Zappa's earliest influences were 1950s pop and rock (such as doo-wop and rhythm and blues), and 20th-century classical composers including Igor Stravinsky and Edgard Varèse. His output was divided between adventurous instrumental compositions and succinct, catchy rock songs with ribald, satirical, or comically absurd lyrics. On stage he demanded virtuosity and spontaneity from his musicians, and employed many performers who would later go on to achieve fame in their own rights. He directed and released a number of films featuring himself, his musicians and entourage, including 200 Motels and Baby Snakes.
His career started in 1955. His earliest recordings date from the mid-1960s, and include collaborations with his school friend Captain Beefheart. In 1965 he joined a bar-band called The Soul Giants, quickly dominating its musical direction and rechristening it The Mothers. Their first release (as The Mothers of Invention; the name alteration requested by their record company) was the 1966 double album Freak Out!. The line-up of the Mothers gradually expanded to accommodate Zappa's increasingly ambitious and avant-garde music, but by 1969 he decided to work outside the band structure, focusing on his solo career, and effectively disbanding the Mothers in 1971.
The beginnings of his solo career in the late sixties and early seventies was characterised by a strong free jazz influence, with albums containing little, if any, lyrical content, such as Hot Rats, Waka/Jawaka and The Grand Wazoo. Towards the mid-seventies his albums became more rock-orientated, with a combination of Jazz Fusion instrumentation and Rock song structures. This more accessible sound bore reasonable mainstream appeal, especially with the release of the well-advertised albums Over-Nite Sensation and Apostrophe (') (which both went Gold), but Zappa's unpredictably eclectic output never led to solid mainstream recognition. He received uniformly lukewarm reviews from popular music publications such as Rolling Stone throughout his career. In his late seventies' output, the gulf between his humorous songs and more lengthy, complex instrumental music widened, and albums, such as Zappa in New York, Joe's Garage: Acts I, II & III, and Sleep Dirt displayed, by track, both sides firmly segregated.
Zappa saw a second run of success in the early eighties with the release of many albums with predominantly comedic rock songs, but later continued to experiment with virtually every style of music through the eighties, and was productive as ever until his death. His output in this later-career period included two albums of strikingly original classical music with the London Symphony Orchestra, an electronic take on 18th-century chamber music (written by the obscure Italian composer 'Francesco Zappa', no relation), an album of Synclavier compositions (misleadingly titled Jazz From Hell which garnered a Grammy award), a double-CD release of electric guitar instrumental music (the laconically titled Guitar) and a plenitude of official live releases, revisiting fan-favourites as well as showcasing Zappa's talent for reinventing the music of others; his version of Stairway to Heaven becoming a word-of-mouth favourite.
Zappa produced almost all of his own albums, spending many hours in the studio recording and manipulating tracks, and was always at the forefront of emerging technologies; from tape editing, collage, multitrack and overdubbing in the sixties to digital recording, electronic instruments and sampling in the eighties. Conversely, Zappa was also a obsessive self-archivist, recording virtually every one of his live performances, and often using live recordings of new material without needing to enter the studio. The archive of tapes at his family home in Los Angeles continues to be a source of posthumous releases for the Zappa Family Trust. He was also noted as a spotter of talent and his shifting line-up of musicians included Lowell George, Jean-Luc Ponty, Terry Bozzio, Chad Wackerman, George Duke, Mike Keneally, Adrian Belew and Steve Vai, as well as giving Alice Cooper his first break in music and working again with his old collaborator Captain Beefheart when his career was in decline.
In the late 1980s he became active in politics, campaigning against the PMRC's music censorship scheme and acting as culture and trade representative for Czechoslovakia in 1989; and considered running as an independent candidate for president of the US.
His death in Los Angeles, California, on 4th December 1993 came three years after he was diagnosed with prostate cancer.
9/8 Objects
Frank Zappa Lyrics
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These lyrics are from the song "9/8 Objects" by Frank Zappa, and they refer to the role that the strings play in the composition of the music. The phrase "Strings do the ornaments" suggests that the strings are responsible for adding decorative flourishes to the music, while the following phrase "of the [frame in right . . .]" is cut off, leaving the listener to imagine what the complete thought might be. This ambiguity is typical of Zappa's style, which often involves wordplay, irony, and cryptic references.
In the context of the song, "Strings do the ornaments" may also refer to the way that musical ideas are juxtaposed and layered on top of one another, creating a complex and ornate sonic landscape. The use of odd time signatures, such as the titular 9/8, further emphasizes the technical complexity of the music, while also allowing Zappa to experiment with different rhythmic ideas.
Overall, these lyrics suggest that the strings are a crucial part of the musical arrangement, providing both texture and complexity to the overall sound. The fragmented nature of the lyrics also reflects Zappa's unconventional approach to music composition, which often involves twisting and subverting traditional musical forms.
Line by Line Meaning
Strings do the ornaments of the [frame in right . . .]
The strings of a musical instrument are responsible for adding ornamental touches to the overall sound
The kite was a paper dream until it found a suitable string
A kite is just a flimsy piece of paper until it's paired with a strong string to hold it up and give it purpose
She's a foam-mouthed, barking traffic yak
This person is excessively loud and aggressive in their mannerisms and speech, like a disruptive vehicle on the road
When I see a girl with a gymnasium locker combination tattooed on her inner thigh, it warms my heart
The artist finds humor and joy in the unexpected and bizarre, even if it's something as silly as a tattoo of a locker combination
The majesty of a 12-legged anteater marching past the tomb of the unknown nudist
The artist creates an absurd image of an animal with too many legs parading past a graveyard for those who embrace nudity, showcasing his playful sense of humor
A 2-ton concrete doughnut as a performing stage
The idea of a heavy, immovable object like a concrete doughnut being used as a stage is ridiculous but perhaps entertaining in its absurdity
Tous les patins à glace étaient dans leur frigo
This is a French phrase meaning 'all the ice skates were in their refrigerator.' It serves as an example of how language can be playful and absurd, and doesn't necessarily need to have a deeper meaning
All the pinky dolls are dancing with the big-mouthed boys
This line plays with gender stereotypes and expectations, depicting dolls and boys in unusual positions and reversing their assumed roles
When the World is a monster, bad to swallow you whole
The world can be a scary and overwhelming place that seems too big to handle, like a monstrous creature that might consume you entirely
Kick the dog, put out the cat
This line may refer to the idea of taking out one's frustrations on others or things that are easy targets. It could also just be a nonsensical phrase meant to sound amusing
Lyrics © OBO APRA/AMCOS
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