbums you just put on for the
sake of putting on, unlessyou're like really strange.
(05:50):
So it's it's it's uh it's a tripfor sure.
But this one is uh definitelymore um approachable.
SPEAKER_02 (06:01):
So yeah, yeah, I can definitely definitely hear that.
I guess this is sort of a a goodum a good introduction to his
his stuff.
Around this time, like that thatuh box set, that nuggets box
set.
I don't know, I could be wrongabout this, but there's there's
like a couple of different typesof psychedelic music.
(06:23):
There's like the psychedelicpop, and and then there's like
the garage rock that had somesome a little bit experiment a
little bit of experimentation,and that this is a little bit
more like that.
But then then there's the wayout there stuff.
And everything in between.
And everything in between.
And I feel like this is one ofthose things that's kind of in
(06:45):
between.
This is like the that last song,Electricity, the well it wasn't
that weird using the thereminthere, but um a little weird.
It's definitely psychedelic.
It's unusual.
It's not it's not really weird,it's just unusual.
It's uh it's not like i i it'snot um uh I guess it's not a uh
(07:09):
it's not a typical thing,especially at that time.
Like a theremon was used mostlyfor film soundtracks at that
point.
SPEAKER_03 (07:17):
Um Yeah, it wasn't really until I mean obviously it
gets used here because, youknow, Captain Beefheart's kind
of a bit of a he's a bit of asociopath, but he's uh he he
he's an odd duck and he would hepick something like that.
(07:38):
And I you know, I kinda like Ilike that about him.
Um but yeah, it wasn't reallynot not until Jimmy Page started
playing with one, then youstarted to see a little bit more
of an explosion in them.
But again, it's still a prettysmall explosion.
It's it's a cherry bomb goingoff as opposed to a a nuke.
(08:00):
Right.
SPEAKER_02 (08:01):
Yeah, yeah, because uh it wasn't actually it wasn't
that long after this that thatwhole lot of love came out.
No, it came out uh 69, yeah.
At that time, like psychedelicmusic had been around for maybe
a year at this point, certainlyin the underground in 65, 66.
Yeah, psychedelic rock anyway.
(08:21):
Psychedelic rock, yeah.
Cause when when was the thirdthe 13th floor elevators?
That album was, I think, is consthe sort of the considered the
first uh psychedelic rock album.
SPEAKER_03 (08:32):
Yeah, it was 66, but honestly, there's stuff that
kind of goes uh along with that.
Like uh Garage Rock was um uhthe monks in Germany.
I'm talking about the British orthe American monks stationed in
Germany.
They put out their first albumin '66 as well.
Um I don't know if that wasquite psychedelic, but it's
(08:55):
definitely uh a garage rock,sort of a proto-punk.
But that sort of goes the twowere very, very well meshed
together at the time.
Like it was experimental rockand roll.
Yeah, it I would say it got itsbig push in 66, certainly when
the Beatles startedexperimenting on Revolver with
(09:16):
uh, you know, um turn off yourmind and relax and float
downstream.
SPEAKER_02 (09:22):
Uh and well we'll we'll talk a little bit about
that.
I did manage what when we talkabout the some of the facts
about the album.
There is there is a Beatlesconnection to this album.
The critical reception of thealbum uh at the time it wasn't a
hit at the time.
Let's just say that.
It um it is it's one of thosealbums that has become a
(09:46):
classic.
It's not it wasn't reallyanything when it came out.
SPEAKER_03 (09:52):
Cult classic, it it didn't make any splashes, and I
think it probably w as as asapproachable as this is compared
to Captain Beefheart's otherstuff, it was still a little out
there for the average listener.
SPEAKER_02 (10:07):
Yeah.
Yeah, it was um like I I can'tfind any reviews on it from the
time that it was released.
I don't know if it was even onanybody's radar, really.
Yeah, I don't know if it was onanyone's radar.
It was uh it yeah, it it justseemed like one of those things
(10:27):
that if you know about it, youknow about it.
But if it like if you're just umyou know, like a high school kid
that's kind of sheltered, youwouldn't there it's not being
played on top 40 radio, that'sfor sure.
Uh so yeah, yeah, I couldn'tfind any reviews about it uh at
the time that it came out.
SPEAKER_03 (10:48):
I think this album mo mostly got its push.
I mean, through the musiciancommunity and stuff like that.
People who really, you know,like weirder stuff, the fact
that John Lennon liked it, thatgave it a push.
Yeah, at some of the songsappearing on the Nuggets
collection in the 70s.
That gave it a push.
(11:08):
Um But yeah, before that it waspretty underground.
SPEAKER_02 (11:12):
So like I I know we kind of always sort of talk
about this, but it's it isinteresting to think about like
what you know, if it were tocome out today.
I honestly think it would bepretty tame uh if it came out
today.
Like I don't I don't think itwould it might like the song I'm
glad that might be a hit um as athrowback sort of RB kind of
(11:34):
thing.
SPEAKER_03 (11:35):
Um some of the other stuff, yeah, it again, I think
it might do well amongst peoplewho listen to like uh, you know,
King Gizzard or stuff like that.
I say that a lot, but it's true.
I mean, people who listen tothose people, um, they dig this
sort of stuff.
SPEAKER_02 (11:54):
Honestly, yeah, like the the neo-psychedelic
movement, and I think that stuffis m is um starting to become a
little more a little morepopular.
I was uh looking through RollingStone magazine, and I can't
remember the name of the band.
Well, the m the the name of theband was Goose, but they're a
relatively new band, but they'relike a jam band, but they're
(12:15):
getting reviewed in RollingStone magazine.
So like m you know, that stuffis kind of becoming a little
more popular than it was maybe afew years ago.
SPEAKER_03 (12:25):
Yeah.
Um, but again, it's RollingStone.
They've always kind of I meanRolling Stone's sort of like the
pop side of the betweenunderground and and popular.
It's still very much rock androll.
So when something rock and rollcomes along, whether it's
psychedelic rock or classic rockor whatever like that, they're
on top of it, whether they likeit or not, but they're on top of
(12:47):
it.
They've heard it.
SPEAKER_02 (12:48):
So if it if this were to really be released
today, I think it would it wouldfit in well.
I think it would it would be inthat sort of niche of like it
might get reviewed in RollingStone and say, hey, this check
out this new psychedelic band,this psychedelic album.
Would it get played on top 40,though?
No.
It wouldn't get played on top40, but you know, a lot of
(13:11):
stuff, like you said, a lot ofstuff that Rolling Stone covers
doesn't.
Um so they they kind of straddlethat line of of being um almost
like covering mainstream stuff,but also covering the sort of
weird off-beat stuff as well.
So uh yeah, so I did manage tofind a few few facts about the
(13:31):
album.
Uh so yeah, uh Rikuter um playedon this and he he was 20 years
old when he he played on this,so he's very young.
Uh says uh a young Rikouter,later later known for his slide
guitar mastery and solo work,played on Safe as Milk at just
20 years old.
He was a stabilizing forceduring the sessions and even
served as a kind of musicaldirector, helping to translate
(13:54):
Beefheart's unconventional ideasinto playable parts.
I think his contribution isprobably why this album is not
as weird as it could be.
SPEAKER_03 (14:06):
Yeah.
Yeah.
Um again, like Ry Cooter is notsomeone who strayed away from
the weird for the most part, buthe definitely being in the room
with someone as weird as CaptainBeefheart is, um, he would be
definitely trying to he would bethe one trying to make it a
little bit more approachable.
(14:27):
But he wouldn't be trying tolike, he wouldn't be, you know,
um Mike loving it, like uhwhat's his name?
Yeah, Mike Love from uh theBeach Boys trying, yeah.
SPEAKER_02 (14:39):
Not trying to make it a a top 40 thing, but like,
hey, let's, you know, let's tonedown the squawking for a little
bit and play our instruments.
Let let's let's let's see if wecan make an actual song out of
this.
Yeah, exactly.
SPEAKER_03 (14:56):
Yeah.
Okay, you know smashing a filingcabinet with a ball peen hammer
is all great and fun andeverything.
SPEAKER_02 (15:04):
As fun as fun as that is, but can we get back to
the music?
The album was uh originallygoing to be on Buddha Records,
which uh uh uh uh on Wikipediait says that it was released on
Buddha Records.
But uh it was uh originallygoing to be Safe as Milk was
(15:24):
initially supposed to bereleased by Buddha Records, who
wanted to promote the band uh tothe pop market.
However, after hearing the finalrecordings, which were weirder
and darker than expected, theydropped the project.
It was ultimately re-released onBuddha's subsidiary, Kama Sutra
Records, instead.
Okay, that's okay.
SPEAKER_03 (15:43):
Yeah, Buddha was Buddha was the pop stuff, Kama
Sutra was the more undergroundsort of thing.
So, yes, actually that does makesense.
SPEAKER_02 (15:51):
Um, I didn't know this.
Uh so the song Electricity gotthem kicked off the Monterey Pop
Festival.
That's weird.
Why?
The band's performance of thesong Electricity at a soundcheck
for the Monterey Pop Festivalwas so intense and unhinged that
it reportedly scared theorganizers.
(16:12):
Uh Beefheart froze mid-song,claiming he saw a girl turn into
a fish, and the band was removedfrom the festival lineup as a
result.
Oh man.
That's sort of a shame.
Yeah, so they were going toplay, but you know, because
their soundtrack was so weird,they got kicked off.
SPEAKER_03 (16:29):
That's that's really a shame.
Kind of reminds me of thePaupers, another band from
Toronto who played the MontereyPop Festival.
I don't know if there's footageof them at all.
I would love to see it, eventhough apparently their bass
player, who is notorious forscrewing up their gigs, screwed
up the gig.
What did he do?
Oh, he was just on acidcompletely tripped out and
(16:53):
everything.
He he's okay.
I'm gonna this guy, uh DennyGirard, played bass with uh the
paupers and the very for thevery first album and everything,
and he was considered probablylike the Jimi Hendricks of the
bass at the time.
People were considering him likethat.
He was unreliable to uhdetrimental extent.
(17:17):
He would disappear while theywere on tour, they wouldn't know
where he was, they'd run out ofmoney, they'd have to come back
to Toronto, and then they'd geta haul from Denny Gerard
wondering where the hell he is.
Alright.
Okay, wow.
Um and uh another time he he wastesting out a wireless system
for a base, and he just decidedto walk down, I don't know,
(17:41):
Young Street or something likethat to see how far he could go
until the signal cut out on hisamp.
Well he just kept walking, andthen they lost him again.
This was a regular occurrencewith this guy.
So they had to they had to firehim and pick some of it.
But anyway, he tanked there.
He was completely out of it atthe Monterey Pop Festival.
(18:02):
And I don't know if there's anyfootage that survives of it.
If there is, I want to see it.
SPEAKER_02 (18:09):
That that was actually pretty common with a
lot of people in the 60s.
Yeah, I know.
Like who like who who they woulddo acid and it would just
completely fuck them up.
SPEAKER_03 (18:22):
Um the original Fleetwood Mac had that happen to
them several times.
SPEAKER_02 (18:26):
Yeah, there was one of their guitar players joined a
cult.
Yeah, I was just gonna say hedisappeared from a rehearsal and
he wound up in a they found himlike a year later in this cult.
SPEAKER_03 (18:38):
That was that was Jeremy Spencer, yeah.
Um and then uh Peter Greenhimself uh um he started going a
little bit weird towards the endof his tenure on in the band.
Wanted the whole band to todonate all the money to uh I
don't know, I can't rememberwhat it was, but uh it was not a
good move for the band and theband front plates are he he left
(19:02):
the band.
I don't know of whether theykicked him out or anything.
I think he left they didn't kickhim out because he was the band
leader, but he left because therest of the band didn't want to
go along with what he wanted todo at the time.
SPEAKER_02 (19:13):
So there yeah, there there is a Beatles connection.
Um John Lennon was a big fan ofSafest Milk.
He listed it as one of hisfavorite uh albums in
interviews, and it's said thathe played it frequently during
the white album sessions.
The Beatles' growingexperimentalism around that time
(19:34):
may have been influenced in partby Beefheart's battery pushing
style.
So I guess we can blame CaptainBeefheart for Revolution 9.
Well, yeah.
Partly.
Um and uh the other thing uhthat is interesting is the album
actually has a bizarre abandonedsequel.
(19:55):
Um so Captain Beefheart hadplans for a follow-up album
called It Comes to You in aPlain Brown Rapper, uh, which
would have continued theexperimental vibe of Safe as
Milk.
While the original sessions werescrapped, some of the songs
later resurfaced in altered faltered form on later albums,
including Mirror Man and SickStrictly Personal.
SPEAKER_03 (20:18):
Are they original like uh recordings or are they
like redone?
I think it says it said thatthey were like redone songs.
SPEAKER_02 (20:25):
Yeah, I think they the the original sessions were
scrapped, some of the songslater researched, yeah, they
would have been re-recorded.
SPEAKER_03 (20:33):
Boy, I'd love to hear some of those original
recordings.
SPEAKER_02 (20:36):
Yeah.
Um yeah, so those are uh some ofthe uh interesting facts that I
found.
Um so I guess we'll get into uhside two of the album.
Uh but before we do that, let'shear from our friend Jess over
at uh Music Notes with Jess.
Um so check that out.
SPEAKER_00 (20:58):
Hi, I'm Jessica Ann Katina.
I've always loved music andsurround myself with it every
day.
I've sung in choirs, tookdigital musical classes in
college, and used to work inradio.
To further share my knowledgeand experience with others, I
created this podcast, MusicNotes with Jess, in 2019.
(21:18):
I'm so fortunate of the listenergrowth and hearing back from
some of the celebs I discussedin past episodes.
That's why now I'm ready toexpand.
So let's have fun taking weeklymusic notes of throwbacks,
modern hits, and media.
Thank you.
Talk to you soon on Music Noteswith Jess.
SPEAKER_01 (21:38):
We'll now take a few seconds before we begin side
two.
Thank you.
SPEAKER_02 (21:46):
Okay, alright, and uh ending the album with uh
Autumn's Child.
Uh yeah, this is really reallyinteresting.
But it's good, right?
It's r it is good.
It is good.
I do like it, yeah.
Yeah, I I don't really know whatto say.
I mean, that male singer,American male singers in the 60s
(22:08):
had, and that's kind of all overthis.
SPEAKER_03 (22:12):
Captain Beefard's voice is pretty unique, but some
of the other voices that come inare a little more I don't know.
It's it's got probably to dowith the production sound and
the equipment they were usingthat just has a certain quality
to it that you're picking up on.
Yeah, probably, yeah.
Yeah.
SPEAKER_02 (22:31):
Um yeah, this is uh like the song Grown So Ugly.
I mean, that was Yeah, I lovethat song.
SPEAKER_03 (22:40):
It's another one the black keys covered.
SPEAKER_02 (22:42):
Yeah, it's so weird, but it's so cool at the same
time.
You know, yeah, it's it yeah, II don't um I'll be honest, I
don't know qu quite what to makeof it.
Um I think it's one of those theI think it I'm it's hard to sort
of quantify it on one listen.
Um on the first listen.
But what I do hear and what Ican say is that I do uh enjoy
(23:09):
it.
Like I do I do really like it.
It's it's um and I think it'sone of those things, it's like
the TV show like uh ArrestedDevelopment or Community where
the more times you watch it, themore you more you pick up.
SPEAKER_03 (23:24):
Yeah.
No, uh it's uh it's definitelythat sort of a thing.
Um and probably with the sameamount of approachability too.
Like not everybody's gonna beinto it, but those people who
are are probably gonna be reallyinto it because it is actually
really good.
SPEAKER_02 (23:43):
Even maybe by today's standards, it's a little
it's it's out there.
It's weird.
Because you know, sometimesthings like when when rock and
roll itself was presented,people thought it was weird, but
now it's sort of like, oh, okay,yeah, that's rock and roll.
So as as time goes on, as whensomething comes out and it's
(24:04):
it's perceived as as weird orshocking, you know, the more
time people get used to it.
I don't think that's the casehere.
I think, you know, because likethe psychedelic experimental
music that really didn't itcontinued in a way, and it
continued into progressive rockin a way that was a little more,
(24:27):
for lack of a better term,palatable to uh a casual
listener.
And if you were to play like uhfragile by yes or um the dark
side of the moon to someone now,they whether whether they're
into it or not, they wouldn'tnecessarily think it's weird
music.
Whereas this, I think if youwere to play play this for
(24:49):
someone now, they would stillthink that this is weird.
It didn't lose its weirdnesswith time.
SPEAKER_03 (24:59):
Oh, and I love it.
No, uh, it's it's exactly thesort of stuff that uh I don't
know, if I had a band, I wouldbe pulling out stuff like this,
not necessarily by them,although, you know, some of the
stuff by them, yeah, sure, whynot?
But it's it's the sort of thingthat I think is still kind of
fresh because it's just notoverdone.
(25:21):
Yeah, exactly.
SPEAKER_02 (25:22):
Yeah, it's it's still you're right, like like a
like it's it's it has it stillhas such a niche audience.
It's not overdone.
It it's not like you know,corporations were selling a
watered-down version of CaptainBeefheart.
Uh right, like a lot of like Youcan't even say Frank Zappa was
(25:45):
that.
Right.
So yeah, I think this is onelike one of those things that's
a hidden gem, and I think it'sif you're into it, you're into
it.
And if you're not, like it'sit's definitely not for
everybody, and you're eithergonna it's there's you can't
just be a casual fan of it.
You either love it or youabsolutely hate it.
SPEAKER_03 (26:05):
Well, I can imagine someone saying, It's okay, but
it's a little weird.
SPEAKER_02 (26:09):
Yeah.
SPEAKER_03 (26:10):
Yeah.
True.
True.
So I can actually imagine that,but I know what you mean.
Yeah.
It's uh yeah, you either get itor you don't.
SPEAKER_02 (26:19):
So this might be a a difficult uh task, but what
would be your uh your threestandout tracks?
SPEAKER_03 (26:26):
Always loved Zigzag Wanderer, that's a good song.
Um Dropout Boogies Always GotMe.
Um And Grown So Ugly is justhilarious.
I love that song.
I think I'm gonna pick thosethree.
Okay.
Alright.
Um, but there's other ones Ilove as well.
It's it is a little tough.
SPEAKER_02 (26:45):
I think mine would be I think yeah, mine would be
grown so ugly, because that'sjust it is it's hilarious.
I would go electricity.
That's good.
Yep.
And yeah, I I think I would pickDropout Boogie too.
I mean that's yeah.
So those would be my three.
That's it's tough, but yeah.
(27:05):
Yeah.
Upon First Listen, which is oneof those albums where that
requires multiple listens, whichI think ju I just answered the
the question, would you listento this again?
SPEAKER_03 (27:17):
I have.
In fact, I feel like I stillneed to listen to it again.
It's it's it's one of thosealbums that when you hear it,
you want to hear it again.
SPEAKER_02 (27:25):
Yeah.
For me anyway.
Yeah, for me too.
I think I have to hear thisagain.
Like I it's just because it'sthere's just so much that I just
I I have to hear it again.
Cause there's oh, I just yeah,it's so different, but so good
that I I just uh I want to hearwhat else is going on,
basically.
(27:46):
So yeah, I guess we'll uh endthe episode there.
Uh thank you so much forlistening if you made it this
far.
Uh be sure to uh subscribe anduh uh leave us a rating and
review if this uh if you feelinclined because that really
helps us um helps new listenersfind us.
And uh you can always go to thelike I said, go to the website
(28:07):
polyphonicpress.com.
Uh you can check out uh all thepast episodes and uh and get uh
uh updates on what's going on,and you can um also help us out
on Patreon.
Go to patreon.com slashpolyphonic press.
Got lots of cool perks there.
And uh yeah, I think that prettymuch does it.
(28:27):
Uh I'm Jeremy Boyd.
I'm John Van Dyke.
Take it easy.
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