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.
Feet Light Up
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Around the cables please sit down?)
Alright could the people who
Are standing directly in
Front of the PA speakers please move out
Of the way so that the the sound
Gets out a little better? An' ah-
And also be careful of the cables
Your feet don't light up? Ok
Now we'll tune up and prepare to
Rock out for you ok
W Hello? We're gonna start
Off with a uh, a very old song
It was originally recorded in
1956 by Andre Williams
The name of this song is "Bacon Fat"
(In fact, Roy, Roy? Roy
D'ya wanna take this microphone an'
I'll jump over to) roy: Okay
Bop ok
The opening lines of this Frank Zappa song set the scene at a live performance, with Zappa or someone else addressing the crowd. The voice instructs people to sit down around the cables, perhaps to clear a pathway for sound to travel better. The mention of the PA speakers suggests that there may be some interference or obstruction in the way the music is being heard, hence the need for people to move out of the way. The warning about the cables on the floor is likely a playful nod to the potential hazard of stepping on them and getting a shock, signified humorously by "your feet don't light up."
As the lyrics progress, there is a call for attention to preparing to "rock out," indicating that the band is getting ready to perform and entertain the audience. The mention of tuning up and rocking out sets the tone for a lively and energetic performance to come. The conversation-like structure of the lyrics gives the impression of an informal and interactive atmosphere, with the audience being directly addressed and involved in the experience.
The introduction of the next part of the song mentions a very old song from 1956 called "Bacon Fat" originally recorded by Andre Williams. This gives context to the upcoming performance and hints at the eclectic and diverse influences that Zappa often incorporated into his music. The mention of the band member Roy taking the microphone signals a shift in the performance, with different musicians possibly taking turns singing or leading different parts of the song. The inclusion of names and instructions in the lyrics adds a personal and spontaneous touch, making the listener feel like they are part of the live experience.
The playful and conversational tone of the lyrics continues with the mention of "Bop ok" at the end of the excerpt, suggesting a musical cue or transition into the next part of the song. Overall, these lyrics provide a glimpse into the dynamic and interactive nature of a live Frank Zappa performance, where the audience is given instructions, warnings, and introductions to create a unique and immersive musical experience.
Line by Line Meaning
standing in front of the amp or Around the cables please sit down?
Could you all please take a seat either in front of the amplifier or near the cables?
Alright could the people who Are standing directly in Front of the PA speakers please move out Of the way so that the the sound Gets out a little better?
Okay, if you're standing right in front of the PA speakers, can you please move to the side so the sound can be heard more clearly?
And ah- And also be careful of the cables On the floor over there so that Your feet don't light up?
Also, watch out for the cables on the floor to avoid accidentally stepping on them and getting shocked.
Now we'll tune up and prepare to Rock out for you ok W Hello?
Now we will tune our instruments and get ready to perform for you. Hello?
We're gonna start Off with a uh, a very old song It was originally recorded in 1956 by Andre Williams The name of this song is 'Bacon Fat'
We will begin with a classic song recorded in 1956 by Andre Williams called 'Bacon Fat'.
In fact, Roy, Roy? Roy D'ya wanna take this microphone an' I'll jump over to) roy: Okay Bop ok
Actually, Roy, would you like to take this microphone? I'll switch over. Roy: Okay, let's do this.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Vincent Zappa
Lyrics Licensed & Provided by LyricFind
Lenny Anders
It was 1966, a 15 year old kid walks into the record store (me) and purchases the Mothers of Invention "Freak Out" album and it was at that point my life changed forever and thanks to Frank Zappa I have never nor will I ever become a plastic person.
Kim Jong un
Hope you are doing great buddy
music head
Was just listening to that the other day. And had the lyrics to brain police in my head today.. good shit
marlon
Zappa was filth
Flowery
Amen.
Paco Ávila
I love how much fun they're having in this performance
No Way
JONATHAN SUTCLIFFE Napoleon Murphy Brock, still wailing on tenor sax, flute, vocals I think..
Michael Mosca
Brock is q major case of hello 👋 insanely talented. I think sometimes God
Just ⛊ off for us
Thisnameisalreadytake N
Frank Zappa could write a song about anything and make it sound great
fnbworld
Yeahhhh