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.
Don
Frank Zappa Lyrics
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George Duke (keyboards, synthesizer, vocals)
Tom Fowler (bass)
Ruth Underwood (percussion)
Jeff Simmons (rhythm guitar, vocals)
Don Preston (synthesizer)
Bruce Fowler (trombone)
Walt Fowler (trumpet)
Ralph Humphrey (drums)
Chester Thompson (drums)
Debbie (background vocals)
Lynn (background vocals)
Robert Camarena (background vocals)
Ladies and gentlemen, watch Ruth!
All through this film
Ruth has been thinkin'
What can I possibly do
That will amaze everyone?
I think she's come up with the answer,
Just keep your eye on her!
Thank you!
"Don't You Ever Wash That Thing" is a satirical song by Frank Zappa and was released in 1973. The song is about a girl who has a strange and smelly creature that she keeps as a pet. The lyrics describe the creature, which is a combination of a dog and a frog, and how the girl takes care of it despite its disgusting appearance and smell.
The song highlights the absurdity of modern society's obsession with materialism and appearances. Zappa criticizes the way people value things based on their appearance, rather than their true worth. The song also touches on the idea that people often put up appearances to fit in with others, even if it means hiding their true selves.
One interesting aspect of the song is the use of instrumentals. Zappa and his band create a funky, jazzy groove that complements the quirky lyrics of the song. The solos by the various instruments, such as the guitar and saxophone, add to the overall texture of the song, making it even more memorable.
Another notable feature of the song is the use of a spoken bridge by a female voice. The voice describes the thought process of Ruth Underwood, the band's percussionist, as she tries to come up with a way to amaze the audience. The use of this spoken bridge is yet another example of Zappa's unconventional approach to music.
Overall, "Don't You Ever Wash That Thing" is a fun, satirical commentary on societal values and appearances. Zappa's clever lyrics and unique musical style make it a must-listen for fans of his work.
Line by Line Meaning
Ladies and gentlemen, watch Ruth!
Introducing the percussionist Ruth and suggesting the audience to pay attention to her.
All through this film
Throughout the performance captured in this recording.
Ruth has been thinkin'
The percussionist has been pondering.
What can I possibly do
What action or performance can I execute.
That will amaze everyone?
That will cause surprise or wonder on every individual present.
I think she's come up with the answer,
I believe that she has found a solution.
Just keep your eye on her!
Pay close attention to her actions and performance.
Thank you!
Expression of gratitude, possibly to conclude the performance.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Zappa
Lyrics Licensed & Provided by LyricFind