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on 13 February 2013
I seen other reviewers praising the sound and audio quality of this DVD - to that I can only ask are we talking about the same DVD??
For a start you can see the scan lines in the video and it is noticeably below DVD quality. As for the audio that is truly disappointing. CBHMB's music is meant to be played loud via systems with some oomph and clearly this gig was recorded not for a live concert audience but strictly for television as it was back then. As a consequence the set is recorded without the power and volume that makes their lives gigs so electrifying. I know this because I was lucky enough to see them play live in Manchester the same year as this recording!
I cannot even praise the camera-work, for example when Don (aka Captain Beefheart) is introducing the musicians the camera managed to get fixed on the wrong band member even though the Captain was taking his time, pointing and even repeating their names as a clue to a camera apparently disconnected from what was actually taking place on stage!
Die-hard fans will of course buy this no matter what I or other critical reviewers say but I those seeking to get to know what the band is all about would be better advised spending their money on much superior recordings on offer out there.
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on 20 March 2014
This is absolutely wonderful. It should bring back lovely memories for anybody who saw them play live at that time and show those who only have the recordings what they missed.
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on 6 December 2014
Swindle Repetition of same track 4 times
A rip-off at that price & great deception to fans
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TOP 1000 REVIEWERon 31 July 2012
Finally some prime MAGIC BAND footage in EXCELLENT quality & sound! First, some background from the press release:

"In 1972 Captain Beefheart released two albums; `The Spotlight Kid' and `Clear Spot'. He also toured the UK and Europe with the Magic Band, even performing two concerts at London's famed Royal Albert Hall. On April 12th, in the middle of the European leg of the tour, CAPTAIN BEEFHEART & THE MAGIC BAND stopped off at the BEAT CLUB studios in Bremen, Germany to film a session for later transmission. Of the five songs filmed that day only one track has ever been broadcast. The band at the time included: Captain Beefheart (Don Van Vliet) vocals, harp; Rockette Morton (Mark Boston) guitar and bass; Zoot Horn Rollo (Bill Harkleroad) guitar; Orejon (Roy Estrada) bass; Ed Marimba (Art Tripp) drums; and Winged Eel Fingerling (Elliot Ingber) guitar. Author Jon Kirkman describes the recordings: "The session kicks off with a bass solo entitled `Mascara Snake'. This short piece was named after a former member of the Magic Band Victor Hayden (Don's cousin), who had appeared on the `Trout Mask Replica' album. The solo is played by Mark Boston, although at this point former MOTHERS OF INVENTION bassist Roy Estrada had joined THE MAGIC BAND following his departure from LITTLE FEAT in early 1972. The other songs in the set here include a track dating back to `Trout Mask Replica' (`Steal Softly Thru Snow') and also a track that would be featured on `Clear Spot' some eight months later (`Golden Birdies')."

And now for my review: After pressing "play" the screen becomes blue. Then the sound of a bass playing a complicated solo envelops, maddeningly without video! After about a minute, the player appears. It's Mark Boston in a paisley suit, fedora and red shirt. The solo is amazing! It's definitely not totally improvised. Although what appears to be finger picks fly by, his thumb and forefinger are bare. His technique is very physical, but controlled. When done, the Captain appears. Slightly heavy, with an Elvis "do," and goatee, he approaches the microphone and announces, "Mascara Snake," then chuckles and mumbles "Mascara Take." Now the REAL fun begins! The familiar strains of "Click Clack" railroad rumble, and I get goosebumps! You get your first vision of Art Tripp playing his clear kit. He's wearing a monocle, doo-rag, green moustache and a shirt with large buttons on both sides of the closed seam that resemble those on and below the flap of manila envelopes that would be sealed by wrapping both with a string! His beat percolates, while Boston jives back and forth, now playing a red Telecaster. You get a quick glance of bushy Elliot Ingber on a Les Paul junior and Roy Estrada rockin' a white Fender bass. You can HEAR Bill Harkleroad's searing slide accents, but nervously ponder his visual absence. The Captain's vocals are steady as she goes, his harp producing delta shades. For a second you glance Harkleroad, a thin apparition in red suit and guitar (Gretsch? Guild? Gibson?) with real green bottle slide. A two minute outtake of "Click Clack" follows. Some better views of the band enhance "Golden Birdies." It may be new to the repertoire, but is tight and right. Beefheart then introduces the band. I'll take a minute here to digress about the editing. The picture and sound are fantastic for it's age, and the band performs in front of a "blue screen." But until the final song the editing can be maddening, few of the band members were shown during their introductions! Filmed with at least two cameras, the director seems obsessed with shots of Tripp, especially his left foot on the high-hat peddle seen through the clear bass drum. Now on to "I'm Gonna Booglarize You Baby." Beefheart and the band really shine, tighter than the bush they keep beatin' around and tough as "a Willy's in four-wheel drive." His vocals throughout are at their bellerin' best! At the four and a half minute mark, a BEAT CLUB tech stops the song, and the Captain is none too happy, and exits stage left. This turns out for our benefit, since the boys lay it done even stronger, and the editor finally gets his strudel together and shows us the triple guitar-slingers tradin' riffs and grins until it's time for Don's reappearance. "Steal Softly Through The Snow" finds double layer Boston and Estrada basses, iced with the only appearance of the Cap's soprano saxophone stimulator. The sadly final tune is the familiar (to some) broadcast version of "Booglarize," and it's obvious why this take was chosen. Professionally edited compared to everything else, the band together and individually get equal visual footing, and the famous BEAT CLUB psychedelic effects are judiciously used, complimenting instead of drowning. In summation, I'd grab this quick if I were you. Beefheart's estate is known for putting the "kabosh" on projects, and although this looks as legit as can be, you never know......

F.Y.I. I see this is unavailable here. There are plenty on the US sister site......
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on 18 January 2013
Quality disc. Camera work is basic ( only one is used for the majority of the time, so if a solo is played to the left or right of the central camera position it is mostly missed), but picture and sound quality are both excellent. As is the performance. A must for Beefheart fans. Short(ish), but sweet.
Winged Eel Crouch.
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on 4 May 2015
Bought as a present and recipient very happy with it.
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on 12 June 2016
Good recording
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VINE VOICEon 7 August 2012
Hands up, I never really got the fuss about Captain Beefheart. For sure, I quite liked his album with Frank Zappa, "Bongo Fury", but I was doing a lot of highly illegal things at the time. But in the cold light of day, it was just so much noodling and a walrus barking. But some folks still rate him, so I'll do my best to tell you all about this release.

Back in 1972 Captain Beefheart pumped out two albums - "The Spotlight Kid" and "Clear Spot" - as well as touring the UK and Europe with the Magic Band. He did two concerts at the Royal Albert Hall, and on April 12th, during the European leg of the tour, they stopped off at the Beat Club studios in Bremen, Germany to film a session. They filmed five numbers, but only one of them has been officially broadcast prior to this release. The band at the time included Captain Beefheart, natch, on vocals and harp, Rockette Morton on guitar and bass, Zoot Horn Rollo on guitar, Orejon on bass, Ed Marimba on drums and my favourite, Winged Eel Fingerling on guitar.

You can tell it's the seventies because the set starts off with a bass solo. Yes, a bass solo. "Mascara Snake", it's called. And it's a bass solo. Then it's off into two takes of 'Click Clack' from "The Spotlight Kid", the then unreleased 'Golden Birdies', a few versions of 'I'm Gonna Booglarize You Baby' and 'Steal Softly Thru the Snow' from "Trout Mask Replica", with Beefheart adding some clarinet to the madness that is on offer. It sounds good enough, as it should, but the camera work is very much of its time. I don't know whether they were deliberately trying to match the music, or whether they'd handed over the cameras to a bunch of drunken ADHD sufferers, but it's certainly not easy on the eye.

Fans of Captain Beefheart & The Magic Band will lap this up, despite its short running order, as there isn't that much decent audio and video from their glory days, but for anyone looking to start on his music, I wouldn't start here.
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