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.
Chana In The Bushwap
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Chana in de Bushwop in de Bushwop
Chana in de Bushwop in de Bushwop
Chana in de Bushwop in de Bushwop
Chana in de Bushwop in de Bushwop
Chana in de Bushwop in de Bushwop
Chana in de Bushwop in de Bushwop
(They call her Chana in de Bushwop)
Nine foot three
(They call her Chana in de Bushwop)
Larger than me (She's a Chana in de Bushwop)
And she's a mystery
(She's a Chana in de Bushwop)
They call her Chana in de Bushwop
In de Bushwop chana in de Bushwop
In de Bushwop where she goes
Nobody knows
She eats a horse
(She's a Chana in de Bushwop)
It's very large of course
(Like a Chana in de Bushwop) she wears a dog
(Like chaka Chana in de Bushwop)
And she loves that frog (Like
Chaka Chana in de Bushwop)
They call her Chana in de Bushwop
In de Bushwop chana in de Bushwop
In de Bushwop where she goes
Nobody knows chana, Chana, Chana, Chana
In de Bushwop chana, Chana, Chana, Chana
In de Bushwop chana, Chana, Chana, Chana
In de Bushwop chana, Chana, Chana, Chana
In de Bushwop
Chana in de Bushwop in de Bushwop
Chana in de Bushwop in de Bushwop
Isn't that amazing?
She went to France
(Like a Chana in de Bushwop)
And she tried to dance
(Like a Chana in de Bushwop)
She raised a big fuss
(Like a Chana in de Bushwop)
In the back of the bus
(Like a Chana in de Bushwop)
One of those dudes with a long loaf of bread
Made a big mistake when he turned and said:
"Chana inne zi bouchoipe (Hey! Nice volcano)
Chana inne zi bouchoipe hon hon hon!"
She banged his head
(Like a Chana in de Bushwop)
With a loaf of lead
(Like a Chana in de Bushwop)
She had this sucker weepin'
(Like a Chana in de Bushwop)
'Bout that sausage he's keepin'
(Like a Chana in de Bushwop)
He stood there weepin' on the crumbs
She said:
Isn't that amazing? Oh! It's just amazing
Ha ha ha!
That's right! It's it's broccoli for him!
Yes, oh, what? Isn't that amazing?
Oh uh
Chana, Chana, Chana, Chana
(Broccoli for everyone) in de Bushwop
Chana, Chana, Chana, Chana
(It's on the house tonight) in de Bushwop
Chana, Chana, Chana, Chana in de Bushwop
Chana, Chana, Chana, Chana in de Bushwop
Chana from de Bushwop from de Bushwop
Chana from de Bushwop from de Bushwop
(Ka-poo) where'd she go?
Well, I don't know! I da-ho!
(Wile E coyote)
The lyrics to Frank Zappa's song "Chana In The Bushwop" are filled with absurd imagery and nonsensical words, creating a whimsical and surreal atmosphere. The repeated phrase "Chana in the Bushwop" seems to refer to a mysterious character named Chana who resides in the imaginary world of the Bushwop. The song emphasizes the enigmatic nature of Chana, highlighting her uniqueness and the fact that nobody knows much about her.
Throughout the song, Zappa mentions various eccentricities of Chana. She is described as being nine foot three, larger than the singer (presumably Zappa himself), and a source of mystery. She is said to live in a tree and has peculiar habits like eating a horse and wearing a dog. The lyrics also mention her visit to France, where she caused a commotion in the back of the bus after someone made an inappropriate comment about her.
The lyrics of "Chana In The Bushwop" ultimately celebrate the strange and extraordinary, finding beauty and amusement in the peculiarities of life. It's a playful and imaginative piece that showcases Zappa's unique songwriting style and his ability to create vivid and idiosyncratic characters.
Line by Line Meaning
Chana in de Bushwop in de Bushwop
Chana is residing in the dense jungle area, surrounded by bushes, and she is known for her unique and peculiar behavior.
Chana in de Bushwop she live in a tree
Chana lives high up in a tree within the Bushwop, which adds to the enigmatic nature surrounding her.
Nine foot three
Chana's height is an astounding nine feet and three inches, making her much taller than the average person.
Larger than me (She's a Chana in the Bushwop)
Chana's size surpasses that of the artist, emphasizing her distinctiveness as a resident of the Bushwop.
And she's a mystery
Chana's actions and identity are shrouded in uncertainty, adding to the intrigue surrounding her presence in the Bushwop.
In the Bushwop where she goes, nobody knows
Chana's movements within the Bushwop are elusive and unknown, leaving everyone curious about her whereabouts.
She eats a horse
Chana possesses an immense appetite, capable of devouring an entire horse, showcasing her unusual eating habits.
It's very large of course
Considering the enormous size of a horse, it is unsurprising that Chana's feat of consuming one is regarded as remarkable.
Like a Chana in the Bushwop, she wears a dog
Similar to the eccentricity associated with Chana, she adorns herself with a dog, further emphasizing her peculiar and unconventional nature.
And she loves that frog
Chana has a fondness for a particular frog, displaying her unique affinity for amphibians.
She went to France and she tried to dance
Chana embarked on a journey to France and attempted to showcase her dancing skills, demonstrating her adventurous and spirited nature.
She raised a big fuss in the back of the bus
Chana caused a commotion and disturbance at the rear of a bus, highlighting her tendency to create chaos and draw attention to herself.
One of those dudes with a long loaf of bread
Referring to a man holding a lengthy loaf of bread, likely referencing a baguette, known to be associated with France and its culture.
Made a big mistake when he turned and said
The man committed a significant error by uttering something ill-considered or offensive, triggering a chain of events.
"Chana inne zi bouchoipe (Hey! Nice volcano)
He ignorantly commented to Chana in a mocking or derogatory manner, comparing her to a volcano, unaware of the consequence of his words.
She banged his head with a loaf of lead
Enraged by the man's disrespectful remark, Chana retaliated by forcefully hitting him on the head with a heavy loaf of bread, made of lead.
She had this sucker weepin' 'bout that sausage he's keepin'
Chana's actions left the man in a state of remorse or distress, particularly regarding a sausage he possessed, which he was reluctant to part with.
He stood there weepin' on the crumbs
The man remained in the same spot, shedding tears while surrounded by the remnants of the loaf of bread that Chana used as a weapon.
Isn't that amazing? Oh! It's just amazing
The singer expresses astonishment and marvel at the preceding events, emphasizing the extraordinary and unexpected nature of Chana's actions.
That's right! It's it's broccoli for him!
The line sarcastically suggests that the man's punishment, or reward for his actions, is receiving broccoli, something perceived as undesirable or unappetizing.
Chana from de Bushwop from de Bushwop
Chana originates and hails from the Bushwop, being an integral part of its unique environment and culture.
Where'd she go? Well, I don't know! I da-ho! (Wile E coyote)
The whereabouts of Chana become uncertain as the artist admits their lack of knowledge, humorously comparing themselves to the character Wile E Coyote, who famously chases after the Road Runner with little success.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Diva Zappa, Frank Vincent Zappa
Lyrics Licensed & Provided by LyricFind