Peter's music has been heard on hundreds of radio stations and has been on SiriusXM rotation for over a decade. As a multi-award winning artist, Peter's music has also topped Billboard's Classical and Crossover charts.
For Captain Beefheart, a maverick-artist-musician, who was not just a complicated man but highly demanding and by most accounts very difficult to deal with. It was appropriate that Beefheart's Magic Band was to prominently feature a bassist as accomplished, bold and adventurous as Mark Boston, a.k.a Rockette Morton.
Born on July 14, 1949, Mark began life in the small town of Salem, Illinois before his family moved out to Lancaster, California when he was 13. With a bassist and steel player for a father, Mark gained a great appreciation for country and bluegrass along with the R&B and rock’n’roll that was on the rise. Within a year of the Boston clan moving out to Lancaster, Mark befriended a young guitarist by the name of Bill Harkleroad.
At a time when the bass guitar was seen as the dummy’s instrument, Mark left quite an impression on Bill with his talent and equipment, leading to the two joining forces to form BC And The Cavemen. With Mark’s mother sewing some outfits for them, the band developed a decent reputation, and the two would also play in a band with Jeff Cotton and John French known as Blues In A Bottle. And then a local hero came calling. Or perhaps screaming and howling!
In that same Lancaster scene, Captain Beefheart And His Magic Band were making a big splash as a top flight blues rock outfit, with 'Safe As Milk' having made a strong impression and 'Strictly Personal' being a strong record as well. But even with a sound that was speaking to people, one that perhaps would have been a more pragmatic one as far as a career goes, Don Van Vliet just wasn’t meant for conventional norms.
The Captain had all these ideas, ideas far too out for many, including early members. He needed new musicians, younger and more impressionable ones that wouldn’t object to his ideas. Already having John and Jeff in the band, now 'Drumbo' and Antennae Jimmy Semens, he then recruited Bill, dubbed Zoot Horn Rollo. And on bass, he found Mark Boston, who took the name Rockette Morton due to his love of outer space. And the classic Magic Band was born.
Trout Mask Replica (TMR) wasn’t an easy album to make. Yet even with all the bizarre ideas and the difficulty in preparing those ideas into music, Mark was a total champ through it all. The Beefheart sound is one of great dichotomy, and Mark can capture all of it. He’s so tight and precise, and yet there’s this raw grit and dirt. He’s highly intelligent and sophisticated in his playing, and yet there remains this childlike sense of wonder and curiosity.
He takes after all the great traditional American music, yet out into a whole other realm of time and space. The bass traditionally serves the role of grounding the harmony while locking in with the drums to provide a foundation, yet Mark’s playing often serves as another melody line in the music. In a lot of ways, he’s like a third guitarist that just happens to be playing bass.
The TMR on its own is a legacy few can compete with, and yet Mark contributed to more classic records like "Lick My Decals Off, Baby", "The Spotlight Kid", and "Clear Spot". There on Decals, you get the equivalent of Godfather II. With Mother Art Tripp on marimba and drums rather Jeff on guitar, you get an album that captures a great deal of TMR's brilliance while being brilliant in its own unique way.
Then you get to 'The Spotlight Kid', with bass godliness on cuts like “When It Blows Its Stack”, resulting in a bass solo that often opened shows, yet Mark proves himself just as talented on traditional in-the-pocket styles as demonstrated on cuts like “I’m Gonna Booglarize You Baby”. And that thing about bassists being failed guitarists? In the 'Clear Spot', with Mark taking guitar and the rhythm section now being a mini Mothers reunion of Art and Roy Estrada, yet nobody missed a beat. Throughout the record, Bill and Mark’s kinship really shines, their weaving right there with what Bill and Jeff had done, or what was done with Alex St Clair early on.
Of course, dealing with Don was quite a task of its own, so it’s inevitable that Mark and the others would all end up departing by 1974. He and Bill soon formed a group of their own called Mallard. For two albums, the first with Art and having some writing help from John French 'Drumbo', Mallard showed itself a pretty decent blues rock outfit. And giving that it was Mark who finally had a chance to create something that was truly his own rather than helping some achieve their vision, it’s understandably the work that he takes pride in. And over time, he’d end up making a solo record and create some cool artwork of his own, as well as performing with 'Drumbo' in the reformed Magic Band, allowing the music to live and breathe on stage again.
If you’re a Beefheart fan, how can you not love Rockette Morton? Not only a uniquely talented bass player but such a great stage presence full of joy, along with a lovably quirky personality and such a sweet guy. Easily one of my favorites from Magic Band members, you can’t help but smile when thinking about Mark. He’s been through some rough weather, including his health scares, and yet he’s still the same Mark we’ve known and loved all the years.
Happy birthday Mark! Thank you for all you have given us and look forward to more.
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Patrick Moore is a freehand drawing artist and freelance music writer.
Agencies TORONTO: Denigrating the Indian education system and favouring the `superior' English education system for colonial India, Lord Macaulay in his `Minutes of Indian Education' in 1835 said, ``...English is better worth knowing than Sanskrit or Arabic; that the natives are desirous to be taught English, and are not desirous to be taught Sanskrit or Arabic; that neither as the languages of law, nor as the languages of religion, have the Sanskrit and Arabic any peculiar claim to our engagement; that it is possible to make natives of this country thoroughly good English scholars, and that to this end our efforts ought to be directed.'' He said, "I have conversed both here (in India) and at home with men distinguished by their proficiency in the Eastern tongues. ... I have never found one among them who could deny that a single shelf of a good European library was worth the whole native literature of India and Arabia. Honours might be roughly even in works of the imagination, such as poetry, but when we pass from works of imagination to works in which facts are recorded, and general principles investigated, the superiority of the Europeans becomes absolutely immeasurable." The report of Canada’s Truth and Reconciliation Commission, after six years of work and testimonies of nearly 6,000 survivors of cultural genocide, last week paints a similar picture of the white Canadian government against the country’s native nations in the 20th century. As part of their cultural genocide, over 150,000 Native children were forcibly removed from their families and put in residential schools. Out of these, 3,200 never came back to their families. No one knows where they were buried as their names were never recorded. The commission report says the Canadian government pursued, "a coherent policy to eliminate Aboriginal people as distinct peoples and to assimilate them into the Canadian mainstream against their will.’’ The aim of sending Aboriginal children forcibly to residential schools was "primarily to break their link to their culture and identity.’’ The report says, "The Canadian government pursued this policy of cultural genocide because it wished to divest itself of its legal and financial obligations to Aboriginal people and gain control over their land and resources.'' According to commission chairman Murray Sinclair, seven generations of aboriginal peoples bore the brunt of cultural genocide as they were cut off from their families, roots, language, culture, spiritual traditions and their collective history. Commissioner Marie Wilson poignantly said, ``Parents who had their children ripped out of their arms, taken to a distant and unknown place, never to be seen again. Buried in an unmarked grave, long ago forgotten and overgrown. Think of that. Bear that. Imagine that. The reason of death a mystery.’’ The commission worked for six years to collect testimonies and statements of 6,000 survivors and their relatives to show the Canadian government and the church pursued a policy of cultural genocide and assimilation against native people people to consolidate hold on Canada. Interestingly, the report quotes the remarks of Canada’s first prime minister John A. Macdonald, who during his speech in the House of Commons in 1883 said: "When the school is on the reserve, the child lives with its parents, who are savages; he is surrounded by savages, and though he may learn to read and write his habits, and training and mode of thought are Indian. He is simply a savage who can read and write. It has been strongly pressed on myself, as the head of the Department, that Indian children should be withdrawn as much as possible from the parental influence, and the only way to do that would be to put them in central training industrial schools where they will acquire the habits and modes of thought of white men.’’ Didn’t Macaulay say the same thing about Indians in 1835 what John Madonald said about Native nations of Canada in 1883? (Updated: This article appeared here first on June 7, 2015) READ NEXT: John A Macdonald and Lord Macaulay demeaned native peoples
