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Frank Zappa
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Frank Zappa
Cover of Zappa's 1974 album, Apostrophe (')
Cover of Zappa's 1974 album, Apostrophe (')
Background information
Birth name Frank Vincent Zappa
Born December 21, 1940
Origin Baltimore, Maryland
Died December 4, 1993 (aged 52)
Genre(s) Rock, Jazz, Doo-wop, Blues, Classical, Progressive rock, Experimental rock, Satire
Occupation(s) Composer, Musician, Bandleader, Conductor, Producer
Instrument(s) Vocals, Guitar, Bass Guitar, Keyboards, Vibraphone, Synclavier, Drums
Years active 1950s - 1993
Label(s) Bizzare, Rykodisc, DiscReet, Zappa, Barking Pumpkin
Associated
acts Captain Beefheart
The Mothers Of Invention
Website Zappa.com
Notable instrument(s)
Gibson Les Paul
Gibson SG
Fender Stratocaster
The Synclavier
ES-5 Switchmaster Gibson
Frank Vincent Zappa[1] (December 21, 1940 – December 4, 1993) was an American composer, guitarist, singer, film director, and satirist. In a career spanning more than 30 years, Zappa established himself as a prolific and highly distinctive musician, composer and band leader. He worked in almost every musical genre and wrote music for rock bands, jazz ensembles, synthesizers and symphony orchestra, as well as radiophonic works constructed from pre-recorded, synthesized or sampled sources. In addition to his music recordings, he created feature-length and short films, music videos, and album covers.
Although he only occasionally achieved major commercial success, he maintained a highly productive career that encompassed composing, recording, touring, producing and merchandising his own and others' music. Zappa self-produced almost every one of the more than sixty albums he released with the Mothers of Invention or as a solo artist. He received multiple Grammy nominations and won for Best Rock Instrumental Performance in 1988 for the album Jazz From Hell. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995, and received a Grammy Lifetime Achievement Award in 1997. In 2005, his 1968 album with the Mothers of Invention, We're Only in It for the Money, was inducted into the United States National Recording Preservation Board's National Recording Registry. The same year, Rolling Stone Magazine ranked him #71 on their list of the 100 Greatest Artists of All Time.[2]
Politically, Zappa was a self-proclaimed "practical conservative",[3] an avowed supporter of capitalism and independent business. He was also a strident critic of mainstream education and organized religion, and he repeatedly lampooned the emerging "born-again" Christian movement in songs. Zappa was a forthright and passionate advocate for freedom of speech and the abolition of censorship, and his work embodied his skeptical view of established political processes and structures.
Zappa was married twice, once to Kathryn "Kay" Sherman (1960–1964; no children), and then in 1967 to Adelaide Gail Sloatman, with whom he remained until his death in December 1993 of prostate cancer. They had four children: Moon Unit, Dweezil, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Gail Zappa handles the businesses of her late husband under the company name the Zappa Family Trust.
Contents
[hide]
* 1 Biography
o 1.1 Early life and influences
o 1.2 1960s
o 1.3 1970s
o 1.4 1980s
o 1.5 1990s
* 2 Trivia
* 3 Samples
* 4 Discography
* 5 Notes and references
* 6 Further reading
* 7 External links
[edit] Biography
[edit] Early life and influences
Frank Zappa was born in Baltimore, Maryland, on December 21, 1940 to Francis Zappa (born in Partinico, Sicily, of Greek and Lebanese descent) and Rose Marie Colimore (who was three quarters Italian including Sicilian and one quarter French descent). He was the oldest of four children (two brothers and a sister). In January of 1951, his family relocated to the West Coast because of Frank's asthma. They settled in Monterey, California, about 100 miles south of San Francisco. Shortly thereafter, they moved to Pomona, then to El Cajon before moving a short distance, once again, to San Diego in the early 1950s.
During Zappa's early childhood, his father, a chemist and mathematician, worked at the Edgewood Arsenal chemical warfare facility at nearby Aberdeen Proving Ground. Due to the home's proximity to the Arsenal, Zappa's father kept gas masks on hand in case of an accident. Evidently, this had a profound effect on the young Zappa; references to germs, germ warfare and other aspects of the "secret" defense industry occur throughout his work. Zappa developed a sinus problem during his early teens. To his lasting horror, his doctor treated the stubborn ailment by inserting a pellet of radium on a probe into each of his nostrils. Nasal imagery and references would appear both in his writing and in the collage album covers created by his longtime visual collaborator, Cal Schenkel.
By 1955 the Zappa family had relocated to Lancaster. Lancaster was a small aerospace and farming town in Antelope Valley of the Mojave Desert, close to Edwards Air Force Base (30 miles away), Los Angeles (60 miles away), and the San Gabriel Mountains. Lancaster's location gave Zappa access to the exciting sounds of radio stations in Los Angeles and KSPC 88.7 FM in Claremont, where Zappa had his own Saturday night show. In addition, his parents were affluent enough to afford a record player, records, a television, and musical instruments. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in some of his later work.
By age 15, Zappa had attended six different high schools. As a student, Zappa was bored and given to distracting the rest of the class with juvenile antics. He left community college after one semester, and maintained a disdain for formal education throughout his life, taking his children out of school at age 15 and refusing to pay for their college.
Zappa was, from the beginning, interested in sounds for their own sake. This led to his interest in modern composers, and he grew up influenced in equal measures by avant-garde composers such as Edgard Varèse, Igor Stravinsky and Anton Webern, local rhythm and blues and doo-wop groups (particularly local pachuco groups), and modern jazz (including bebop and free jazz), but black R&B was a pervasive musical influence on Zappa. His own heterogeneous ethnic background and the diverse cultural and social mix that existed in and around greater Los Angeles at the time also were crucial in situating Zappa as a practitioner and fan of "outsider art".[4] Indeed, throughout his career he was deeply distrustful and openly critical of "mainstream" social, political and musical movements, and he frequently lampooned popular musical fads like psychedelia, bubblegum pop, rock opera and disco.[5]
The pivotal events leading to Zappa's engagement with modern classical music occurred after his reading of a LOOK magazine story on the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One. It further described Varèse's percussion composition Ionisation as "a weird jumble of drums and other unpleasant sounds." Zappa then became convinced that he should seek out Varèse's music. When he spotted a copy of The Complete Works of Edgard Varèse, Volume One in a local record store after a year of searching (he noticed the LP for the "mad scientist" looking photo of Varèse on the cover, and was surprised it was the Varèse LP he'd long been searching for), Zappa convinced the salesman to sell him the store's demonstration copy at a discount. Thus began a lifelong passion for Varèse and his music.
Zappa's mother gave him considerable encouragement. Though she disliked Varèse's music, she was indulgent enough to award Zappa a long distance call to the composer as a fifteenth birthday present. Unfortunately, Varèse was in Europe at the time, so Frank spoke to the composer's wife. Zappa later received a letter from Varèse thanking Zappa for his interest, telling him about a composition he was working on called "Déserts" (living in the desert town of Lancaster, Zappa found this very exciting), and inviting Zappa to look him up if he was ever in New York. The meeting never took place (Varèse died in 1965), but Zappa kept the framed letter proudly displayed for the rest of his life.[6][7]
Zappa's interest in composing and arranging burgeoned in his later high school years and he dreamed of being a composer. By his final year, he was writing prolifically and had not only composed, arranged and conducted an avant-garde performance piece for the school orchestra, but had also contrived to have the event both broadcast on local radio and recorded.[8]
Zappa began his career as musician on drums, and while attending Mission Bay High School, he joined his first band, The Ramblers. Although he performed as a singer and guitarist for most of his later career, Zappa's original influence by classical percussion compositions made him retain a strong interest in rhythm and percussion and his bands have been noted for the excellence of their drummers and percussionists. His works such as "The Black Page" are notorious for complexity in rhythmic structure, featuring radical changes of tempo and metre as well as short, densely arranged passages contrasted by free-form breaks and extended improvisations.
In 1956 Zappa met Don Van Vliet (best known by his stage name "Captain Beefheart") while taking classes at Antelope Valley High School and playing drums in a local band, The Blackouts. The Blackouts, a racially-mixed outfit, included Euclid James "Motorhead" Sherwood (who later became a member of the Mothers of Invention). Zappa and Van Vliet became close friends, influencing each other musically, and collaborating in the late Sixties and mid-Seventies (e.g., on Van Vliet's Trout Mask Replica, which Zappa produced, and the 1975 Mothers of Invention live album Bongo Fury). They later became estranged for a period of years.
In 1957 Zappa was given his first guitar. Among his early influences was Johnny "Guitar" Watson's 1956 song "Three Hours Past Midnight," and he would several years later invite Watson to contribute on numerous albums. Zappa considered soloing as equivalent of forming "air sculptures", and developed an eclectic, innovative and personal style. He eventually became one of the most highly regarded electric guitarists of his time.[9][10]
Absolutely Free, 1967
Absolutely Free, 1967
In June 1958 Zappa worked for a time in advertising. His sojourn in the commercial world was another important influence on his work, and within a few years Zappa was co-opting the techniques he learned as a commercial artist. Zappa used them to deconstruct music, the music business, the media and society at large by combining them with the ideas he had gleaned from his studies of dada, the Situationist International, and surrealism. Zappa thereafter always took a keen interest in the visual presentation of his work, designing some of his album covers (for example, Absolutely Free) and directing his own films and videos.
Zappa moved to Los Angeles in 1959 and spent most of the rest of his life there.
[edit] 1960s
Among Zappa earliest professional recordings are two scores for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965). In 1963, he began playing professionally around Los Angeles and bought the small Pal Recording Studio in Rancho Cucamonga, California, which included a unique 5-track tape recorder built by Paul Buff. At this time, only a handful of the most expensive commercial studios had multitrack facilities, the industry standard for smaller studios was still mono or two-track. Zappa renamed the studio "Studio Z," moved into it, and began routinely working 12 hours or more per day. This set a pattern that would endure for almost all of his life.
While at "Studio Z", Zappa accepted an offer of $100 to produce a suggestive tape for a customer's stag party. Zappa and a female friend jokingly faked an "erotic" recording. Unfortunately, the customer was an undercover member of the Vice Squad and Zappa was jailed for ten days on charges of supplying pornography. His entrapment and brief imprisonment left a permanent mark, and was a key event in the formation of his anti-authoritarian stance.
After a short career as a professional songwriter — his elegiac "Memories of El Monte" was recorded by Doo-Wop group The Penguins — in 1964 Zappa joined a local R&B band, The Soul Giants, as a guitarist. Soon he assumed leadership, renaming the band "The Mothers." They gradually began to gain attention on the burgeoning Los Angeles underground "freak scene" and in 1965 they were spotted by leading record producer Tom Wilson, who had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel. Wilson was also notable as one of the few African-Americans working as a major label pop producer at this time. Wilson signed The Mothers to the Verve label, which had built up a strong reputation for its modern jazz recordings in the 1940s and 1950s, but was then attempting to diversify into pop and rock, with an "artistic" or "experimental" bent. Verve Records insisted that the band officially re-titled themselves "The Mothers of Invention" because "Mother" was short for "************" — a term that apart from its profane meanings can denote a skilled musician.[11] Around this time, Zappa also met and signed with longtime manager Herb Cohen.
Freak Out!, 1966
Freak Out!, 1966
With Wilson credited as producer, The Mothers recorded their groundbreaking double album debut Freak Out! (1966), a mixture of R&B, doo-wop and experimental sound collages that attempted to capture the "freak" subculture of Los Angeles at that time. One of the first record albums united by an underlying theme, it was also only the second double LP of rock music ever released, and firmly established Zappa as a radical new voice in rock music. Wilson is also credited with producing the follow-up Absolutely Free; but for the third LP, Wilson was listed as "Executive producer," and Zappa took over as producer for all the Mothers and solo Zappa recordings issued from that time on. Even on the two first albums, Zappa was already responsible for virtually all of the musical decisions, with Wilson providing the industry clout and connections to get the unknown group financial resources needed. During this period, Wilson also had Zappa collaborate with The Animals on the song "All Night Long" on their album Animalism.
The early Mothers' anarchic stage shows were legendary — during a 1967 performance at the Garrick Theatre in New York, Zappa managed to entice some marines from the audience onto the stage, where they proceeded to dismember a collection of baby dolls, having been told by Zappa to imagine that they were "**** babies".[12]
We're Only in It for the Money, 1968
We're Only in It for the Money, 1968
Zappa's second and third studio albums were landmarks of record production highlighted by liberal use of 'cut-up' editing techniques. Absolutely Free (1967) continued Zappa's lyrical preoccupations with the hypocrisy and conformity of American society, with the alleged suppression of underground and alternative culture. It was followed by the album widely regarded as the peak of the group's late Sixties work, We're Only In It For The Money (1968) which featured some of the most radical audio editing and production yet heard in pop music, and ruthlessly satirized the hippie and flower power phenomena. The cover photo parodied that of The Beatles' Sgt Pepper's Lonely Hearts Club Band.[13]
Lumpy Gravy, 1968
Lumpy Gravy, 1968
This was book-ended by two closely linked companion pieces. The audio collage Lumpy Gravy (1968) — released as a solo album under the name Francis Vincent Zappa[1] — took Zappa's production techniques to a new level and, according to Zappa himself, took nine months to edit. It mixes a multitude of musical styles and orchestra line ups. His next album was a tribute to the doo-wop genre Cruising with Ruben & the Jets (1968).
During the late Sixties, Zappa continued to develop as an artist. He increasingly used tape editing as a compositional tool. A prime example being the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances. Zappa further evolved a compositional approach — which he dubbed "conceptual continuity" — that ranged across virtually every genre of music. His work combines satirical lyrics and pop melodies with virtuoso instrumental prowess, where long, jazz-inflected improvisational passages are counterbalanced with densely edited and seemingly chaotic collage sequences that mix music, sound effects and snatches of conversation. Conceptual continuity clues are found throughout Zappa's entire oeuvre.
He also became famous for regularly quoting musical phrases that influenced or amused him — one of his most famous and regular quotes was the riff from the perennial Sixties rock hit "Louie Louie", which appears in various forms in numerous recordings over the whole span of his career. He also frequently quoted from or referred to TV show themes ("The Untouchables"), from famous rock & pop songs such as "My Sharona," "Do You Really Want To Hurt Me?", "Let's Dance," "Whip It," "Owner of a Lonely Heart," and "Stairway To Heaven," and from classical works such as The Rite of Spring, Boléro and a theme from "Jupiter" from The Planets.
Around 1968 Zappa also began regularly recording his concerts, beginning with a simple two-track portable recorder and eventually progressing to a portable 48-track digital system. In the process he built up a vast archive of live recordings. In the late 1980s some of the best of these recordings were collected for the 12-CD set You Can't Do That on Stage Anymore. Because of his insistence on precise tuning and timing in concert, from the 1970s on Zappa was able to augment his studio productions with excerpts from live shows, and he is known to have inserted 'live' guitar solos into the final studio recordings of some compositions, a process he dubbed xenochrony.
Hot Rats, 1969
Hot Rats, 1969
Although they were lauded by critics and their peers and had a rabid cult following, mainstream audiences often found much of Zappa and the Mothers' music, appearance and attitude impossible to comprehend, and the band was often greeted with derision. More importantly, the financial strain and interpersonal tensions involved in keeping a large jazz-rock ensemble on the road eventually led to the group's demise in 1969, although numerous members would remain with or return to Zappa in years to come. Remaining Mothers recordings from this period were collected on Weasels Ripped My Flesh (1969) and Burnt Weeny Sandwich (1970).
After he disbanded the original Mothers, Zappa released the acclaimed solo instrumental album Hot Rats, featuring his jazz-inflected guitar playing backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummer John Guerin, multi-instrumentalist Ian Underwood, and bassist Shuggie Otis. It remains one of his most popular and accessible recordings and undoubtedly had a major influence on the development of the jazz-rock fusion genre.
During this period Zappa also produced the double album Trout Mask Replica for his old friend Captain Beefheart (who also appeared on Hot Rats) as well as releases by Alice Cooper, Tim Buckley, Wild Man Fischer and The GTOs.
[edit] 1970s
Around 1970, Zappa put together a new version of The Mothers that included British drummer Aynsley Dunbar, jazz keyboardist George Duke, previous Mothers member Ian Underwood, and no fewer than three members of The Turtles: bass player Jim Pons, who before joining The Turtles had been the lead singer of The Leaves (of "Hey Joe" fame); and singers Mark Volman and Howard Kaylan, who due to persisting legal/contractual problems adopted the stage-monikers "The Phlorescent Leech and Eddie," or "Flo & Eddie" for short.
Fillmore East - June 1971, 1971
Fillmore East - June 1971, 1971
The new lineup debuted on Zappa's next solo LP Chunga's Revenge, which was followed by the soundtrack to the movie project 200 Motels, featuring both The Mothers and The Royal Philharmonic Orchestra. At the time George Duke was in the band and appears both in the film and on the soundtrack as a musician. He left the band to play with Cannonball Adderly and was replaced by Don Preston from the original Mothers, who acted in the film, but is not playing on the soundtrack.
This double album was followed by two live sets, Fillmore East - June 1971 and Just Another Band From L.A., which included the 20-minute track "Billy The Mountain," Zappa's satire on rock opera, set in Southern California. The low-concept cover art of the Fillmore album — satirizing the bootleg albums that had recently become popular, and of which Zappa was a favoured target — appeared just at the apex of the era of great rock "album cover artwork".[14]
In December 1971 there were two serious setbacks. While performing in Montreux, Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino where they were playing —an event immortalized in Deep Purple's song "Smoke On The Water." The event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II compilation. Later that month, Zappa was attacked at the Rainbow Theatre, London. An audience member pushed Frank off the stage and into the orchestra pit. The man, Trevor Howell, gave two stories to the press: one was that he felt the band hadn't given him value for his money. The other was that Zappa had supposedly been making eyes at Howell's girlfriend. Zappa suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx (which caused his voice to drop a third after healing). This left him wheelchair bound for a time, forcing him off the road for over a year. (He was wearing a leg brace for a period thereafter, had a noticeable limp and couldn't stand for very long while on stage.) He said one leg healed "shorter than the other" (a reference found in the lyrics of "Zomby Woof" and "Dancin' Fool"). Meanwhile, the Mothers were left in limbo, and eventually formed the core of Flo and Eddie's band as they set out on their own.
The Grand Wazoo, 1972
The Grand Wazoo, 1972
In 1971-72 Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating lineups of session players and Mothers alumni. He began touring again in late 1972, first with a scaled-down version of the big band appearing on Grand Wazoo - appropriately known as "Petit Wazoo."[15] Then he formed groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals) and Jean-Luc Ponty (violin).
He continued a high rate of production through the early 1970s, including the albums One Size Fits All and Apostrophe, Over-Nite Sensation and Roxy & Elsewhere featuring ever-changing versions of a band though still called the Mothers. These albums were notable for the highly technical jazz-fusion the bands were renowned for, demonstrated on such pieces as "Inca Roads," "Echidna's Arf (Of You)" or "Be-Bop Tango (Of the Old Jazzmen's Church)."
Frank Zappa at the Armadillo World Headquarters on September 13, 1977.
Frank Zappa at the Armadillo World Headquarters on September 13, 1977.
In the mid 1970s Zappa prepared material for Läther (pronounced "leather"), an intended four-LP project. Läther encapsulated all the aspects of Zappa's musical styles —rock tunes, orchestral works, complex instrumentals, and Zappa's own trademark tube distortion-drenched guitar solos. Wary of a quadruple-LP, Warner Bros. Records refused to release it. Zappa soon appeared on the (at the time) influential Los Angeles radio station KROQ, allowing them to broadcast the Läther album and encouraging listeners to make their own tape recordings. A lawsuit between Zappa and Warner Bros. followed, during which the major parts of the album were issued as Zappa in New York (1978), Studio Tan (1978), Sleep Dirt (1979), and Orchestral Favorites (1979), with limited promotion. Läther was released posthumously in 1996.
Zappa's relationship with long-time manager Herb Cohen ended in 1976. The breakup was an acrimonious affair, exacerbated by Zappa's ongoing feud with Warner Bros. Cohen had created DiscReet Records with Zappa as a label of Warner Bros., in order to be used as a business venture to aid funding of Zappa albums. Zappa however discovered that Cohen had been skimming more than he was allocated from the label, and he also alleged that Cohen had used some of Frank's money to fund recordings for other artists. Cohen filed a lawsuit against Zappa in return, due to Zappa taking the master copies of Zoot Allures (1976) directly to Warner Bros., thus bypassing DiscReet completely. While it is unknown what became of the lawsuits, Zappa and Cohen would never work together again. Zappa eventually gained the rights of all his material created under the Warner Bros. contract.
During the late 1970s Zappa made two appearances on the popular NBC television show Saturday Night Live. His appearance in December 1976 as a featured musical guest, included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. Also, "I'm The Slime", featuring a voice-over by SNL booth announcer Don Pardo, was performed. In 1978 Zappa served both as host and musical act, and as an actor in various sketches.[16]
Sheik Yerbouti, 1979
Sheik Yerbouti, 1979
Zappa's 1970s period ended with the releases of Sheik Yerbouti (1979), which contained Zappa classics such as Dancin' Fool, Bobby Brown (Goes Down), as well as Jewish Princess, which received some controversial attention, and the triple LP Joe's Garage (1979), which features lead singer Ike Willis as voice of "Joe". Joe's Garage features a coherent story line about the suppression of freedom of speech (and music), and mixes catchy songs like "Catholic Girls," "Lucille Has Messed My Mind Up," and the title track, with long guitar solos taken from live concerts and mixed with studio material (cf. the aforementioned process xenochrony). Finally, the album contains what would become one of Zappa's most famous signature guitar pieces, "Watermelon in Easter Hay." Sheik Yerbouti was a commercial success mainly due to the song "Bobby Brown (Goes Down)." Due to the explicit lyrics about a young man's encounter with a "dyke by the name of Freddie," the song did not get airplay in the US, but it topped the charts in several European countries and is still popular in countries where English is not the primary language.[17] In 1992 Zappa told Matt Groening that "I don't think anything has outsold Sheik Yerbouti, partly because ‘Bobby Brown’ keeps becoming a hit every ten years . . . I think it was back on the charts again in Norway. For no apparent reason, it was back."[18]
[edit] 1980s
You Are What You Is, 1981
You Are What You Is, 1981
In 1981, the double album You Are What You Is was released. Most of the album was recorded in Zappa's brand new UMRK (Utility Muffin Research Kitchen) studios. It featured 19 songs, which included such complex instrumentals as "Theme from the 3rd Movement of Sinister Footwear", but mainly focused on rock songs with Zappa's sardonic social commentary. "Dumb All Over," is an example of this, being a devastating tirade on religion, as is "Heavenly Bank Account," wherein Zappa rails against people such as Jerry Falwell for relying upon the US administration to finance the religious organization, the "Moral Majority," while simultaneously embezzling the funds. The album is also notable for the presence of guitar virtuoso Steve Vai who joined Zappa's touring band in the Fall of 1980.
In the same year, Tinsel Town Rebellion was released, a mixture of songs taken from a 1979 tour, one studio track and the rest were taken from the last tour of 1980. The album is a mixture of complicated instrumentals, of which "The Blue Light" is a salient example, demonstrating Vinnie Colaiuta's dexterity around a drum kit, and Zappa's use of sprechstimme (speaking voice), a compositional technique utilized by such composers as Arnold Schoenberg, and Alban Berg. Colaiuta's performances on Zappa's albums Tinsel Town Rebellion, Joe's Garage and Shut Up 'n Play Yer Guitar are considered by many drummers to be among the most astounding ever recorded. Joe's Garage was named one of the top-25 drumming performances of all time in a 1993 Modern Drummer magazine article.
Ship Arriving Too Late to Save a Drowning Witch, 1982
Ship Arriving Too Late to Save a Drowning Witch, 1982
1981 also saw the release of three instrumental albums Shut Up 'N Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order by Zappa himself, but were later released commercially through CBS label due to popular demand.[19]As the titles reveal, these albums focus exclusively on Frank Zappa as a guitar soloist. Frank Zappa's guitar solos had been a trademark during his career, and now he decided to release albums focusing on his work as a guitarist. The guitar tracks on the albums are predominantly live recordings from 1979-80, and highlight Zappa's exceptional improvisational skills and unique sound. The albums were subsequently released as a 3-album box set, and were in 1988 followed by the album Guitar focusing on recordings from 1981-82 and 1984. A third guitar-only album, Trance-Fusion, was completed by Zappa shortly before his death, but had not been officially released until 2006.
In May of 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single, "Valley Girl" (topping out at #32 on the Billboard charts). In her improvised "lyrics" to the song, Zappa's daughter Moon Unit satirized the vapid speech of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon" and "barf out".
1983 saw the release of two different projects, The Man From Utopia, a rock-oriented work. The album itself is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats," both continuations of the sprechstimme excursions shown on Tinseltown Rebellion. The second album was the first fully orchestral recording of Zappa pieces, something he had been waiting to accomplish for some time. Conducted by Kent Nagano and performed by the London Symphony Orchestra, it featured the compositions "Sad Jane," "Pedro's Dowry," and "Mo 'n Herb's Vacation." A second record of these sessions saw release in 1987, containing "Bogus Pomp." Frank was not pleased with the LSO recordings as they were not perfect performances of his compositions. The most notable example is "Strictly Genteel," which was recorded after the trumpet section had gone out for drinks on break. This track took an immense amount of edits to get a passable version.
For the remainder of his career, much of Zappa's work was affected by use of the synclavier as a compositional and performance tool. In 1984, he released four albums within a few months. Boulez Conducts Zappa: The Perfect Stranger, which juxtaposed orchestral works commissioned and conducted by world-renowned conductor Pierre Boulez and premiere synclavier pieces; Thing-Fish, an ambitious three-record set in the style of a Broadway play (where new vocals are combined with previous released tracks and new synclavier music); Francesco Zappa a synclavier rendition of works by 17th century composer, Francesco Zappa (no documented relation); Them or Us, a two-record set of heavily edited live and session pieces.
On September 19, 1985, Zappa testified before the US Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music censorship (though others would say watchdog) organization founded by then-Senator Al Gore's wife Tipper Gore and including many other political wives, including the wives of five members of the committee. In his prepared statement, Zappa said
“ The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. (...) The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?[20] ”
Jazz From Hell, 1986
Jazz From Hell, 1986
Zappa put some excerpts from the PMRC hearings to music in his composition "Porn Wars" from the 1985 album Frank Zappa Meets the Mothers of Prevention. Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton, Al Gore (who admitted to being a Zappa fan), and, most notably, an exchange with Florida Senator Paula Hawkins over what toys the Zappa children played with. Zappa would also go on to argue with PMRC representatives on the CNN's Crossfire in 1986 and 1987.[21]
The album Jazz From Hell, released in 1986, brought Zappa his first Grammy Award in 1988 for Best Rock Instrumental Performance. Except for one live guitar solo, the album exclusively featured compositions brought to life by the synclavier.
His last tour in a "rock band format" took place in 1988 with a 12-piece group which was reported to have a repertoire of over 200 (mostly Zappa) compositions, but which split in acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway The Hard Way (new material featuring songs with strong political emphasis), The Best Band You Never Heard in Your Life (Zappa "standards" and obscure cover tunes), and Make a Jazz Noise Here (mostly instrumental and experimental music). Parts are also found on You Can't Do That on Stage Anymore, Vols. 4 and 6.
In the late 1980s Zappa's passion for American politics was becoming a bigger part of his life. Throughout the 1988 tour, he regularly encouraged his young fans to register to vote, and even had voter registration booths at his concerts. He was also considering running for President of the United States under the United States Libertarian Party ticket.[22]
During this period, Zappa was also simultaneously undertaking a comprehensive re-release program of his earlier recordings. He personally oversaw the remastering of all his classic 1960s, 1970s and early 1980s albums for the new compact disc medium, although certain of these re-issues were criticised by some fans as being unfaithful to the original recordings. In the case of Hot Rats, the mix on the CD version differs markedly from the original LP version. We're Only In It For The Money was particularly criticized because Zappa used his current touring bassist and drummer to re-record some of the rhythm parts. Zappa's explanation was that the multitrack tapes of the album had deteriorated so badly that the original rhythm tracks were unusable, but the criticism evidently had an effect and several years later he released a second CD version of the album, this time prepared from the original two-track safety master.
[edit] 1990s
Civilization, Phaze III, 1994
Civilization, Phaze III, 1994
In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel, a lifelong fan, and was asked by Havel to serve as consultant for the government on trade, cultural matters and tourism. Zappa enthusiastically agreed and began meeting with corporate officials interested in investing in Czechoslovakia. Within a few weeks, however, the US administration put pressure on the Czech government to withdraw the appointment. Havel made Zappa an unofficial cultural attaché instead.[23]
Zappa's political work would come to a halt all too soon, however. In 1991, he was diagnosed with terminal prostate cancer. After his diagnosis, Zappa devoted almost all of his energy to modern orchestral and synclavier works. Although ill, in 1992 he appeared as a guest conductor with the "Ensemble Modern" in a series of concerts in Germany devoted to his compositions, recordings from which appeared on The Yellow Shark.
During these years, he edited numerous CD collections of concert recordings made throughout his career. In 1993, he completed Civilization, Phaze III, a major synclavier work he had begun in the 1980s. He stated in interviews that he was working on hundreds of synclavier pieces, most of which remained unfinished.
Frank Zappa died on December 4, 1993, age 52, and was interred in an unmarked grave at the Westwood Village Memorial Park Cemetery in Westwood, California.
[edit] Trivia
See also: Cultural references to Frank Zappa
* One of Frank's idols was comedian Lenny Bruce, and the original Mothers of Invention opened for him at his final performance. Before the show, Frank asked Lenny to sign his draft card. Apprehensive, Lenny declined.
* Jimi Hendrix gave Zappa the burnt and broken parts of the Fender Stratocaster guitar that he destroyed onstage at the 1968 Miami Pop Festival. After Hendrix's death in 1970, Zappa rebuilt the instrument and played it extensively during the 1970s and 1980s. In 2002, Zappa's son Dweezil jokingly put the guitar up for auction on his website with a starting bid of $1 million. Dweezil also used this guitar on his albums "Having a Bad Day" and "My Guitar Wants to Kill Your Mama."
* On December 6, 1976, Zappa introduced Black Sabbath at their Madison Square Garden concert. This announcement is featured on a Black Sabbath bootleg album. He once declared Sabbath's "Iron Man" (Paranoid, 1970) the greatest ever rock track, he would later change his choice of track to "Supernaut" from the group's Vol.4 Album (1972) A jam was once organized featuring Sabbath and Zappa, but Sabbath pulled out of the project.
* Frank used a Wah-wah pedal but did not always use it in the conventional way of rocking it back and forth. Frank often left it set in different positions to get different tones, using it as a filter or distortion device. In many recordings, however, he used the pedal in a conventional manner (as in "I'm the Slime"). Zappa is widely considered to be a master of and major innovator in the use of this effect, and in The Real Frank Zappa Book he asserts that he introduced Jimi Hendrix to the device when they first met in New York in 1966.
* In the The School Of Rock, when Dewey Finn is making a chart to teach the students about rock music he puts Zappa in the category "?" branching off of Progressive Rock along with Can and Capt. Beefheart.
[edit] Samples
* Download sample of "Hungry Freaks, Daddy" from Freak Out (file info) — play in browser (beta)
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* Download sample of "What's the Ugliest Part of Your Body?" from We're Only in It for the Money (file info) — play in browser (beta)
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* Download sample of "Bobby Brown Goes Down" from Sheik Yerbouti (file info) — play in browser (beta)
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[edit] Discography
Main article: Frank Zappa discography
[edit] Notes and references
1. ^ a b Until rediscovering his birth certificate as an adult, Zappa believed he had been christened "Francis," and he is credited as Francis on some of his early albums. His real name was "Frank", however, never "Francis." Cf. Zappa, Frank; with Peter Occhiogrosso (1989). The Real Frank Zappa Book. New York: Poseidon Press. ISBN 0-671-63870-X.
2. ^ The Immortals. Rolling Stone Issue 972. Rolling Stone. Retrieved on 2007-03-13.
3. ^ Ouellette, Dan (August 1993), "Interview with Frank Zappa", Pulse! Magazine
4. ^ Watson, Ben (1996). Frank Zappa: The Negative Dialectics of Poodle Play. St. Martin's Press. ISBN 0312141246.
5. ^ Among his many musical satires are the 1967 songs "Flower Punk" (which parodies the song "Hey Joe") and "Who Needs The Peace Corps?", which are withering critiques of the late-Sixties commercialisation of the hippie phenomenon.
6. ^ Zappa, Frank (June 1971), "Edgard Varese: The Idol of My Youth", Stereo Review: 61-62
7. ^ On several of his earlier albums, Zappa paid tribute to Varèse by quoting his: "The present-day composer refuses to die."
8. ^ A portion of this recording is included on the posthumous album The Lost Episodes (1996).
9. ^ He is ranked 45th in "The 100 Greatest Guitarists of All Time", Rolling Stone, August 27, 2003.
10. ^ He is ranked 51st in "The 100 Wildest Guitar Heroes", Classic Rock Magazine, April 2007.
11. ^ Nigel Leigh. Interview with Frank Zappa [BBC Late Show]. UMRK, Los Angeles, CA: BBC.
12. ^ An old rumor states that at some point in the 1960s, Zappa once won a gross-out contest against Alice Cooper, by eating his own excrement on stage. Zappa denied the claim, stating, "For the record, folks; I never took a **** on stage and the closest I ever came to eating **** anywhere was at a Holiday Inn buffet in Fayetteville, North Carolina, in 1973". Cf. Zappa, Frank; with Peter Occhiogrosso (1989). The Real Frank Zappa Book. New York: Poseidon Press, 14. ISBN 0-671-63870-X.
13. ^ To avoid a lawsuit, however, the album was released with the cover and back on the inside of the gatefold, while the actual cover and back were a picture of the group in a pose parodying the inside of the Beatles album.
14. ^ During the June 1971 Fillmore concerts Zappa was joined on stage by John Lennon and Yoko Ono. This historic performance was recorded and Lennon released excerpts on his album Some Time In New York City in 1972. Zappa later released his version of excerpts from the concert on Playground Psychotics in 1992, including the jam track "Scumbag" and an extended avant garde vocal piece by Yoko (originally called "Au") which Zappa retitled "A Small Eternity with Yoko Ono".
15. ^ Official recordings of this band would not emerge until more than 30 years later on Imaginary Diseases (2006).
16. ^ Not all of the cast members and producers of SNL were happy with the Zappa shows, as they felt he often broke the implicit rule of not making faces to the camera. See Hill, Doug; Weingrad, Jeff (1986). Saturday Night. New York: Vintage Books. ISBN 0-394-75053-5.
17. ^ Have I Offended Someone by Frank Zappa. Rykodisc (May 1997). Retrieved on 2007-03-18.
18. ^ Groening, Matt & Don Menn (1992), "The Mother of All Interviews. Act II: Matt Groening joins in on the scrutiny of the central decentralizer", in Menn, Don (ed.), Zappa! Guitar Player Presents., San Francisco, CA: Miller Freeman, at p. 61, ISSN 1063-4533
19. ^ Zappa, Frank (November 1982), "Absolutely Frank. First Steps in Odd Meters", Guitar Player Magazine: 116
20. ^ See full transcript of Zappa's Senate Testimony.
21. ^ See excerpts from 1986 Crossfire interview with Frank Zappa and John Lofton.
22. ^ See Libertarian Party News Archive, January 1994.
23. ^ Miles, Barry (2004). Frank Zappa. London: Atlantic Books, 357-361. ISBN 1 84354 092 4.
[edit] Further reading
* Courrier, Kevin (2002). Dangerous Kitchen: The Subversive World of Zappa. Toronto: ECW Press. ISBN 1-55022-447-6.
* Rausch, Andreas (2005). Zappaesk. Köln: Egmont EHAPA. ISBN 3-7704-2888-9.
* The Words and Music of Frank Zappa, by Kelly Fisher Lowe, Praeger Publishers (April 2006), an extensive chronological review of Zappa's work and its deeper meanings, ISBN 0-275-98779-5
* No Commercial Potential—The Saga of Frank Zappa, by David Walley
* Lunar Notes-Zoot Horn Rollo's Captain Beefheart Experience, by Bill Harkleroad, contains several references about Zappa's collaboration with Don Van Vliet.
* Mother! the Frank Zappa Story, by Michael Gray
* Electric Don Quixote: The Definitive Story of Frank Zappa, by Neil Slaven
* Necessity Is... The Early Years of Frank Zappa and the Mothers of Invention, by Billy James
* Cosmik Debris: The Collective History and Improvisations of Frank Zappa, by Greg Russo, Crossfire Pubns; 2nd Rev edition (January 9, 2003), ISBN 0-9648157-0-2
* My Brother was a Mother, by Patrice "Candy" Zappa
* Frank Zappa, Captain Beefheart, and the Secret History of Maximalism, by Michel Delville and Andrew Norris. Cambridge: Salt Publishing, 2005.
* Academy Zappa: Proceedings of the First International Conference of Esemplastic Zappology, edited by Ben Watson and Esther Leslie, (London: SAF, 2005), ISBN 0-946719-79-9
* Frank Zappa en el infierno. El rock como movilización para la disidencia política, by Manuel de la Fuente Soler, Biblioteca Nueva (Madrid, 2006), the first book that analyzes Frank Zappa's political discourse in the Reagan era, ISBN 84-9742-592-8
[edit] External links
Wikiquote has a collection of quotations related to:
Frank Zappa
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Portal:Guitar
Visit the Guitar Portal
* The Official Frank Zappa Site
* ARF: Frank Zappa Scholars Web Page Includes detailed FAQs on every song on every released album.
* Frank Zappa at the Internet Movie Database
* Frank Zappa's Musical Language Detailed analyses of various compositions.
* The FZShows homepage List of songs performed at most Frank Zappa shows.
* Harry Pipco's Home - A Tribute to Frank Zappa Detailed biographical material, links to interviews, etc.
* The Highway 57 Zappa Zone Includes searchable discography.
* Information Is Not Knowledge Comprehensive discography (vinyl and CD), songlists, chronology, filmography, lists of musicians, etc.
* United Mutations Constantly updated web site about the Zappa community worldwide.
* The Planet Of My Dreams Includes list of all Frank Zappa shows and line-ups chronology.
* Touring Can Make You Crazy Detailed tour info, and in-depth analysis of selected tours.
* The Zappa Patio Includes "The Frank Zappa Versions Guide;" detailed discography including bootlegs.
* Zappa Wiki Jawaka A Wiki exclusively about Frank Zappa.
[hide] v • d • e Frank Zappa
Main Albums
Freak Out! | Absolutely Free | We're Only in It for the Money | Lumpy Gravy | Cruising with Ruben & the Jets | Uncle Meat | Hot Rats | Burnt Weeny Sandwich | Weasels Ripped My Flesh | Chunga's Revenge | Fillmore East - June 1971 | 200 Motels | Just Another Band from L.A. | Waka/Jawaka | The Grand Wazoo | Over-Nite Sensation | Apostrophe (') | Roxy & Elsewhere | One Size Fits All | Bongo Fury | Zoot Allures | Zappa in New York | Studio Tan | Sleep Dirt | Sheik Yerbouti | Orchestral Favorites | Joe's Garage | Tinsel Town Rebellion | Shut Up 'n Play Yer Guitar | You Are What You Is | Ship Arriving Too Late to Save a Drowning Witch | The Man from Utopia | Baby Snakes | London Symphony Orchestra, Vol. 1 | Boulez Conducts Zappa: The Perfect Stranger | Them or Us | Thing-Fish | Francesco Zappa | Frank Zappa Meets the Mothers of Prevention | Does Humor Belong in Music? | Jazz from Hell | London Symphony Orchestra, Vol. 2 | Guitar | Broadway the Hard Way | The Best Band You Never Heard in Your Life | Make a Jazz Noise Here | Playground Psychotics | Ahead of Their Time | The Yellow Shark
You Can't Do That on Stage Anymore
Vol. 1 | Vol. 2 | Vol. 3 | Vol. 4 | Vol. 5 | Vol. 6
Posthumous Albums
Civilization, Phaze III | The Lost Episodes | Läther | Mystery Disc | Everything Is Healing Nicely | FZ:OZ | Halloween | Joe's Corsage | Joe's Domage | Joe's XMASage | Imaginary Diseases | Trance-Fusion | Buffalo
Compilations
Mothermania | The Guitar World According to Frank Zappa | Strictly Commercial | Frank Zappa Plays the Music of Frank Zappa: A Memorial Tribute | Have I Offended Someone? | QuAUDIOPHILIAc | The Frank Zappa AAAFNRAA Birthday Bundle
Box sets
The Old Masters Box One | The Old Masters Box Two | The Old Masters Box Three | Beat the Boots | Beat the Boots II | The MOFO Project/Object
Films and Videos
200 Motels | Baby Snakes | The Dub Room Special | Video from Hell | Does Humor Belong in Music? | The True Story of Frank Zappa's 200 Motels | The Amazing Mr. Bickford | Uncle Meat
Unreleased
The Rage and The Fury | Dance Me This
Related articles
Frank Zappa trivia | Frank Zappa discography | The Mothers of Invention
Retrieved from "http://en.wikipedia.org/wiki/Frank_Zappa"
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