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 Version of Himself
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A-, as Frank sees me, you know, like
You know what I mean? Interviewer: No
It's not, uh
He sees the group from like we see
Him from one point of view
And he sees us from another place, this
Was written around like we're, you know
To create the image that
We portray, like, uh, some of the
Scenes have happened before
Specifically the, the hotel room scene where
The group sit's and
Talks about how Frank is not
Important to what the group
Is and that scene I remember
Happening many times, uh
Just the whole idea that it is Frank Zappa
The lyrics of "A Version Of Himself" by Frank Zappa are a reflection on the complex dynamics within the band and their relationship with Frank Zappa himself. The singer of the song describes playing a version of themselves as seen through Frank's eyes, suggesting a layered understanding of identity and perception. The interviewer's response of not fully grasping the concept indicates the depth of this introspective exploration of the band's identity and how it is shaped by their interactions with Frank.
The lyrics delve into the idea of perspective and how each member of the band sees themselves and each other in relation to Frank Zappa. It highlights the idea that there are multiple angles from which one can view a person, and each perspective shapes the overall image portrayed. The mention of folklore suggests a mythic quality to the band's image, hinting at the legendary status they have acquired as artists and performers.
The reference to the hotel room scene where the group discusses Frank's importance to their collective identity adds a layer of tension and self-reflection to the song. The repeated occurrence of this scene implies a recurring theme of questioning the power dynamics within the band and how they are influenced by Frank's presence. The band's assertion that Frank is not essential to their artistic identity challenges conventional notions of leadership and hierarchy within a musical ensemble.
Overall, "A Version Of Himself" delves into themes of perception, identity, and interpersonal dynamics within a musical group. The lyrics paint a nuanced picture of the complexities of artistic collaboration and individual expression, posing questions about the nature of creativity and the role of a central figure like Frank Zappa in shaping the collective identity of the band. It offers a glimpse into the behind-the-scenes intricacies of a musician's life and the multifaceted relationships that define a creative partnership.
Line by Line Meaning
Well uh i play a v-, a version of myself
I embody a certain persona that is a representation of who I am, as perceived by others.
A-, as Frank sees me, you know, like
As viewed through Frank Zappa's perspective, he sees us in a particular way.
You know what I mean? Interviewer: No
The interviewer doesn't understand the concept being explained.
He sees the group from like we see
Frank Zappa perceives the band in a different light than how they view themselves.
Him from one point of view
We have a certain perspective of Frank Zappa.
And he sees us from another place, this
Frank Zappa has his own unique viewpoint on the band members.
Was written around like we're, you know
The song was inspired by the various personal narratives and experiences that each band member brings to the group dynamic.
The folklore that each member had brought
Each member's individual background and story contributes to the band's overall persona.
To create the image that
These personal anecdotes help shape the collective image of the band.
We portray, like, uh, some of the
The depicted scenes in the song reflect real-life moments and conversations within the group.
Scenes have happened before
These scenarios have occurred in the past among band members.
Specifically the, the hotel room scene where
One particular instance being referenced is a conversation in a hotel room.
The group sit's and
The band members gather and discuss.
Talks about how Frank is not
The conversation focuses on the perception of Frank Zappa as less significant.
Important to what the group
His role in relation to the group dynamic.
Is and that scene I remember
I recall that particular moment vividly.
Happening many times, uh
Similar discussions have occurred on multiple occasions.
Just the whole idea that it is Frank Zappa
Emphasizing the underlying theme of the song revolving around the presence of Frank Zappa.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Vincent Zappa
Lyrics Licensed & Provided by LyricFind
SoundMojo
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Carlos Salvado
Steve Vai / Frank Zappa the perfect connection
SoundMojo
@Carlos Salvado Definitely!👍
ReyDavid Barriga
And Terry Bozzio On Drums.
Carlos Salvado
@ReyDavid Barriga and captain Beefheart, Jean luc punty, George Duke, Ike Willys etc 😊
Matteo
"Frank Zappa wrote a song about me"...not quite bad eah? I would put this sentence on my graveyard.
Marie Laveau
Titled Stevie's Spanking
Cassius Morris
RIP Zappa the greatest
B C
I could listen to Steve Vai talk, for weeks.
SoundMojo
@B C He was so nice! We could have talked forever! We're so blessed to have him share Frank Zappa stories with us!