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.
Conehead
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Please forgive me, come back home
Don't you know, don't you know
Don't you know I love you so?
Don't you know, don't you know
Everyday I love you more?
Feel so blue over you
Don't you know, don't you know
Don't you know I love you so?
Don't you know, don't you know
Everyday I love you more?
Please come back, need you so
I won't ever let you go
Don't you know, don't you know
Don't you know I love you so?
Don't you know, don't you know
Everyday I love you more?
Cries for you night and day
Please come back home and stay
Don't you know, don't you know
Don't you know I love you so?
Don't you know, don't you know
Everyday I love you more?
These lyrics from Frank Zappa's song "Conehead" showcase the themes of love and longing for a lost partner. The singer admits to being in the wrong and asks for forgiveness, begging for their partner to come back home. The constant repetition of "don't you know I love you so?" and "every day I love you more" emphasizes the intensity of the singer's love and their desire to be reunited with their partner.
The lyrics also reveal the singer's emotional state since their partner has been gone. They feel lost and hopeless without them, crying for them day and night. The final line, "please come back home and stay", shows that the singer is not just seeking a temporary reunion but wants their partner to stay with them permanently.
Overall, the lyrics to "Conehead" are a classic representation of a love ballad, expressing the raw emotions of a lover separated from their partner. The repetition of phrases emphasizes the singer's desperation in their attempt to reunite with their lost love.
Line by Line Meaning
You were right, I was wrong
I made a mistake and acknowledge that you were correct.
Please forgive me, come back home
I am asking for your forgiveness and for you to return to our shared dwelling.
Don't you know, don't you know
Do you not realize or understand
Don't you know I love you so?
I have a strong feeling of affection towards you.
Everyday I love you more?
My feelings of love for you continue to grow with each passing day.
Just can't go on since you've gone
I am unable to continue with life in your absence.
Feel so blue over you
I am experiencing great sadness and depression because you are not with me.
Please come back, need you so
I require your presence in my life and implore you to return.
I won't ever let you go
I promise to never allow you to leave my life again.
Cries for you night and day
I am constantly shedding tears and expressing sorrow because you are not with me.
Please come back home and stay
I am begging for you to return to our shared dwelling and remain with me.
Lyrics © O/B/O APRA/AMCOS
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