Captain Beefheart & The Magic Band - Soundcheck/Rehearsal at the Commodore Ballroom 01/17/81
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Captain Beefheart and the Magic Band do a soundcheck/rehearsal at the Commodore Ballroom in Vancouver on January 17th, 1981. Also includes a clip of Doctor Dark from the actual show. Pictures are from the show that followed. 00:00 Doctor Dark (from the show) 02:56 A Carrot Is As Close As A Rabbit Gets To A Diamond/Suction Prints (Piano) 03:47 Hair Pie (Bake 2) 06:11 My Human Gets Me Blues 10:22 Nowadays A Woman's Gotta Hit A Man 14:14 One Red Rose That I Mean Greg Gardner: These unfortunately too few bits and pieces of a Captain Beefheart soundcheck are from 17th January, 1981 at the Commodore Ballroom in Vancouver, B.C. Canada. A friend and I wandered down to the Commodore the afternoon of the concert, (we had just played there a few nights previous), and when we got there, we were fortunate enough to have arrived at the soundcheck and no one seemed to mind our presence. We sat out of the way, and I turned on this old tape deck (the only one I could muster up in time for the gig in those days), here and there during the soundcheck. Not wanting to use up all the only tape I had, as I was intending to tape the actual concert, I only got these few bits. Had I thought before hand that we would be fortunate enough to witness a soundcheck I would have brought much more tape! The real unfortunate thing is that the tape of the entire concert that I made was, for some unknown reason, plagued with a whining screech that rendered it unlistenable. The Dr. Dark track is the only thing that turned out listenable at ALL, the rest were 10 times as bad. I have no idea what caused the problem, since it never had happened before and it never happened again after that night.
Don Van Vliet (; born Don Glen Vliet; January 15, 1941 – December 17, 2010), known by his stage name Captain Beefheart, was an American singer, songwriter, multi-instrumentalist, and visual artist. Conducting a rotating ensemble known as the Magic Band, he recorded 13 studio albums between 1967 and 1982. His music blended elements of blues, free jazz, rock, and avant-garde composition with idiosyncratic rhythms, absurdist wordplay, and Vliet's gravelly singing voice with a wide vocal range. Know...
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The Commodore Ballroom in Vancouver, January 17th, 1981. A dimly lit room, the sound of guitars and drums wafting through the air as Captain Beefheart and the Magic Band run through their setlist for the evening's show. The footage is grainy, the audio a bit rough around the edges, but it's clear that this is something special – a rare glimpse into the creative process of one of rock music's most innovative and enigmatic figures.
At this point in his career, Captain Beefheart was in the midst of a resurgence of sorts. After years of critical acclaim but commercial disappointment, he had just released his 1980 album "Doc at the Radar Station", which received widespread critical acclaim for its experimental soundscapes and Beefheart's increasingly abstract lyrics. The Commodore Ballroom show was part of a short-lived tour that would see him perform in various cities across North America, including Vancouver.
What makes this footage so remarkable is not just the fact that it captures Beefheart and the Magic Band in rehearsal mode, but also the context in which it was recorded. Greg Gardner's account of stumbling upon the soundcheck by chance, and his decision to capture a few snippets on tape despite being short on recording material, adds a layer of intimacy and spontaneity to the footage. It's as if we're witnessing a private moment, one that Beefheart himself might not have even been aware was being documented.
The music itself is, of course, a major draw. The band runs through a range of songs, from the blues-inflected "My Human Gets Me Blues" to the more experimental "A Carrot Is As Close As A Rabbit Gets To A Diamond/Suction Prints (Piano)", which features Beefheart's signature piano work. But it's not just the music that makes this footage so compelling – it's also the sense of camaraderie and collaboration between the band members, who seem to be enjoying themselves as much as they are working through their setlist.
One of the most striking aspects of this footage is the way it captures Beefheart's unique creative process. He was a perfectionist, known for pushing his bandmates to experiment and take risks in their music. Here, we see him working through songs with a sense of urgency and intensity, but also a willingness to try new things and push boundaries.
As we watch this footage, we're reminded of the importance of preserving these kinds of moments – rare glimpses into the creative process of artists who helped shape the course of rock music. Captain Beefheart was a true original, and his influence can still be felt today in everything from punk to experimental rock. This footage is a testament to his innovative spirit, and a reminder that even in the most mundane-sounding moments – like a soundcheck at the Commodore Ballroom – there's always something special waiting to be discovered.
The final image of this footage is of Beefheart himself, standing center stage with his guitar slung low. He looks every bit the part of the eccentric genius that he was, and yet there's also a sense of vulnerability and openness about him. It's as if we're seeing not just an artist at work, but also a person – someone who is driven by a passion for creativity, but also by a desire to connect with his audience on a deeper level.
This footage may be rare, but it's also a reminder that even in the most fleeting moments of our lives – like a soundcheck at the Commodore Ballroom – there's always something worth preserving.
Curated from public records and music databases.
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