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Mallard was a short-lived '70s experimental rock band featuring several former members of Captain Beefheart's Magic Band: guitarist Bill Harkleroad (aka Zoot Horn Rollo), bassist Mark Boston (aka Rockette Morton), and percussionist/drummer Art Tripp (aka Ed Marimba), the latter of which also played in Frank Zappa's Mothers of Inventio for several albums, as well. Both Harkleroad and Boston had been members of the Magic Band from 1968 through 1974, when a falling out between them and Beefheart (over their unhappiness with the album Unconditionally Guaranteed), led to their exit. The trio of Beefheart... Read More...
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Mallard (Ex-Capt. Beefheart Band) - Mallard (1975)
Review by Ralph Heibutzki Fans always had trouble assessing the Magic Band's contributions on Captain Beefheart's albums because his presence was so overweening. When they did break away, guitarist Bill Harkleroad (Zoot Horn Rollo), Mark Boston (Rockette Morton), and drummer Art Tripp (Ed Marimba) maintained that they'd played a significant role in shaping the sound; this album bolstered their case somewhat. Not surprisingly, many of the Beefheartian trademarks — such as the guitar/marimba interplay — are present. So are the off-kilter rhythms, which are more accessible than anything in Beefheart's realm. Harkleroad is the dominant presence, writing or co-writing the material with Boston and drummer/guitarist John (Drumbo) French (who didn't join the band). Vocalist Sam Galpin proves to be another wild card: a former lounge singer who'd reputedly never heard Beefheart, yet sounds eerily like him — especially on the piano ballad "Desperadoes Waiting for a Train." The overall feel might well be called "country progressive," with lots of tempo changes, and a twangy attack — as Harkleroad's slide guitar on "She's Long & She's Lean" shows. The Beefheart connections get more intriguing on the elaborately timed instrumental "Road to Morocco" and "Winged Tuskadero," which sets spoken lyrics over country-rock backing. They're either neatly executed bits of plagiarism, or else the band assimilated Beefheart's methods more than they cared to admit. The biggest surprise is "Peon," from Lick My Decals Off, Baby; its appearance seems curious for a band so bent on asserting its own identity. (The band claimed they'd covered the tune so their former boss could earn some badly needed royalties.) The final impression is one of impeccable musicians' more distinctive production and consisten
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1. Back on the Pavement 2. She's Long and She's Lean 3. Road to Morrocco 4. One Day Once 5. Yellow 6. Desperados Waiting for a Train 7. Piece of Me 8. Reign of Pain 9. South of the Valley 10. Winged Tuskadero 11. Peon
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Highly recommendation
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