Tracklist
| Frownland | 1:39 | ||
| The Dust Blows Forward 'N The Dust Blows Back | 2:04 | ||
| Dachau Blues | 2:21 | ||
| Ella Guru | 2:23 | ||
| Hair Pie: Bake 1 | 4:57 | ||
| Moonlight On Vermont | 3:55 | ||
| Pachuco Cadaver | 4:37 | ||
| Bills Corpse | 1:47 | ||
| Sweet Sweet Bulbs | 2:17 | ||
| Neon Meate Dream Of A Octafish | 2:25 | ||
| China Pig | 3:56 | ||
| My Human Gets Me Blues | 2:42 | ||
| Dali's Car | 1:25 | ||
| Hair Pie: Bake 2 | 2:23 | ||
| Pena | 2:31 | ||
| Well | 2:05 | ||
| When Big Joan Sets Up | 5:19 | ||
| Fallin' Ditch | 2:03 | ||
| Sugar 'N Spikes | 2:29 | ||
| Ant Man Bee | 3:55 | ||
| Orange Claw Hammer | 3:35 | ||
| Wild Life | 3:07 | ||
| She's Too Much For My Mirror | 1:42 | ||
| Hobo Chang Ba | 2:01 | ||
| The Blimp (Mousetrap Replica) | 2:04 | ||
| Steal Softly Thru Snow | 2:13 | ||
| Old Fart At Play | 1:54 | ||
| Veteran's Day Poppy | 4:30 |
Credits (12)
The Mascara SnakeBass Clarinet, Vocals, Illustration [On Insert Sheet]
Rockette MortonBass Guitar, Narrator
Cal SchenkelDesign [Album Design], Photography By [Cover]
John FrenchDrums [Uncredited], Translated By [Music Score, Uncredited]
Dick KuncEngineer, Technician [Electronic Modification Of Equipment]
Don Van VlietLiner Notes [Insert Sheet Poem]
Notes
The 3rd official 'Magic Band' album and 1st double vinyl on Zappa & Cohen's independent Straight label. Released in the fall of 1969 in the US & Canada (cover logo white) with a 6-page roll-fold insert and, without insert, in the UK (cover logo black) and . Also released on 8-Track & Cassette in the US later that year.
The 2-fold insert, when opened out, has a photo of a school-age Vliet on the left page, center page sketches by Vliet's cousin Victor Hayden (aka The Mascara Snake), and a 'Manta Ray' poem on right-hand page. Lyrics are on the 3 reverse pages. The insert was not included in Euro issues. US album issues, which are auto-coupled, can be identified by the Straight address on label; 5455 Wilshire Blvd., Suite 1700, Los Angeles 90036. It was manufactured* & distributed in the UK by CBS and in by Electrola Gesellschaft m.b.H. Köln. Most issues are not auto-coupled**, however, the Canadian issue (pressed by Herbert S. Berliner's plant, Compo Company Ltd.*) had an unusual auto-coupled sequence; AC, BD - which, annoyingly, requires 'shuffling' on turn-over.
In January 1970 the Reprise Records catalog 2 MS 2027 appeared on label issues in the US, using the original gatefold (with catalog 1053) - in which some issues appeared with blue 'Bizarre' labels. In Europe this became the Reprise Records 64024 catalog, which was then prefixed by 'K' in the 'Kinney' period of Reprise history. Releases then adopted the Warner Bros. & WEA (Warner Elektra Atlantic) identities thereafter.
Events surrounding band in the recording of this album are revealed in the "Grow Fins" box set booklet, or elsewhere on the Web. However, it is worth noting the work John 'Drumbo' French did in transcribing and helping bring Vliet's concepts to fruition. He is not credited on the album. By the time the band toured on its release (appearing with its producer Zappa at BYG's seminal 5-day "Actuel Festival" in Belgium in October 1969†) he was replaced by Jeff Bruchell (referred to by Vliet as 'Drumbo' or 'Fake Drumbo' by others). Bass-player Marker, of Frank Zappa - You Can't Do That On Stage Anymore Vol. 5). Thus, portions of it became the backing for the Blimp track.
*Manufacturers IDs on back covers.
**The 1972 Australian issue is in the correct AD, BC auto-coupled sequence. All other issues seem to be sequential AB, CD releases.
†Understanding how the band's activities 'fitted' in the music scene of the time is worthwhile by reading 'Profile' at this Discogs link: Actuel Festival.
The 2-fold insert, when opened out, has a photo of a school-age Vliet on the left page, center page sketches by Vliet's cousin Victor Hayden (aka The Mascara Snake), and a 'Manta Ray' poem on right-hand page. Lyrics are on the 3 reverse pages. The insert was not included in Euro issues. US album issues, which are auto-coupled, can be identified by the Straight address on label; 5455 Wilshire Blvd., Suite 1700, Los Angeles 90036. It was manufactured* & distributed in the UK by CBS and in by Electrola Gesellschaft m.b.H. Köln. Most issues are not auto-coupled**, however, the Canadian issue (pressed by Herbert S. Berliner's plant, Compo Company Ltd.*) had an unusual auto-coupled sequence; AC, BD - which, annoyingly, requires 'shuffling' on turn-over.
In January 1970 the Reprise Records catalog 2 MS 2027 appeared on label issues in the US, using the original gatefold (with catalog 1053) - in which some issues appeared with blue 'Bizarre' labels. In Europe this became the Reprise Records 64024 catalog, which was then prefixed by 'K' in the 'Kinney' period of Reprise history. Releases then adopted the Warner Bros. & WEA (Warner Elektra Atlantic) identities thereafter.
Events surrounding band in the recording of this album are revealed in the "Grow Fins" box set booklet, or elsewhere on the Web. However, it is worth noting the work John 'Drumbo' French did in transcribing and helping bring Vliet's concepts to fruition. He is not credited on the album. By the time the band toured on its release (appearing with its producer Zappa at BYG's seminal 5-day "Actuel Festival" in Belgium in October 1969†) he was replaced by Jeff Bruchell (referred to by Vliet as 'Drumbo' or 'Fake Drumbo' by others). Bass-player Marker, of Frank Zappa - You Can't Do That On Stage Anymore Vol. 5). Thus, portions of it became the backing for the Blimp track.
*Manufacturers IDs on back covers.
**The 1972 Australian issue is in the correct AD, BC auto-coupled sequence. All other issues seem to be sequential AB, CD releases.
†Understanding how the band's activities 'fitted' in the music scene of the time is worthwhile by reading 'Profile' at this Discogs link: Actuel Festival.
Versions
Filter by
96 versions
| Image | , | – | In Your Collection, Wantlist, or Inventory |
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Trout Mask Replica
2×LP, Album, Gatefold
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Straight – 2 STS 1053 | US | 1969 | US — 1969 |
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Straight – SMS 2222/3 | 1969 | — 1969 |
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Straight – STS 1053 | Canada | 1969 | Canada — 1969 |
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Reprise Records – REP J 82027 | US | 1969 | US — 1969 |
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Bizarre Records – 2MS 2027 | US | 1970 | US — 1970 |
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Recommendations
Reviews
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I had to buy it. It's a landmark album, historically significant for better and for worse. Personally I enjoy the weirdness of the music itself. It always takes a minute to set in, but eventually it brutally forces you to stop trying to hear traditional melodies and your brain stops fighting the discord, and it starts to groove, without ever allowing you to stop paying attention. Historically, the absolute madness and abuse behind the music is impossible to ignore. For me, it's always present, imagining the mindset of the poor souls who were essentially held captive and forced for over a year to live in this cacophony of psychological torture. For that reason, no matter how much it does eventually start to sound like it's grooving, it never sounds like fun to me. As far as the quality of the pressing, I can't speak to how it compares to earlier versions, but it sounds good. Everything is there and balanced. And when it does stop sounding like noise, you can appreciate the quality of the recording. -
Edited 7 days agofar shot here but my friend had his tote bag from this set stolen at a show a while ago. i'd love to hook him up with another so send me a message if you'd part with yours
found a sealed copy of this at a thrift store in dallas for $1, super weird -
Edited 7 days agoI have to be in the 'mood' to listen fully to this double album. But I can't explain what that 'mood' is exactly.
Been listening to this since 1973. On & off. The 'mood' is the factor here. Have to be in the 'mood' got me?
One thing I do know, listening to it being 100% straight helps me get through it nicely. -
real fine pressing, this one - and quite affordable anno 2025
-
the noise floor is so low and the separation is so clear, this has to be my best pressing. I always thought of Jack White as a bit of a corporate pop guy, but after listening to this, I can say with certainty that he knows what he is doing, probably better than anyone else right now -
Edited 3 months agoWhen you're young, dumb, naive, or just straight up impressionable from a stranger influence (rock stars, pop mucicians corporate musical marketing) ..then this album would maybe be at top 10 of all albums of all time.
But over 'time' - and with your own journey of growth into a Man.. if you perhaps become wise and understanding to what's really going on in the world.. , you'll see and hear what's really contained on this 'album', you will know it's a piece of trash worthy of the melting into a small puck of pvc with paper in it .
It's embarrassing to be dumb and influenced by evil .. if you don't like that just don't look backwards. And hey.. on the bright side, if you own an original copy..you can always sell it to some other crashtestdummy for a spectacular sum. - would you trust a guy 15 years older than you feeding you acid, just to stay employed and housed? -
MYCOPIAL TRANSGRESSIONAL INOPTENOID SPINEGADGET REFUSAL INSECTER INOVULAR INOPERABLE FLUIDITY SPONCASEINAL ENTRAPMENT AGASP IN PLETHORACAL SINEW GNARL GNASH GASH THE EMPIRICAL WOUND EMMBEDDED ENTROPICALLY NOT ABOVE NOT BELOW AS NO. I THINK NOT. SPUNNER OF SPINE A NO ONE A BODY NO A CAPSULE A PATHWAY A LONGITUDINAL AXIOM OF AXCILLICAL POSTURE IN ROUGH TRANSMETER ICONOGRAPHAL WEEPING AS THE FLOOR SOAKS IT UP FOR WANT OF MORE. DO YOU HEAR ME ROAR!!! -
Amazing record. How de we know if it’s a Pittman pressing
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referencing Trout Mask Replica (2×LP, Album, Record Store Day, Reissue, Remastered, Gatefold, 180g) TMR-546
Third Man Records have gone the extra mile and produced a stellar artifact. The sound of the bass's low end, is a revelation, and so is the cover image, finally reproduced accurately from the original source. It's TMR freshly minted. 5/5. -
I really really like this album, I can't say why, but as strange as it is, it does work.
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