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.
All Skate / Dun-Dun-Dun
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Right now is make something up
One time only for this audience here
Ian will start it off
Cowbell
DUNT-DUN-DUN!
And how about you, folks
Why don’t you try and sing
Along with this song?
All you have to do is go: DUNT-DUN-DUN!
It's just like you know
In the monster movies
When the monster comes out
It's the part It’s the part that
The cello section always does
You know? The monster comes out
And then it goes dUNT-DUN-DUN!
Okay, you ready? All together now i
Wanna hear if they're in tune dUNT-DUN-DUN!
Now wait a minute
Before I came over here somebody
Told me that the
Finnish people were innately withdrawn
That they were shy and that sometimes, well
People think that they're really reserved
But if there's something that
Would just cut 'em loose one
Time that there was
So much pent-up emotion and
Warmth and craziness locked
Inside of each and everyone of you out there
That if you just had a good enough reason
That you would just spew it
All over Finlandia Hall
Now, work yourselves into
An emotional frenzy
I'm telling you this has to be the music for
You this is the one this is the
Big one this will be your hit single all
You have to do is say: DUNT-DUN-DUN!
You ready?
DUNT-DUN-DUN!
Fantastic
One more time!
DUNT-DUN-DUN!
Dunt-Dun-Dun dunt-Dun-Dun
A little bit lower now: Dunt-Dun-Dun dunt
Dunt-Dun dunt-Dunt-Dun-Dun dunt
Dunt-Dun dunnn
Well, that about wraps it up for tonight
Folks thanks very
Much for coming to our concert
We'll see you later, and dunt-Dun-Dun
Thank you
The lyrics to Frank Zappa's "All Skate / Dun-Dun-Dun" seem to be a playful and humorous interaction between Zappa and the audience during a live concert. The song begins with Zappa suggesting that they are going to make up something on the spot for the audience, with Ian starting it off by playing the cowbell. The repetitive phrase "DUNT-DUN-DUN!" is introduced as something the audience can sing along with, resembling the suspenseful sound typically heard in monster movies. Zappa encourages the audience to join in and sings along himself, creating a lively and interactive atmosphere.
As the song progresses, Zappa addresses the audience directly, expressing his surprise at hearing stereotypes about the Finnish people being withdrawn and reserved. He challenges these assumptions and encourages the audience to unleash their emotions and express themselves freely, as if they were releasing pent-up energy within Finlandia Hall. The song continues with more repetitions of "DUNT-DUN-DUN!" and playful variations, gradually winding down towards the end.
In essence, "All Skate / Dun-Dun-Dun" appears to be a fun-filled, spontaneous interactive experience between Zappa, his band, and the audience. It showcases Zappa's ability to engage the crowd and create a lighthearted moment of shared musical expression.
Line by Line Meaning
Well, I think what we're gonna do
Right now is make something up
We are going to improvise and create something unique in this moment.
One time only for this audience here
Ian will start it off
This performance is exclusive to this audience, and Ian will begin the song.
Cowbell
The sound of a cowbell serves as an introduction.
DUNT-DUN-DUN!
The initial musical phrase is played, setting the tone for the song.
And how about you, folks
Why don’t you try and sing
Along with this song?
All you have to do is go: DUNT-DUN-DUN!
Encouraging the audience to participate and sing along by repeating the musical phrase.
It's just like you know
In the monster movies
When the monster comes out
It's the part It’s the part that
The cello section always does
You know? The monster comes out
And then it goes dUNT-DUN-DUN!
Comparing the musical phrase to the ominous sound associated with monsters in movies, particularly the part traditionally performed by the cello section.
Okay, you ready? All together now i
Wanna hear if they're in tune dUNT-DUN-DUN!
Asking the audience to join in harmony and checking if they are singing in tune by playing the musical phrase.
Now wait a minute
Before I came over here somebody
Told me that the
Finnish people were innately withdrawn
That they were shy and that sometimes, well
People think that they're really reserved
Addressing preconceived notions about the Finnish people being introverted and reserved.
But if there's something that
Would just cut 'em loose one
Time that there was
So much pent-up emotion and
Warmth and craziness locked
Inside of each and everyone of you out there
Expressing the belief that if the Finnish people have a reason to let go, they would reveal their hidden emotions, warmth, and enthusiasm.
That if you just had a good enough reason
That you would just spew it
All over Finlandia Hall
If given a strong enough motive, the Finnish people would enthusiastically express their emotions throughout the entire Finlandia Hall.
Now, work yourselves into
An emotional frenzy
I'm telling you this has to be the music for
You this is the one this is the
Big one this will be your hit single all
You have to do is say: DUNT-DUN-DUN!
Encouraging the audience to become emotionally charged and hyped up for this specific piece of music, which will be their successful and popular song if they simply repeat the musical phrase.
You ready?
DUNT-DUN-DUN!
Fantastic
One more time!
DUNT-DUN-DUN!
Prompting the audience to participate by repeating the musical phrase multiple times, expressing enthusiasm and excitement.
Dunt-Dun-Dun dunt-Dun-Dun
A little bit lower now: Dunt-Dun-Dun dunt
Dunt-Dun dunt-Dunt-Dun-Dun dunt
Dunt-Dun dunnn
Varying the musical phrase in terms of pitch and rhythm, providing variation and musical interest.
Well, that about wraps it up for tonight
Folks thanks very
Much for coming to our concert
We'll see you later, and dunt-Dun-Dun
Closing the concert and expressing gratitude to the audience, indicating that they will meet again in the future, using the musical phrase as a farewell.
Thank you
A simple expression of gratitude to conclude the song.
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