Frank Zappa: Classic or Dud?

On the other hand, stuff released in the late seventies and through the eighties was often fairly puzzling. Musically speaking, it was incredibly well-played, and the lyrics had a bitter sting to them that you couldn't help but admire a good chunk of the time. By this time, though, he got into a really nasty groove that went past obvious satire to the point where you weren't quite sure that he wasn't being serious anymore: how many times can you release an album filled to the gills with songs about big breasts, blow jobs, drugs, and various other degeneracies until any claims to satire are dismissed? In a lot of ways it became a one-note dirty joke, and while it remained clever it became redundant and increasingly transparent. Moments of brilliance were still there: Ship Arriving Too Late to Save a Drowning Witch was actually quite solid if you jettisoned the novelty hit single. The Yellow Shark proved that the man knew how to compose music (though Jazz From Hell had already proved that, it was a bit on the sterile side). More than anything, this became a period where Zappa was more notable just for the sheer amount of product he cranked out. That's not enough to change my vote, though. Still classic.

If you bother to learn how to write music, write a big, run-on sentence like Zappa did so you can just sit back and hire super-professional musicians to play it later, as a challenge to their virtuosity and a feather in all of your caps! And then mix and match your paragraphs, so you never have to start a new book (since it's such a mess to begin with) and have people call your entire body of work a brilliant intertwined "concept"!

Music that is composeurish is rather dull, unless it is actually goodlike Mozart, Vivaldi or Beethoven, when the orchestration is so good, you don't notice the minutia unless you concentrate and are then blown away on a whole different level. Zappa falls way short of that. Everything is "hey, listen to this little weird thing" *insert cowbell rattle followed by kazoo*. (This reminds me of Metallica, by the way; I can hear the metronome ticking in the background. That's bad music! Is that supposed to be emotion? Hmmm...)

I prefer the Grateful Dead to most Zappa, with the exception of "Apostrophe" & "Sheik Yerbouti". Some others that are okay, but by no means what the fans make it out to be, are "The Best Band You Never Heard In Your Life", "Yellow Shark", "Joe's Garage" and "You Are What You Is". I also have "Live At The Ritz" (or something?) that I never listen to. It is some of the most boring shit I own, except for the one track "I Am The Slime" which I don't have on any other recording... Which album has "Zombie Woof"? That'sa good one, actually.

Anyway, I think what I'm trying to say is that it's a lot harder to make a cohesive song that has some emotion rather than filling a music sheet with black dots and having Steve Vai and Anton Figg play it for you while you play composer genius. The main guy from Jethro Tull is like that, too, but I think he actually has a reason to be, since it's not 1/2 just free improvisation and studio overdubs.

Of course, if you are a fan of his music, you'll be ridiculously offended by the notion that he's nota super genius, even if you have no musical knowledge or skill yourself as a source to draw upon for judgement, and tell me to piss off or something for daring to compare my unfamous non-music-reading sensibilities to the god of avant garde. He definitely gets tons of points for being first. Who knows if I would be able to lay on a couch, imagining constantly changing music patterns if he hadn't shown me how (or did he)? I do it all the time, but it drives me nuts because songs that wander off into insanity are boring. Playing simple and well is difficult. I think Zappa released too much of too little value (except to those fanatics of course). But, I still think he's a classic for the good stuff he did put out and for trying to do something interesting (even if not really very funny at all, just weird and kinda perverted) with music.

hey, nobody's mentioned 'hot rats' yet, perhaps his greatest album?

Oh, check out his autobiography. It's got some good laughs. Spoo!

Interestingly I don't really feel qualified to respond to this thread any more, despite owning a load of Zappa. I haven't listened to any of it in more than a year.

I think my favorites used to be Apostrophe'/Overnite Sensation (esp. "Montana" - "I think I'll raise me up some DENNIL FLOSS"), the guitar box (esp. the track with the bouzouki), parts of Joe's Garage (mostly for the guitar sound, cf. 'Watermelon in Easter Hay', and because I get an enormous kick out of hearing the Ceeeeentral Scrooooaaaatinizer), One Size Fits All, much of Zoot Allures and Lather (I get an infantile kick out of the Stravinsky namedrop on "Titties 'n' Beer", but that's just a perk).

- following the awesome tribute night to zappa and beefheart at THE CLUNY - where was the fuckin' WIRE ? - another night is planned on thursday 17th may at newcastle arts centre - featuring ex- zappa/beefheart drummer jimmy carl black and the muffin men, zoviet france, hounds of the hill and many others - zappa and beefheart classics fucked over bigstyle - like susan george in straw dogs !

Tadeusz says astute, but I've never thought FZ was over-and-above astute — just, y'know, run-of-the-mill astute. Never heard an FZ commentary that I hadn't already heard elsewhere (not nec. heard elsewhere in pop /rock, but in Letterman or Alex Cockburn, or just somewhere... ): I think the prob. is he NEVER turned his laser-eye on himself and the wackness of his dreams/fears. "Astute" somewhat excepted, all the good words TS uses are true — but (to me) so what. FZ is just too guarded, so that's how he makes me.

Anyway, my own thoughts: I tend to like Zappa's earlier stuff most (just about everything he did with the Mothers of Invention), plus a great deal of his late seventies/early eighties post-Mothers stuff. Faves would have to be Apostrophe (as someone upthread said, so gleeful), Freak Out!, Hot Rats, Joe's Garage, and Läther (because it's so over-the-top, has all of the best bits from Sheikh Yerbouti and Orchestral Favorites, and that cow on the cover with the Zappa goatee-and-beard). Guilty favorites would be Sheikh Yerbouti (great pop songs and awesome guitarwork mixed with pure wank and pointlessly stupid lyrics) and Thing Fish (mainly because it brings together everything that was good and was bad about Zappa). Largely agree that he tapered off towards the end, when he was releasing albums largely because he could (and because he'd gotten that damn Synclavier doing music by himself, without anyone or anything to keep him or his sketchier ideas in check).

As for the astuteness -- I guess some of that's from my having read a lot of his interviews as well as his autobiography. His lyrics are a grab-bag of the funny, the astute, the obscene and the flat-out stupid ... even he admitted that a lot of his lyrics and plots (esp. Joe's Garage) were stupid.

'Hot Rats' is good though, and is it 'Suzy Cream Cheese' (?). Actually, Zap ain't so bad. I mean the guy did twiddle the knobs on 'Troutmask' right? It's just he's so fucking odd; but for the sake of being odd, you know. Whereas with Loonheart, you know that he is genuinely fucking out there, Zappa is always trying so damn hard.

With this is mind: Dud.

So... Nobody here has a sense of humor unless they're STONED??

All of you hate fun and sweet sweet guitar solos. REVIVE!

http://www.youtube.com/watch?v=ssjVez9UA4w

http://www.youtube.com/watch?v=Ew3Dq82Q1bQ

http://www.youtube.com/watch?v=iCG4Caw7IIc

http://www.youtube.com/watch?v=Y_i_HVBD9ks

Alternate '73 version of Montana with better video quality but lower sound. KILLER solo.

ahhhhh thanks

whoa i just clicked on that "last zappa interview" video--really sad

fuckin ian underwood!

I haven't brought myself to watch that yet, but there are 5 sections of the Zappa bio from BBC on there too, which I highly recommend.

That video of "You are what you is" made the 8 year old me extremely nauseous when it originally aired.

I just read about this morning--no recollection of it playing any festivals here, and I can't find a listing on IMDB.

https://www.youtube.com/watch?v=7figLnhYZ44

”both” is the answer to the this thread

haha, otm

So much material that there are extremes of both.

Full catalogue to be reissued by Universal this year, apparently including some new mastering jobs. (By Joe Travers? No details given.)

My first question is whether Gail and the ZFT retains the right to keep on mining the extensive vaults and putting stuff out themselves.

hmmm, i seem to recall that the mixes of a lot of those 90s reissues had been futzed w/ by Zappa? wonder if these are the "original" mixes or whatever.

RIP Rykodisc.

I hope they're the "unfutzed" versions.

I dunno - the original version of "We're Only In It For the Money" is pretty horrible, really

sonically, I mean

Would like somebody to explain me the difference between remixing and remastering in the context of this news. When FZ did the CD releases of Ruben and the Jets and WOIIFTM with new bass & drum tracks, it's safe to say he did new mixes. There are fairly radical differences in LP and CD mixes of Hot Rats. But I imagine that most of the CD catalogue consisted of digital transfer of the original vinyl masters, right, without much fiddling around?

You have it right, Remastering is tracking down the best possible format of the final mixes of an album (in Zappa's case probably 1/2 or 1/4 inch analog tape reels and adding equalisation and/or compression & limiting to get the best overall sound and dynamics onto whichever format the recording is going to end up on. Of course the potential abuse of the process is a big issue in the digital age.

Remixing is loading the original unmixed master tapes onto whatever the relevant playback machine would be and repeating the process of mixing the album from scratch.

The regular cds of Freak Out have a bunch of digital echo Frank added in the 80s. The reissue entitled MOFO has the og mix.

I remember reading that he apparently dicked about with recordings other than Hot Rats and WOIIFTM too, that's where the UMRK Approved master tag came in.

I dunno - the original version of "We're Only In It For the Money" is pretty horrible, really

the version on cd with added slap bass is a whole new level of awful though

hmmm, i seem to recall that the mixes of a lot of those 90s reissues had been futzed w/ by Zappa? wonder if these are the "original" mixes or whatever.

"futzed" is putting it mildly.

Reissues

In 1984, Zappa prepared a remix of Cruising with Ruben & the Jets for its compact disc reissue and the vinyl box set The Old Masters I. The remix featured new rhythm tracks recorded by bassist Arthur Barrow and drummer Chad Wackerman, much as the 1984 remix of We're Only in It for the Money had featured. Zappa stated "The master tapes for Ruben and the Jets were in better shape, but since I liked the results on We're Only in it For the Money, I decided to do it on Ruben too. But those are the only two albums on which the original performances were replaced. I thought the important thing was the material itself."[2]

After the remixing was announced, a $13 million lawsuit was filed against Zappa by Jimmy Carl Black, Bunk Gardner and Don Preston, who were later joined by Ray Collins, Art Tripp and Motorhead Sherwood, increasing the claim to $16.4 million, stating that they had received no royalties from Zappa since 1969.[2]

In 2009, the original mix of the album was released as part of a compilation entitled Greasy Love Songs.[6]

zappa was so nuts about that sort of thing, it seems. i remember reading something about the creation of "shut and play your guitar" (i think) where he would put guitar solos from, say, 1974 into a recording from 1981.

He would lift guitar tracks from live recordings and drop them into studio based stuff, he did a whole track by layering elements from different recordings, Tink Runs Amok? He called it Xenochrony iirc.

XENOCHRONY! Exciting. Bands that never were.

"Rubber Shirt," from Sheik Yerbouti:

SPECIAL NOTE: The bass part is extracted from
a four track master of a performance from Goteborg,
Sweden 1974 which I had Patrick O"Hearn overdub on
a medium tempo guitar solo track in 4/4. The noted
chosen were more or less specified during the overdub
session, and so it was not completely an improvised
"bass solo." A year and a half later, the bass track was
peeled off the Swedish master and transferred to one
track of another studio 24 track master for a slow song
in 11/4. The result of this experimental re-synchronization
(the same technique was used on the Zoot Allures
album in "Friendly Little Finger") is the piece you are
listening to. All of the sensitive, interesting interplay
between the bass and drums never actually happened ...
also note, the guitar solo section of the song "Yo' Mama"
on side four was done the same way.

One of my favorite Sheik Yerbouti tracks.

I was just to talking to a big Zappaphile firend of mine, and he mentioned that some of the other "futzing" was undoing vintage edit jobs done to fit lp time constraints. He cited these two (and was only partially wrong):

Wiki on Hot Rats:

In 1987 Zappa remixed Hot Rats for re-issue on Compact Disc. "Willie the Pimp" is edited differently during the introduction and guitar solo. "The Gumbo Variations" has 4 minutes of additional material including an introduction and guitar and saxophone solo sections which were cut from the vinyl LP version. Piano and flute which were buried the LP mix of "Little Umbrellas" are prominent on the CD. Other differences include significant changes to the overall ambiance and dynamic range. The original mix was reissued in 2009 as a limited edition audiophile LP by Classic Records.

Wiki on Weasels...:

The CD version of the album features different versions of "Didja Get Any Onya?" and "Prelude to the Afternoon of a Sexually Aroused Gas Mask", which featured music edited out of the LP versions. Some of this extra music was used (in a different studio recording) as the backing track for "The Blimp" on the Captain Beefheart album Trout Mask Replica, produced by Frank Zappa.

the version on cd with added slap bass is a whole new level of awful though

― zappi

I was trying to youtube some songs off it a few years back, and the only versions that came up were from this, which I hadn't been aware of before, and I was seriously appalled. Especially since the original WOIIFTM is one of my all-time faves.

the part of me that at age 12 was mocking the Backstreet Boys by singing their songs off key and remarking about how phony they were. the part of me that took pride in not falling for pop music or advertisements or romantic comedies and would look down upon those who did, which at the end of the day just came from an inability to drop my guard for even a second.

Here's the question, though: When your attitude shifted, did it shift to "Oh, this is Good, Actually," or did it shift to "I can respect the craft that goes into this work, without actually liking the resulting product"? The latter is where I've landed — pop music is hard to make, especially on the recording/engineering side, so I will nod respectfully in the direction of people who are able to do that thing, but I cannot make the leap to actually enjoying pop songs. They don't work on me.

b.) being a Zappa fan meant that you were superior to not only other lumpen rock fans, but to everyone else in society extant.

― veronica moser

so setting some boundaries here: and my having at one point been a fucking huge zappa fan, of having even been an apologist for his misogynist bullshit, doesn't make me any less of a woman. these are facts and they are not open to question.

with those as the boundaries, yeah, veronica, i do tend to agree with you

i didn't fit in. i didn't know how to relate to other people. i thought of myself as weird and ugly. "weird" i guess stuck. "ugly", in retrospect, was mostly the gender dysphoria.

so in late '93 or early '94, shortly after frank zappa dies, the school janitor loans my youngest sibling his copy of "apostrophe"

i mean i've never heard anything like this shit. it's... i think it's the marimba lick at the beginning of "st. alphonzo's pancake breakfast". at this point what i know about music is like, led zeppelin, the dead kennedys, and devo. "classic rock" music with guitars and maybe a synthesizer or two.

i mean looking back it's a schtick, and it's a schtick that wears on me pretty quickly. back then, i see this guy and i buy into the myth, this is a guy who does things his own way and doesn't conform to the expectations society places on him and is proud of it.

could i have bought into that myth if i _wasn't_ someone everyone saw as a cis white man? nope. was being able to buy into that myth a privilege? i don't know. i guess i can see how somebody could argue that. i'm not sure spending my 20s believing that frank zappa was The Greatest Composer of the 20th Century did me any favors. particularly after realizing that oh, wait, we don't actually have anything in common at all. honestly that's probably for the best. being like frank zappa isn't necessarily something to aspire to. trying to be like frank zappa is alienating me from a lot of people who... people i could really learn something from.

for a while it was easier to say that they just didn't understand his _genius_.

i don't know. i kind of hate the man as a human being and a lot of his music is... the word that comes to mind is "offensive". he was proud of being offensive! i'm proud of... offending a lot of the same people zappa was, fundamentalist christians who think that who i am is evil and bad. in 1993, hating reagan and the PMRC seemed kind of important. in 2023, his political songs seem really puerile and stupid. even when he's _right_, it's often for the wrong reasons.

i didn't know anybody who was right for the _right_ reasons, back then.

what's left? a man who's been dead for 30 years and left behind a bunch of aging fans who think he's the Best Thing Ever and a bunch of gross bullshit songs and some music, way more than an album's worth, that i think is still pretty good and enjoyable to listen to. most of them from before 1975, but scattered all over the place, really. you know what's a good song? "phyniox" - he had a really good band with novi novog in it that rehearsed, never toured, they did that one. that's another one of those really sweet fanfares. "amnerika". really good melody to that one. "what's new in baltimore". "outrage at valdez". that's just the ones from '75 and later. they're all instrumentals. his lyrics were beyond redemption at that point. he had a _lot_ of instrumentals, though. and before '75, even a lot of the ones with lyrics are tolerable. "cheepnis", for instance, it's not a patch on "thriller" but it's got a certain charm to it. or else they have versions without lyrics. take out the words to "penis dimension" and it's actually a lovely ballad, for instance.

good stuff from before then? leaving out the hot rats tracks, there's plenty. "groupie bang bang", i like that one actually. "cruising for burgers". "excentrifugal forz". "the little house i used to live in". "montana". "eat that question". "imaginary disease". "wonderful wino" (the 1973 version). "andy". "village of the sun", the august '73 arrangement with george duke on vocals. "cucamonga". "music for violin and low-budget orchestra". "interlude". "remington electric razor".

and that's leaving off the improvised stuff and live versions of the songs that transcend the original (the '88 version of "cruising for burgers" is very different from the "uncle meat" version and beautiful in its own way, majestic even).

is it the greatest stuff ever? is frank zappa the greatest composer to ever live? no. hell no. not even close. dammit, it's _likable_, though. if you can't separate the artist from the art, fair enough. me personally? he's dead. i have a lot fewer problems listening to people's work once i know they're not actively out there doing harm.

i mean i guess josh is right, i'm not very good at being a hater. at the same time, a lot of this stuff... yeah, i like it. maybe one day i'll stop liking it. i haven't yet.

so setting some boundaries here: and my having at one point been a fucking huge zappa fan, of having even been an apologist for his misogynist bullshit, doesn't make me any less of a woman. these are facts and they are not open to question.

first bit of that got lost in an edit... s/b "here: i'm a trans woman, and my having been..."

this is not a large group of ppl in my estimation

well for me I only knew of Zappa from seeing him namedropped all the time and the impression I got was that he was some kind of serious guitar nerd like Robert Fripp. so when Pandora suggested a song by him called "Titties and Beer" I was like....uhh hold up

Here's the question, though: When your attitude shifted, did it shift to "Oh, this is Good, Actually," or did it shift to "I can respect the craft that goes into this work, without actually liking the resulting product"?

part of it is the way you just become a different person over time and can understand what it's like to enjoy something you thought was beneath you before, or conversely how something that meant a lot to you back in the day may come off totally unappealing now. and part the realization that I wasn't giving people enough credit, there's an element of escapism when it comes to boy bands that I wasn't really getting at the age of 12. I was just taking everything too literally. but yeah I mean in addition to that they're just damn fine pop songs really.

yea "Genius in France" is really unbelievable, there's probably like 100+ distinct Zappa references in there. his style parodies have always been insanely otm but this one is particularly impressive, especially since it manages to capture Frank's essence so well without delving into any of the real odious stuff about him

― frogbs

the zappa parody i always think of is "frankie's in town". it is absolutely _vicious_ - nails every aspect of his '80s schtick while tearing that schtick to absolute _shreds_.

https://www.youtube.com/watch?v=oJPK35hChAk

Thanks, was about to go looking for that.

dweezil plays on "genius in france," no?

hah yeah this is great as well, I do wonder what Zappa thought of that one since the subtext here is "whatever, you're not a singular genius, anyone can do this if they wanted to" (obviously both this band and Weird Al's are quite talented but I'm pretty sure Zappa took a lot of pride in doing stuff he thought nobody else could)

We’ve been doing the Mothers vs. Velvets for about a thousand years now but have we done Zappa vs. Steely Dan yet? For me their Jazz and R&B borrowings are a lot more satisfying and, um, logical.

evidently he strongly disliked the above cox thing…

Of course he did.

Because…it wasn’t…funny?

Never stopped him before when he did it.

Thinking now of how supposedly Elvis said his favorite of his imitators was Andy Kaufman.

Weird Al's has some love in it -- he was a new Dr. Demento guy at the exact time when "Titties and Beer" was winning the top 10 what seemed like every week. "Frankie's in Town" is incredibly vicious, and beautiful. "To hear him sing about the stuff that he hates"

Somehow with FZ it's like there is in fact not a thin line between love and hate.

indeed as I get older its harder to see much outside of the contempt, it reminds me of a part of myself that I don't really like. the part of me that at age 12 was mocking the Backstreet Boys by singing their songs off key and remarking about how phony they were. the part of me that took pride in not falling for pop music or advertisements or romantic comedies and would look down upon those who did, which at the end of the day just came from an inability to drop my guard for even a second.

yes, this. the me who loved Zappa's records as a kid is an insecure guy who sees, in Zappa, a possible blueprint for an effective lifelong defense mechanism. and who holds himself in pretty deep contempt, and wants to be sure he can say, when he's grown up, "It's you who are the assholes, actually." I was in junior high at the time, I should be gentle with my junior high self, but it's still embarrassing.

Any Zappa albums I ever bought I bought for the drummers. That was a very short-lived phase, because whether you're buying it for the drummer, the bassist, the percussionist, the guitarist, you're still mostly getting a whole lot of Zappa.

Shit, I'm still working to hate myself less. I'm not ashamed of myself for hating myself as much as I did. It was what I was taught. Building your life around Frank Zappa or being an incel or whatever is one possible way of dealing with that. It's not how I do things now, and I'm glad that's not how I do things now.

To me the Zappa-like figures I got over shortly after starting high school were guys like Isaac Asimov and Robert Heinlein.

What is "Jelly Roll Gum Drop" though? It's not doo wop, more like bubblegum soul (I like it btw).

― The First Time Ever I Saw Gervais (Tom D.), Monday, November 20, 2023 6:46 AM (five hours ago)

I've never known what it is either. Probably recorded in 1967, so that's pretty early for "bubblegum" proper. It's also very fast. Idk, somehow it sounds more '60s than '50s to me.

all I can say rush is don't listen to "Jumbo Go Away" it's actually somehow worse than all the songs you mentioned

― frogbs, Monday, November 20, 2023 10:21 AM (three hours ago) bookmarkflaglink

jesus what a terrible fucking song

I guess the commonality between Zappa and the other two guys I mentioned is crepeyness combined with I-know-better arrogance topped off with superhuman Vielschreiber Sitzfleisch.

from the vantage point of late 2023, I think it can be hard to remember that for many years before the punk rock fissure of 1977, almost no one else's posture was "mainstream society/ culture is false, saccharine, anodyne, it just fuckin' sucks!!" (...) he was almost alone in that attitude, at least at the prominent level at which he operated, from his debut until 1977.

Sorry to back up so far (this is a busy thread!) – but isn't this just, like, the "counterculture"? I mean punks didn't invent that attitude, you can find it on Jefferson Airplane albums or whatever (and I know Zappa hated hippies, but...)

norman mailer was using "plastic" as an insult back in the 50s

Yeah I was gonna say, how is Zappa different from any random beatnik who thought that he and his friends were on The Real Shit...

there is also a kind of double ratchet tho: on one hand ppl kept coming along to declare that earlier critics (or just other critics) weren't the actual real thing, on the other hand there just being more and more and more ppl making this declaration

there wasn't many beatniks, there were lots of punks

https://www.youtube.com/watch?v=biW3llPf8Mw

I mean punks didn't invent that attitude, you can find it on Jefferson Airplane albums or whatever (and I know Zappa hated hippies, but...)

― This field is required (morrisp)

he actually collaborated with at least grace slick! on "would you like a snack?" (no relation to the _200 motels_ song of the same name). it's good! very feminist. that bit is slick, not zappa :)

anyway best i can tell the real reason he hated hippies is because he was from LA and he hated the SF scene. simple crosstown rivalry.

"punk" is an interesting one... there's that song "flower punk"... it's about hippies, but in the song he refers to them as "punks". i think it's in the "punk kid" sense and not in the "homosexual bottom" sense.

very feminist. that bit is slick, not zappa :)

― Kate (rushomancy)

actually that's an assumption on my part. for all i know the lyrics, a surreal joycean riff on menstruation, sex, and eating disorders, were in fact contributed by zappa and slick did the music, emulating zappa's compositional style flawlessly :)

norman mailer was using "plastic" as an insult back in the 50s

I think plenty of the beatnik criticisms of the straight world are fair enough and come from a place of wanting a gentler world, but of course there's a lot of it that comes from a place of condescension / insecurity / hatred too. Zappa hated hippies but was similar to them in his blanket "all you normies are morons" position; but landing on Mailer or whoever and saddling the 60s counterculture with that seems pretty selective. the Black Panthers didn't think much of mainstream culture either, and for better reasons.

xp also he didn't do drugs and hippies were very into drugs. Zappa thought they were for dumbs shits.

Also worth noting that Mailer's anger at society could well be filed under "embittered WWII veteran" (see also: the Hell's Angels) rather than beatnik or proto-hippie.

yeah, Paul Kantner, CSN and other hideously insufferable hippies position was "the straight milieu is false, and our version of society will be the perfected one, drugs and free love are what await you in the new world"; whereas Zappa had no great vision along those lines, other than "my composition oriented music is the heir to the post-modern tradition, my more popular rock shit is better for you than conventional pop music because it shows that conventional music for the tripe it is (and is played with hotter licks), and as an unusually articulate cultural figure, I'm going to tell you the truth that no one else will, that everything (other than my shit) sucks." again, I can easily see that this would be bracing in a post 1967 landscape in which that viewpoint was nowhere near as widespread as it would be from 1977 on. It's the sneer, I guess, that he had that was not commonplace.

This reminds that as a NYC-based VU fan I felt I was honor and duty-bound to hate both Zappa and The Jefferson Airplane only now I really dig the latter but still don't really care about the former DO U SEE?

Sorry, feel a bit like Sam I Am trying to think of new ways to turn down green eggs and ham

xxp The Airplane's "politics" weren't that simplistic I don't think, and Kantner didn't take that particular line too often (tho I guess he did allude to "Free minds, free bodies, free dope, free music" in "Hijak," which is post-JA). Anyway, I guess it's true they had a "vision" of sorts, of a better society (even if a sci-fi–based one).

I don't know how that's more "insufferable" than whatever Zappa represents, though

Open Airplane infighting over the decades gives the idea that at least some of them had a sense of humor about the situation. So in the end not insufferable after all.

Is there anything Zappa did that is a patch on the pants of, say, Sweeping Up the Spotlight?

(I don't think any of JA were too committed to the revolutionary schtick, and there was always a poker-faced / tongue-in-cheek element to it... maybe in everyone's case but Kantner's. But even he didn't literally think he was gonna hijack a starship.)

(I don't think any of JA were too committed to the revolutionary schtick, and there was always a poker-faced / tongue-in-cheek element to it... maybe in everyone's case but Kantner's. But even he didn't literally think he was gonna hijack a starship.)

― This field is required (morrisp)

i don't think having a sense of humor about revolution means it's a "schtick". a lot of the stuff they said... i think they meant it, and i agree with a lot of what they said, frankly. in terms of insufferability, what got me the most was when they started with the posadist fantasies.

it's a relevant, personal question that i'm facing today... what happens when you have these ideals, you believe in a better world, you believe in making a better world, and you see, in your community, the most fucked up shit, over and over and over again? you see people suffer and die and can't do anything about it? you play altamont and the fucking hell's angels smack you in the face and what the hell, man, jerry said these guys would be cool, not like the fucking pigs, and jerry's being a total two-faced coward about the whole thing saying oh sure _he_ had nothing to do with it and...

i mean it's easy to get involved in scene drama like this. but i mean... scene drama? a man is dead! killed on camera by the people who were supposed to keep us _safe_! what the fuck do you do when you see shit like that go down, over and over again?

i don't know, man, maybe we can... hijack a starship or something. shit, i could do an album about that. gonna need a lotta coke to be able to get something that big together, though.

Well it was supposed to be "ready by 1990," I'd say it's sadly behind schedule...

jerry's being a total two-faced coward about the whole thing saying oh sure _he_ had nothing to do with it

i hate him in gimme shelter so much

Is there anything Zappa did that is a patch on the pants of, say, Sweeping Up the Spotlight?

― Shifty Henry’s Swing Club (James Redd and the Blecchs)

matter of personal taste, i guess. they're really different bands but yeah, there's some zappa live stuff that i personally would say i like roughly as much as i like that record. the thing about the '69 band in particular is that it had a fair bit of range. there's a tape from miami in may where he's mostly doing old doo-wop numbers like "bacon fat" and "lonely lonely nights", and i think that one's a great listen. then there's one from wisconsin a few months later where he's doing a lot of pretty abstract instrumental stuff like "the eric dolphy memorial barbecue" and even the don preston composition "eye of agamotto" and i like that too. so as much as zappa had a "schtick", having a band that's able to play two completely different sets in two completely different _styles_ and pull of each style pretty well, to be able to go back and forth between those styles at will... i like that. when he starts doing it three or four times a minute... that can get tiresome, i'd say.

norman mailer was using "plastic" as an insult back in the 50s

Zappa was totally a product of the 50s. Of course he hated hippies, they were younger than him.

Zappa is the thinking man’s Maynard G. Krebs.

With the opposite facial hair maneuver.

Exactly!

It’s like those matter/antimatter black/white check-faced guys on Star Trek:TOS.

he really is the guy who dug an entirely different tunnel out of the 50s -- via stan freberg lol -- that paid no fair mind to just about anything that came afterwards (except maybe some TV themetunes and cokerock production techniques)

(i even feel like he got to "fusion" via his own route tbh)

― mark s, Friday, 25 December 2020 20:24 (two years ago) bookmarkflaglink

For years I was convinced that the only time I saw FZ was 1974 with the Roxy and Elsewhere band, and wished I could remember it more clearly (or really at all.) There is even a soundboard bootleg available, which did nothing to jog my memory. The setlist is much the same as You Can't Do That On Stage Vol. 2, which I love, and the show is actually quite good.

https://www.youtube.com/watch?v=gi0SXwX-BAQ

Over the weekend I came to the realization that the show I attended was actually 1975. Ruth Underwood and George Duke were gone, and with them the complicated cartoon music of Roxy and Apostrophe. The band is stripped down from two drummers to one (Terry Bozzio) and features the short-lived lineup including Norma Bell and Andre Lewis. The setlist for this new band revived oldies from Freak Out, introduces a couple from Bongo Fury, and includes early arrangements of the justly maligned "Honey/Illinois" medley.

Still and all an interesting listen, captured on Zappa '75: Zagreb/Ljubljana, recorded mere days before I saw them in St. Paul, the night before Thanksgiving 1975.

https://www.youtube.com/watch?v=cgs_Z6z1yLs

Naval Aviation In Art (through PA), Stinkfoot (incl. The Poodle Lecture), Dirty Love, How Could I Be Such A Fool?, I Ain't Got No Heart, I'm Not Satisfied, Black Napkins, Advance Romance, Honey Don't You Want A Man Like Me?, The Illinois Enema Bandit, Carolina Hard-Core Ecstasy, Lonely Little Girl, Take Your Clothes Off When You Dance, What's The Ugliest Part Of Your Body?, Chunga's Revenge (incl. Five-Five-Five riff, Sy Borg riff, q: Follow Your Heart), I'm The Slime, San Ber'dino