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.
He's Watching Us
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
1st script reading of "200 Motels"
January 18, 1971]
Howard: It's him, he's watching us!
Mark: You think he heard us?
Ian: I've been in the band for years, and . . . you can bet that he hears everything
Jeff: Let's go over and pretend to be nice to him
Mark: And ripping off all our good material
Howard: Hi, man
Ian: Hi, Frank
Mark: Hi, man
Jeff: Hi, Frank
Aynsley: Hi, man
George: Hi, Frank
Mark: Well, that's a great new comic song you wrote, that one about the penis and everything, I was laughing a lot while I was learning it
Howard: Yeah, Frank, uh, it was a little hard to get into it first, but, uh, once we got the drift . . .
Jeff: That's a real great part you got in there for the chorus when they go ran-tan-toon ran-ta-tan, while I steal the room and everything, I don't mind he's ripping it off so long I get paid . . .
Mark: Me too, I won't even care 'bout the part where it goes "what can I say about this elixir?" so long as me and Howard and Jeff get credit for special material, there's some bad ground acid . . . Aynsley, you can take it with a grain of salt, ha ha ha . . .
Aynsley: I don't mean to upset you, lads . . . I don't mean to upset you, lads, but the reason my retorts were so snappy is because he's making me do this, I should imagine he's making you do yours too, isn't he?
Howard: Get out of here, you creep, you used to live in his house!
Aynsley: See you later, lads
The lyrics to Frank Zappa's song "He's Watching Us" are a dialogue between members of his band and Frank himself. The song conveys a feeling of unease and paranoia, as the band members discuss Frank's behavior and the way he is taking credit for their work. The opening lines immediately set the tone of the song, with Howard stating, "It's him, he's watching us!" This immediately raises the question of who "he" is and why the band is being watched. The next line, "You think he heard us?" suggests that they are being monitored and eavesdropped on.
As the conversation progresses, the tension builds as the band members express their frustration with Frank taking credit for their work. There is a sense that they are being exploited, with Jeff stating that he doesn't mind if Frank rips off their material "so long I get paid." Mark echoes this sentiment, saying that he doesn't care about getting credit for a particular line as long as he and the other band members get credit for their "special material." There is a feeling of resentment towards Frank, with Howard calling him a "creep" and Aynsley suggesting that he is making them do something they don't want to do.
Overall, the lyrics of "He's Watching Us" suggest a tense and complicated relationship between Frank Zappa and his band members. The song portrays a sense of paranoia and suspicion, as the band members try to navigate their relationship with Frank and figure out how to get the credit and recognition they feel they deserve.
Line by Line Meaning
Howard: It's him, he's watching us!
Howard notices that Frank Zappa is observing them.
Mark: You think he heard us?
Mark wonders if Frank Zappa overheard their conversation.
Ian: I've been in the band for years, and . . . you can bet that he hears everything
Ian attests to Frank Zappa's meticulous attention to detail and ability to pick up on everything.
Mark: And ripping off all our good material
Mark accuses Frank Zappa of stealing their ideas and material.
Howard: Let's go over and pretend we don't know he's watching
Howard suggests that they act oblivious to Frank Zappa's presence and supposed actions.
Jeff: That's a real great part you got in there for the chorus when they go ran-tan-toon ran-ta-tan, while I steal the room and everything, I don't mind he's ripping it off so long I get paid . . .
Jeff expresses his satisfaction with a part in Frank Zappa's song and is willing to overlook any potential plagiarism as long as he gets paid.
Aynsley: I don't mean to upset you, lads . . . I don't mean to upset you, lads, but the reason my retorts were so snappy is because he's making me do this, I should imagine he's making you do yours too, isn't he?
Aynsley speculates that Frank Zappa is controlling their behavior and decisions in regards to the song.
Howard: Get out of here, you creep, you used to live in his house!
Howard becomes angry with Aynsley and accuses him of previously living in Frank Zappa's house, indicating potential bias.
Aynsley: See you later, lads
Aynsley leaves the group after a heated discussion.
Contributed by Riley T. Suggest a correction in the comments below.
Aquiles Castro
He's so gay
He's so gay
He's very very gay
He's so gay
He's so gay
And he likes to be that way
With his keys all on the right
He's into rubber every night
He's so gay
He's so gay
He's almost everyone today
He's okay
He's okay
He's got a role he wants to play
He's okay
He's okay
He's just a cowboy for a day
Of course, his evening's not complete
Without some meat in the seat
Let's skate away
Down Santa Monica today
Maybe he wants a little spanking
Maybe he'll eat a little chain
Maybe his lover should be thanking him
For the way he makes it sprinkle
Into drops of golden rain
He's so gay
He's so gay
He rules the city in a way
You could say
You could say
It's sorta different today
All the taffeta and chintz
And every leather boy's a prince
Hey hey hey!
Please don't look the other way
You could be just like him
Tomorrow!
Maybe you'll get a chance
To borrow
(borrow)
His bouquet
And maybe later... maybe later
We'll all be
Gay-y-y-y-y-y-y-y-y!
Do you really wanna hurt me?
Juan Jacobo Guzman
[Ensemble: (singing)]
He's so gay
(He's so gay)
He's very very gay
He's so gay
(He's gay)
[Brown Moses:]
Yes, he is
I guess he likes it
Yeah
[Ensemble:]
And he likes to be that way
With his keys on the right
[Brown Moses:]
Uh-huh
[Ensemble:]
He's into rubber every night
[Brown Moses:]
Into . . . into rubber?
Wha . . . the boy's into rubber every night!
[Ensemble:]
He's so gay
He's so gay
[Brown Moses:]
Oh, my goodness
Whoo . . .
[Ensemble:]
He's ALMOST EVERYONE TODAY
He's okay
He's okay
[Brown Moses:]
Yeah, that's what they say
[Ensemble:]
He's got a role he wants to play
[Brown Moses:]
Aww . . . look, have you ever SMELLED rubber?
[Ensemble:]
He's okay
He's okay
[Brown Moses:]
I guess it's okay, l-look at his woman, yeah . . .
I-I guess it's all right
[Ensemble:]
He's just a cowboy for a day
[Brown Moses:]
Mm-hmm
[Ensemble:]
Of course, his evening's not complete
[Brown Moses:]
Uh-huh
[Ensemble:]
Without some meat in the seat;
[Brown Moses:]
Don't tell me that
[Ensemble:]
Let's skate away
Down Santa Monica today
(Well well well)
Maybe he wants a little spanking
[Brown Moses:]
Uh . . . a spanking?
[Ensemble:]
Maybe he'll eat a little chain
[Brown Moses:]
Uh . . . well, eat the chain
[Ensemble:]
Maybe his lover should be thanking him
[Brown Moses:]
Uh-huh
[Ensemble:]
For the way he makes it sprinkle
[Brown Moses:]
Wait a minute . . .
Wh . . .
[Ensemble:]
Into drops of GOLDEN RAIN
[Brown Moses:]
M . . . makin' into rai . . . ?
Oh no!
What is the problem?
Uh-oh
UHH-OHh
[Ensemble:]
He's so gay
He's so gay
[Brown Moses:]
Yeah, that's what it is
[Ensemble:]
He rules the city in a way
[Brown Moses:]
Ohh boy . . .
[Ensemble:]
You could say
(You could say)
[Brown Moses:]
Wha . . . what could ya say?
[Ensemble:]
It's sorta different today
[Brown Moses:]
I agree
[Ensemble:]
All the taffeta and chintz
[Brown Moses:]
Uh . . . 'least the boy ain't gonna reproduce hisself again
[Ensemble:]
And every Leather Boy's a PRINCE
[Brown Moses:]
Uh-huh
[Ensemble:]
Hey hey hey!
[Brown Moses:]
Hey hey hey . . .
[Ensemble:]
Please don't look the other way
You could be just like him
TOMORROW!
[Brown Moses:]
Hoooo, that's shockin'!
[Ensemble:]
Mah-mah-mah-mah-mah-mah
[Brown Moses:]
Muh-muh-muh-muh-muh-muh
Ooof!
[Ensemble:]
Maybe you'll get a chance
[Brown Moses:]
I'm telling ya
[Ensemble:]
To borrow
(Borrow)
[Brown Moses:]
What I'm a borrow?
[Ensemble:]
His bouquet
[Brown Moses:]
No way!
[Ensemble:]
And maybe later . . .
[Brown Moses:]
Don't you tell me this
[Ensemble:]
MAYBE LATER
[Brown Moses:]
I said don't you tell me this!
[Ensemble:]
We'll ALL BE
GAY-Y-Y-Y-Y-Y-Y-Y-Y!
[Brown Moses:]
No! No! No!
Oh, gay . . .
[Ensemble:]
DO YOU REALLY WANNA HURT ME?
[Brown Moses:]
You just did!
[FZ:]
MOO-AHHH
Aquiles Castro
He's so gay
He's so gay
He's very very gay
He's so gay
He's so gay
And he likes to be that way
With his keys all on the right
He's into rubber every night
He's so gay
He's so gay
He's almost everyone today
He's okay
He's okay
He's got a role he wants to play
He's okay
He's okay
He's just a cowboy for a day
Of course, his evening's not complete
Without some meat in the seat
Let's skate away
Down Santa Monica today
Maybe he wants a little spanking
Maybe he'll eat a little chain
Maybe his lover should be thanking him
For the way he makes it sprinkle
Into drops of golden rain
He's so gay
He's so gay
He rules the city in a way
You could say
You could say
It's sorta different today
All the taffeta and chintz
And every leather boy's a prince
Hey hey hey!
Please don't look the other way
You could be just like him
Tomorrow!
Maybe you'll get a chance
To borrow
(borrow)
His bouquet
And maybe later... maybe later
We'll all be
Gay-y-y-y-y-y-y-y-y!
Do you really wanna hurt me?
MEO T. Meo.
Just Frank Zappa can offend Gays and Conservatives with one song.
May Just May
I’m gay and fucking love this song
darkahrenn 1
Well this isn't satire, also this Is probably One of those 1000 gay-pride Song Who "troll" conservatives
Steve Behm
Frank gave me a cassette with this song, and Truck Driver Divorce, well before it's release. They were "demos" at the time. I told him to GO FOR IT...They were SO cool...
Gebblin
Woah
Van Der Graaf Generator
I’m gay and think this song is awesome as well as his others
passacaglia57
Maybe deeply politically uncorrect, but - FUCK - it's soooooo cool!!!
Jonny Getchyerkokov
That's why it's brilliant
ZapFRG
It's a master piece, this album sound special.