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.
Ian Underwood Whips It Out
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(Ha ha ha)
Wowie zowie
One month ago I heard The Mothers of Invention at the theater
I heard them on two occasions
And on the second occasion I went up to Jim Black and I said,
"I like your music, and I'd like to come down and play with you."
Two days later I came up to the recording session
And Frank Zappa was sitting in the control room.
I walked up and said, "How'd you do, my name is Ian Underwood
and I like your music and I'd like to play with your group."
Frank Zappa says, "What can you do that's fantastic?"
I said, "I can play alto saxophone and piano."
He said, "All right, whip it out."
The song "Ian Underwood Whips It Out" by Frank Zappa is a humorous tale of how Ian Underwood, a straight member of the group, came to join The Mothers of Invention. The lyrics describe how Ian had seen the group perform twice at a theater and was impressed, leading him to approach Jim Black and express his interest in playing with the group. Two days later, he attended a recording session where he met Frank Zappa who asked him what he could do that was fantastic. Ian replied that he could play the alto saxophone and piano, to which Zappa responded with the memorable line, "All right, whip it out."
On a deeper level, the lyrics can be interpreted as a commentary on the nature of talent and what it takes to be a successful musician. Ian's willingness to approach the group and showcase his abilities demonstrates his confidence and self-belief, traits that are often necessary for success in the music industry. The line "whip it out" can also be seen as a metaphor for taking risks and putting oneself out there, both of which are important for achieving success in any field.
Overall, "Ian Underwood Whips It Out" is a lighthearted and entertaining song that showcases Frank Zappa's trademark humor and musical abilities.
Line by Line Meaning
My name is Ian Underwood and I am the straight member of the group.
Introducing himself as the only heterosexual in the band.
Ha ha ha
Expressing a laugh.
Wowie zowie
Expressing amazement or excitement.
One month ago I heard The Mothers of Invention at the theater
Recalling the time he first heard the band perform live.
I heard them on two occasions
Stating that he saw them perform twice.
And on the second occasion I went up to Jim Black and I said, "I like your music, and I'd like to come down and play with you."
Approaching the band and expressing interest in joining them.
Two days later I came up to the recording session
Describing the timeframe when he met Frank Zappa.
And Frank Zappa was sitting in the control room.
Noting the presence of Zappa at the recording session.
I walked up and said, "How'd you do, my name is Ian Underwood and I like your music and I'd like to play with your group."
Initiating a conversation with Zappa, expressing admiration for his music and interest in joining the band.
Frank Zappa says, "What can you do that's fantastic?"
Asking Underwood what special talents he possesses.
I said, "I can play alto saxophone and piano."
Responding to Zappa's question with his musical abilities.
He said, "All right, whip it out."
Challenging Underwood to showcase his musical skills right then and there.
Contributed by Amelia C. Suggest a correction in the comments below.