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.
A Pound For A Brown On The Bus
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Frank Zappa's song Pound For A Brown is a complex instrumental jazz-rock composition with no lyrics, so it is open to multiple interpretations. The title itself may be a pun on the phrase "pound for pound," which means a fair comparison of two things based on weight. The music features intricate rhythms, challenging time signatures, and virtuosic soloing by each member of Zappa's band. There are also references to various musical styles, such as fusion, blues, and avant-garde.
One possible interpretation of the song's overall theme is the struggle between individualism and conformity. The opening section is a repetitive and mechanical riff that represents the pressures of modern society to conform and work hard. This is followed by more free-form improvisation that symbolizes the desire to break out of this conformity and express oneself creatively. The various musical styles and solos can be seen as different facets of individuality, each trying to assert itself within the strict confines of the song's structure.
Another possible interpretation is the idea of competition and one-upmanship in the music industry. The title "Pound For A Brown" may refer to a common practice among musicians to exchange drugs for performance opportunities or favors. The complex and demanding nature of the music might be seen as a challenge or a test of skill among musicians, each trying to outdo the others in virtuosity or originality. The different sections of the song can be seen as battles or contests between the musicians, with each trying to "win" by playing the most impressive solo or by coming up with the most innovative musical ideas.
Overall, Pound For A Brown is a multifaceted and challenging piece of music that invites different interpretations and rewards close listening and analysis.
Line by Line Meaning
Dick Kunc: Fade!
Dick Kunc (recording engineer) initiates the recording process by signaling 'fade' to the band to ease into the intro of the song.
Ladies and Gentlemen, the artist present, this evening...
Announcement of the live performance and greeting of the audience.
Direct from Frank Zappa's world famous utility muffin research kitchen...
Introductory line for the band, describing their origins and unique sound.
The TURTLE!!!
Introduces a character that symbolizes the easy, carefree nature of a turtle.
Pound for a brown!
Expression meaning to trade or exchange something of value for a sexual favor.
Pound for a brown!
Repetition of the previous line as a chorus.
I heard it from the Parliament smoker
Hearsay from an unreliable source (e.g. someone smoking marijuana).
How he got the bread to go to the store
Unanswered question about an individual's financial situation.
Has anybody seen the ashtray?
The singer is looking for an ashtray.
It was here just a minute ago
The ashtray was present recently but is now missing.
Wait a minute, somebody took it
Realization that the ashtray was taken by someone.
I know who took it, I know who took it, I know who took it...
Repetition of accusation towards someone for taking the ashtray.
Dinah-Moe watched from the edge of the woods
Introduction of a new character and potential observer to the situation.
With her tribal love, and a bongo on her knee
Description of Dinah-Moe and her musical instrument of choice.
She was into funky Claude's
Description of Dinah-Moe's interest in a specific type of music venue or musician.
A-ridin' Peterbilt, haulin' chickens
Description of an individual and their profession, which involves transporting chickens in a Peterbilt truck.
And she's on her way to Orinda
Information about Dinah-Moe's intended destination.
Pound for a brown!
Repetition of the chorus.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Vincent Zappa
Lyrics Licensed & Provided by LyricFind