Hot meat, hot rats, hot cats, hot zitz, hot roots, hot soots

I was all Nah Zappa's fine and my dad was like Pffft he's fucking weird I hate all his stupid shit Cap's the man for me and I said to him Have you heard Hot Rats because the melodies straight up kill me in places like Son of Mr Green Genes and it's actually your mate Beefheart bringing things down to a grimy, earthy, bluesy, level when he's singing about pimps, floosies, hotels, and rats on Willie the Pimp and it's good, in fact, it's great, don't get me wrong, I like the captain (nobody should call him that), the captain, I like more, for the most part, and his grimy, earthy, bluesy pimp song might be the best, but it's the melodies, I said, It's that melody on Son of Mr Green Genes that just kills me

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Matching Mole - Matching Mole (1972)

Matching Mole is one of the best album covers ever, a sweet opening track attempting to meld naivete and sophisticated self-awareness, a disarmingly modern sounding song called Instant Pussy (!), and artsy jams which may or may not begin to bore the shit out of the listener as they jam on. For those who lose their shit to boredom when hearing Wyatt's band jam away, the only way to really appreciate Matching Mole is on vinyl, gazing at the cover's best-album-cover-ever-ness and only playing the first side but who knows where to get that. I'd say it's directionless but maybe that's the point. I'm off to listen to Rock Bottom.

C

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Material - Memory Serves (1981)

Material's avant-garde dance record: as fun and weird as that sounds. Laswell plays oddball funk basslines which anchor the songs as the other musicians experiment like crazy over the top. Said musicians manage to go avant-garde while maintaining a punk rock spirit, keeping Memory Serves unpretentious. I can hear the Captain Beefheart influence and also where guys like Mike Patton and Les Claypool listened excitedly. That may or may not be a bad thing to you.. I think it's awesome

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Traffic - The Low Spark of High Heeled Boys (1971)

Neither compromising nor intellectualizing their skill or vision as progressive rockers, The Low Spark of High Heeled Boys had Traffic going pop-jazz-rock, or still odd and jammy enough, but also writing pop rock songs. On the title track in particular, they benefit from this. It's 70s pop/rock enough to work its way into the listener's head and memories and make it feel like the song's been heard a million times. It's also pop enough that the jams between choruses never seem like complete deviations- they almost convince of their purpose. There's that enthusiasm- they're buying our prog! and that familiarity- it often makes too much sense to be completely prog. Critics argue that none of the following tracks reach The Low Spark of High Heeled Boys' level of transcendent pop and in fact weigh the record down. I'm also bummed out that a track so good got put second, but nothing else seems familiar enough to even attempt to compete. Flourishes of quiet-storm (accidentally, Smokey's single came out 4 years later) and non-elfish folk (thank god!) keep things interesting while the happy feeling from that second track remains. True, they made the mistake of climaxing too early, but at least they don't attempt it again. All I can think of is sex analogies now! Maybe it's like they give you a back-rub for the remaining 23 minutes 'cause their balls hurt, and that's fine

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