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.
Get A Little
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And everybody workin' on it
So I figured I'd rip off her
Her drawers and get a little
We'll be back in a little while
Frank Zappa's song "Get A Little" is a risqué song that talks about a man trying to seduce a woman. In the first verse, the man expresses his desire for the woman and explains that he wants to "rip off her drawers and get a little." The term "get a little" refers to sexual activity, and the man is eager to engage in it with the woman.
The second line is interesting because it seems to suggest that everyone is "working on it." This might indicate that the man is not the only one who is interested in the woman. It could be that there are other men who are also trying to seduce her. The man in the song is using this as motivation to act quickly before someone else gets to her.
These lyrics are fairly straightforward and do not require much interpretation. The song is an example of Frank Zappa's sometimes controversial music, which often dealt with taboo subjects like sex and drug use.
Line by Line Meaning
Yes... hot...
Acknowledging that the situation or circumstances are intense and exciting.
And everybody workin' on it
Observing that everyone is involved, focused and striving towards a common goal.
So I figured I'd rip off her
Indicating shady intentions and a desire to deceive or take advantage of someone else.
Her drawers and get a little
Suggesting a sexual act with the person mentioned earlier, motivated by lust and no regard for their feelings.
We'll be back in a little while
Implies that the conversation or interaction will pause temporarily, likely to resume later or in a short time.
Contributed by Cole W. Suggest a correction in the comments below.
Cruz Control
This was recorded at the"Factory" 49 years ago, a club that was located in the extreme north Bronx, like 225th st and White Plains Rd. It was a joint that featured Young Rascals cover bands but then started booking real acts, like the Youngbloods, I think the Doors actually played there early on. But the Mothers playing there was intense, they looked dangerous onstage, long hair was just starting to take hold in the underground culture and these guys were the extreme. The square-er audience members were in shock/aghast at the spectacle, they came there to dance !, My friends and I were grooving and laughing. They were playing heavy stuff, but 2 short sets, Frank killing with the wahwah was for me the pinnacle, it was like the guitar was ""talking" the licks. The joint wasn't around long as it then became the Fantasy, and then the Fantasy East, then an appliance outlet !
sofalugger
One of Franks best. . Sooo S L O W , love the `squeels` wow wow
Pete Simmons
The drumming is fucking awesome.. and with Frank's guitar over the top makes for a track and a half. A pity it's so short. One of my favourites from one of my favourite periods of his work.
sofalugger
I Was 15 years old it blew me away then as it does now aged 61. . .This Man N Capn Beefheart light years in front of anything
Wayne Danberry
This is My #1 Favorite Frank Zappa Album/CD!
Count Frederick
my fave Zappa track,,excellent guitarist
littlemonsterarse
That track is swingin as shit
Harriet1822
+littlemonsterarse And "Big Swifty".
littlemonsterarse
The mud shark is pretty good too
Milo
Love It!