Critical and Commercial Reception
Contemporary reviews were generally favorable. Lester Bangs described the album as appealing to a "new audience, the ones that teethed on feedback and boogie," acknowledging that Beefheart's previous work was "a bit beyond the attention span or interest of the average listener." Critic Robert Christgau graded the album as a B+ though he felt that Beefheart's "much-bruited commercial bid turns out to have all the mass appeal of King of the Delta Blues Singers". Stereo Review acknowledged the album as Beefheart's attempt to "go commercial," while opining that "Captain's conception of commercial is still sweetly weird." Colman Andrews writing in Phonograph Record Magazine described the album as evidence that Van Vliet was "the greatest white blues singer in America today." Jim Washburn, reviewing the album's reissue as a double CD with Clear Spot, noted that while "Beefheart seemed to be attempting to meet listeners halfway" the music was still "demanding, powerful stuff." Later assessments were less positive. Critic and Beefheart biographer Mike Barnes has offered that the album was "ponderous... it really just lumbers along. You get the feeling that if the tracks were about half as fast again it would add a bit more energy."
Despite being nominated as Melody Maker album of the month The Spotlight Kid failed to match the UK Top 20 success of Lick My Decals Off, Baby, peaking at #44. However, in the US it was the first Captain Beefheart album to appear in the Billboard Top 200. Its peak of #131 remains the highest attained by any Beefheart album. The album is now available as a "two for one" CD along with Beefheart's follow-up album, Clear Spot. Separately, the two albums are available as vinyl LP reissues. Van Vliet later blamed the album's lack of success on the band members, stating "The band wasn't into what I wanted to do at the time... They failed miserably on The Spotlight Kid."
Read more about this topic: The Spotlight Kid
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