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.
Crew Slut
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But one night, at the Social Club meeting
Mary didn't show up . . .
She was sucking cock backstage at The Armory
In order to get a pass
To see some big rock group for free . . .
Larry:
Industrial towns
I know you're prob'ly gettin' tired
Of all the local clowns
They never give you no respect
They never treat you nice
So perhaps you oughta try
A little friendly advice
And be a CREW SLUT
Hey, you'll love it
Be a CREW SLUT
It's a way of life
Be a CREW SLUT
See the world
Don't make a fuss, just get on the bus
CREW SLUT
Add water, makes its own sauce
Be a CREW SLUT
So you don't forget, call before midnite tonite
The boys in the crew
Are just waiting for you
You never get to move around
You never go nowhere
I know yer prob'ly gettin' tired
Of all the guys out there
You always wondered what it's like
To go from place to place
So, darlin', take a little ride
On the mixer's face
Be a CREW SLUT
Just follow the magic footprints
Be a CREW SLUT
Hey, you'll love it!
Be a CREW SLUT
It's a way of life
I ain't gonna squash it
And you don't need to wash it!
CREW SLUT
Hey, I'll buy you a pizza
CREW SLUT
Of course I'll introduce you to Warren
The boys in the crew
Are only waiting for you
Larry:
Well you been to Alabama, girl,
'N Georgia too
'N all the boys in the crew
Is bein' good to you
I know you're sayin' to yourself
"This is the way to go"
'Cause when you need a little extra
They will give you some mo'
'Cause you're the CREW SLUT
Mary:
I'm into leather . . .
Larry:
That's good!
Road Crew Chorus:
CREW SLUT
Larry:
A lot of the boys in the crew
Love leather . . .
Mary:
And rubber . . .
Road Crew Chorus:
CREW SLUT
Larry:
Yeh, they like rubber too . . . shrink-tubing
With a hair dryer . . .
Road Crew Chorus:
Trade your spot on the bench
For a guy with a wrench
And be a CREW SLUT
Mary:
Ha ha ha . . .
Larry:
You like that, huh?
Road Crew Chorus:
CREW SLUT
Larry:
I told you you'd love it . . .
It's a way of life!
Road Crew Chorus:
The guys in the crew
Have got a present for you!
Mary:
A present for me?
Larry:
We got a present for you!
Mary:
Whaddya got?
Whaddya gonna give me?
Larry:
It looks just like a Telefunken you-47
You'll love it . . .
Mary:
With leather?
Central Scrutinizer:
Eh errr, eh eh . . . This is the CENTRAL SCRUTINIZER again . . .
And so MARY was enticed away from JOE
By an evil barbarian with a wrench in his pocket
Lured into a life of SLEAZERY
With the entire road crew of some
Famous Rock Group
(I don't know whether it was really Toad-O . . . I don't know . . . I'll check it out)
Again we see
MUSIC
Causing
BIG TROUBLE!
The song Crew Slut by Frank Zappa tells the story of a girl named Mary who is enticed by the idea of becoming a Crew Slut. Mary does not show up to a Social Club meeting, as she is backstage at The Armory sucking cock to get a free pass to see some big rock group. The singer, Larry, tells Mary that being a Crew Slut is a way of life and encourages her to join the boys in the crew. The chorus repeats the phrase "Crew Slut" over and over again, with the road crew explaining that trading a spot on the bench for a guy with a wrench is a way for Mary to see the world and explore different places. Eventually, Mary is lured into a life of sleazery with the entire road crew of a famous rock group, causing big trouble.
Line by Line Meaning
Central Scrutinizer:
The singer introduces the story's premise.
But one night, at the Social Club meeting
Mary did not attend the meeting.
Mary didn't show up . . .
Mary didn't attend the meeting.
She was sucking cock backstage at The Armory
Mary performed oral sex backstage to get a pass.
In order to get a pass
Mary performed oral sex to obtain a pass.
To see some big rock group for free . . .
Mary performed oral sex to obtain free entry to see a big rock group.
Larry:
Larry is singing now.
Hey Hey Hey all you girls in these
Larry addresses all the girls in industrial towns.
Industrial towns
Larry addresses the girls located in industrial towns.
I know you're prob'ly gettin' tired
Larry acknowledges the girls' tiredness.
Of all the local clowns
Larry references the local men as clowns.
They never give you no respect
Larry states that the local men do not respect the girls.
They never treat you nice
Larry states that the local men do not treat the girls nicely.
So perhaps you oughta try
Larry suggests an alternative option.
A little friendly advice
Larry is offering a friendly piece of advice.
And be a CREW SLUT
Larry suggests that girls should be crew sluts.
Hey, you'll love it
Larry claims that girls will enjoy being crew sluts.
Be a CREW SLUT
Larry reiterates his earlier suggestion.
It's a way of life
Larry declares crew slut as a way of life.
Be a CREW SLUT
Larry repeats his suggestion again.
See the world
Larry highlights an additional benefit of being a crew slut.
Don't make a fuss, just get on the bus
Larry encourages the girls to join without fuss.
CREW SLUT
Larry reiterates the concept of a crew slut.
Add water, makes its own sauce
Larry makes a metaphorical reference to crew sluts and their self-reliance.
Be a CREW SLUT
He echoes the idea of becoming a crew slut.
So you don't forget, call before midnite tonite
Larry provides additional instructions for any girls interested in being a crew slut.
The boys in the crew
Larry refers to boys in the crew they'll be joining.
Are just waiting for you
Larry suggests that the boys in the crew are awaiting girl's arrival.
You never get to move around
Larry refers to girl's routine life where they don't get to travel much.
You never go nowhere
Larry reiterates that girls don't get to travel much.
I know yer prob'ly gettin' tired
Larry empathizes with the girl's boredom and fatigue.
Of all the guys out there
Larry suggests that the guys are not worthy of the girl's time.
You always wondered what it's like
Larry refers to girl's curiosity to travel and explore more.
To go from place to place
Larry highlights the longing of girls to go from one place to another.
So, darlin', take a little ride
Larry encourages girls to come along for a ride.
On the mixer's face
Larry makes a metaphorical reference to girls accompanying the crew.
Just follow the magic footprints
Larry encourages girls to follow the crew.
Hey, you'll love it!
Larry reiterates the idea of the delights of becoming a crew slut.
I ain't gonna squash it
Larry encourages girls to become crew sluts.
And you don't need to wash it!
Larry makes a metaphorical reference to not needing to worry about it.
CREW SLUT
Larry encourages girls to become crew sluts once again.
Hey, I'll buy you a pizza
Larry sweetens the deal by offering them pizza.
CREW SLUT
Larry encourages the girls once again.
Of course I'll introduce you to Warren
Larry assures the girls that they will be introduced to Warren.
The boys in the crew
Larry refers to boys in the crew they'll be joining again.
Are only waiting for you
Larry reiterates that boys in the crew are waiting for the girl's arrival.
Larry:
Larry starts singing again.
Well you been to Alabama, girl,
Larry asks if a girl has ever been to Alabama.
'N Georgia too
Larry acknowledges that they might have also been to Georgia.
'N all the boys in the crew
Larry acknowledges that all the boys in the crew have also been to Alabama and Georgia.
Is bein' good to you
Larry suggests that the boys in the crew are nice to the girls.
I know you're sayin' to yourself
Larry empathizes with the girl's thoughts.
"This is the way to go"
Larry suggests that girls might be thinking that becoming a crew slut is the way to go.
'Cause when you need a little extra
Larry suggests that the boys in the crew might have more to offer.
They will give you some mo'
Larry suggests that the boys in the crew will provide extra perks.
'Cause you're the CREW SLUT
Larry acknowledges that they will be considered a crew slut.
Mary:
Mary speaks for the first time.
I'm into leather . . .
Mary discloses her interest in leather.
Larry:
Larry responds to Mary.
That's good!
Larry is appreciative of Mary's interests.
Road Crew Chorus:
The road crew chorus joins in.
CREW SLUT
They sing the lyrics of the song's title.
Larry:
Larry repeats some of his earlier lines.
A lot of the boys in the crew
Larry suggests that many boys in the crew are into leather too.
Love leather . . .
Larry reiterates the interest in leather.
And rubber . . .
Larry adds rubber to the list of interests.
Road Crew Chorus:
The road crew chorus continues to sing the song's title.
CREW SLUT
They complete the chorus of the song.
Larry:
Larry speaks once again.
Yeh, they like rubber too . . . shrink-tubing
Larry adds a specific mention of shrink-tubing.
With a hair dryer . . .
Larry adds a specific mention of using a hair dryer on the shrink-tubing.
Road Crew Chorus:
The road crew chorus once again sings the song's title.
Trade your spot on the bench
The song shifts back to encouraging girls to become a crew slut.
For a guy with a wrench
The song encourages girls to switch from their current life to being with the crew.
And be a CREW SLUT
The song's title is repeated once again.
Mary:
Mary speaks up again.
Ha ha ha . . .
Mary just laughs.
Larry:
Larry talks to Mary.
You like that, huh?
He tries to confirm Mary's interest in becoming a crew slut.
Road Crew Chorus:
The song ends with the chorus repeating the song's title.
CREW SLUT
The final lyrics of the song.
Central Scrutinizer:
The artist returns to wrap up the story.
And so MARY was enticed away from JOE
Narrator relays what happened to Mary.
By an evil barbarian with a wrench in his pocket
Narrator describes the person who took Mary away.
Lured into a life of SLEAZERY
Narrator describes Mary's fate after being taken away.
With the entire road crew of some
Famous Rock Group
Narrator provides more context regarding Mary's situation.
(I don't know whether it was really Toad-O . . . I don't know . . . I'll check it out)
The singer adds uncertainty regarding which band the crew is from.
Again we see
The artist summarizes the message of the story.
MUSIC
The artist adds the thing that lead Mary astray.
Causing
The singer is hinting at something caused by music.
BIG TROUBLE!
The singer finishes describing music's impact on Mary's story with a catchphrase.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@mateuszmattias
"Lured into a life of sleazery" I have used that line every now and then over the last 35 years since I first bought this album. Never gets old.
@djscrews
Took me thirty damn years to find out what a Telefunken U47 was! Pre internet. LOL
@L.A.W.Studios
😂
@michaeldavidfigures9842
Greatest harmonica solo ever.
@MyNameIsBucket
This is why "The Loud Out" will always be the second best song about roadies.
@duketheclown3380
"So darlin' take a little ride on the mixers face!"
@trulylynn9941
I just started to listen to this again! Love it!!!!!!!!!!!!!!!!!!!!
@Ghostbusterzzz516
I remember my father sitting up with his friends listening to Frank Zappa on his old wheel to wheel when I was a kid
@thebluesrockers
To think, I first heard the name "Frank Zappa & The Mothers" from Deep Purple's song "Smoke On The Water" When I was about 4 years old. The first album I ever heard from from Frank Zappa was "Zappa in New York." I was about 8 years old at that time. After my brother explained to me what an enema was I laughed until I had tears running down my face. 😂
@MrMusicbyMartin
I got kicked out of St Saviour’s Catholic youth club in 1982 for playing “Jewish Princess” on the turntable. I imagine the policy of ‘bring your own records’ ended soon after . . . but I still have the same copy of Sheik Yerbouti. This, and Joe’s Garage were my introduction to Frank’s music - but it wasn’t until a smart friend leant a copy of “Roxy and Elsewhere” that I realised how serious the guy was.