Don Van Vliet, an artist of protean creativity who was known as Captain Beefheart during his days as an influential rock musician and who later led a reclusive life as a painter, died Friday. He was 69 and lived in Trinidad, Calif. The cause was complications of multiple sclerosis, said Gordon VeneKlasen, a partner at the Michael Werner gallery in New York, where Mr. Van Vliet had shown his art, many of them abstract, colorful oils, since 1985. The gallery said he died in a hospital in Northern California. Captain Beefheart’s music career stretched from 1966 to 1982, and from straight rhythm and blues by way of the early Rolling Stones to music that sounded like a strange uncle of post-punk. He is probably best known for “Trout Mask Replica,” a double album from 1969 with his Magic Band.
A bolt-from-the-blue collection of precise, careening, surrealist songs with clashing meters, brightly imagistic poetry and raw blues shouting, “Trout Mask Replica” had particular resonance with the punk and new wave generation to come a decade later, influencing bands like Devo, the Residents, Pere Ubu and the Fall.
Mr. Van Vliet’s life story is caked with half-believable tales, some of which he himself spread in Dadaist, elliptical interviews. He claimed he had never read a book and had never been to school, and answered questions with riddles. “We see the moon, don’t we?” he asked in a 1969 interview. “So it’s our eye. Animals see us, don’t they? So we’re their animals.”
The facts, or those most often stated, are that he was born on Jan. 15, 1941, in Glendale, Calif., as Don Vliet. (He added the “Van” in 1965.) His father, Glen, drove a bakery truck.
Don demonstrated artistic talent before the age of 10, especially in sculpture, and at 13 was offered a scholarship to study sculpture in Europe, but his parents forbade him. Concurrently, they moved to the Mojave Desert town of Lancaster, where one of Don’s high school friends was Frank Zappa.
His adopted vocal style came partly from Howlin’ Wolf: a deep, rough-riding moan turned up into swooped falsettos at the end of lines, pinched and bellowing and sounding as if it caused pain.
“When it comes to capturing the feeling of archaic, Delta-style blues,” Robert Palmer of The New York Times wrote in 1982, “he is the only white performer who really gets it right.”
He enrolled at Antelope Valley Junior College to study art in 1959 but dropped out after one semester. By the early 1960s he had started spending time in Cucamonga, Calif., in Zappa’s studio. The two men worked on what was perhaps the first rock opera (still unperformed and unpublished), “I Was a Teenage Maltshop,” and built sets and wrote some of the script for a film to be titled “Captain Beefheart vs. the Grunt People.”
The origins of Mr. Van Vliet’s stage name are unclear, but he told interviewers later in life that he used it because he had “a beef in my heart against this society.”
By 1965 a quintet called Captain Beefheart and His Magic Band (the “his” was later changed to “the”) was born. By the end of the year the band was playing at teenage fairs and car-club dances around Lancaster and signed by A&M Records to record two singles. The rest as they say is history.. Captain, you will be missed.