I guess it's just Beefheart's voice or delivery. It's just so offputting to me and takes away from the instrumentals too much, it feels like it wants to be part of the main stage when it doesn't belong imo.
Beefheart himself is the wildcard. The rest of the band executed his preformed ideas with precision while he often barked and skronked off the top of his head.
I've listened to instrumental versions of his best music, and while I love getting to hear each part with clarity, it misses Vliet's energy and spontaneity.
Also, it doesn't help him that he sounds like a horrible person offstage, all the word of mouth stories of how he treated his band and such, even if he had a mental disorder(s). I just couldn't get into his music.
Besides a notorious artistic temperament, it takes more to make music with that kind of vision than most people are capable of - not only finding musicians with the technical ability to play it, but to be open-minded enough to see the value in it, and stick with it despite very little in the way of "rock star" rewards.
Vliet couldn't have been a good person if he wanted to make that great music. Whether the trade-off was worth it is up for debate.
Exactly, outside impressionability is something that I think should be embraced to some degree, and it's pretty much completely unavoidable. The way I see it, you're either at the mercy of the advertising/marketing machine which has zero correlation with quality, or you're at the mercy of critical consensus, which has some correlation with quality, or you're at the mercy of word of mouth from people who were also at the mercy of exposure from critics/advertising.
The only way to avoid that is to wander the board aimlessly between entire decades and genres of music, somehow getting the idea that you'll be able to miraculously stumble upon something better than everything else/common knowledge that decades and decades of music criticism somehow missed. That seems like a psychotic way to do it.
There's also a very good chance that you could find yourself in a musical clique where there's little chance for growth.
The cross-pollination available on the internet has been huge for anybody interested in hearing what the whole world has to offer.
As a starting point, sure you can look up some of "the best" and expand from there. That's a perfectly acceptable entry point. But you should keep digging well beyond that point. Find the forgotten bands, the overlooked albums in the discography, the 3rd and 4th wave of artists in a genre that brought a new idea to the table or simply perfected an attribute of the sound, etc. When someone limits themselves to only "the best," that's when I don't really value their opinion.
In my experience, that's exactly what Shareefruck has done. The difference is that when you're casting a wide net, there's a lot more to sift through.
I've had some quality conversations with him, and he's been nothing if not open to suggestions.
Personally, I discover new music thru various different means. The most consistent methods all simply revolve around interacting socially with people who have tastes I respect. Both in-person and online. I've been parts of online communities with similar tastes, and learned of new music that way. I've frequented plenty of shows, and learned of tons of new music that way. From those shows I've grown my social circle, and been exposed to new music via my friends. Expanding my social circle once again exposes me to new online communities, and so on and so forth.
The danger of that method, of course, is never being exposed to (or seriously engaged in) different kinds of music.