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.
Intro Rap
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Some of them, they get too carried away, you know?
Because they think Frank Zappa is such a mad men, you know?
They come here to see him go crazy or something, you know?
They don't realize there's notes involved, you know?
I told you the first time I met you, Frank, remember that, what I said?
You wanna be in the band
I'll try you out
I don't sing, I do anything but sing
What do you mean you dont sing (I don't sing)
I've heard you sing
Sing something, sing baby snakes
The lyrics to Frank Zappa's song Intro Rap are spoken by an unnamed person who appears to be introducing Frank Zappa to a live audience in New York. The singer starts by commenting on the enthusiasm of the New York crowds who come to see Frank Zappa perform. He notes that some of them expect Zappa to behave like a "madman" on stage and are not aware of the musical complexity of his work. The singer also reminds Zappa of their first meeting, during which he told the musician that he would like to try out for his band, despite not being a singer.
Overall, the lyrics to Intro Rap highlight some of the misconceptions and stereotypes that people have about Frank Zappa and his music. Despite being known for his eccentric stage presence and unconventional lyrics, Zappa was also an accomplished musician and composer who incorporated a wide range of styles and influences into his work. By emphasizing the importance of "notes" and musicianship, the lyrics suggest that there is more to Zappa's music than just shock value.
Line by Line Meaning
Tonight thou-, I tell you one thing about his New York crowds
Frank Zappa's New York audience can be easily excited.
Some of them, they get too carried away, you know?
A portion of Frank Zappa's New York audience becomes overly enthusiastic.
Because they think Frank Zappa is such a mad men, you know?
Frank Zappa's New York audience sees him as a crazy person.
They come here to see him go crazy or something, you know?
The audience has expectations and desires for Frank to do something outlandish.
They don't realize there's notes involved, you know?
The audience underestimates the importance of musical notes in Frank's performance.
I told you the first time I met you, Frank, remember that, what I said?
Some previous interaction occurred between the singer and Frank, and the singer reminds Frank of it.
You wanna be in the band
The singer suggests that Frank would like to have the audience participate or be part of the musical group.
No, well, I wouldn't do that man, I would try out for your band, but I wouldn't
The artist would not willingly participate, but would consider trying out for the band.
I'll try you out
Frank is open to auditioning the artist for the band.
I don't sing, I do anything but sing
The artist implies that they have other talents besides singing.
What do you mean you don't sing (I don't sing)
Frank is surprised that the singer doesn't sing.
I've heard you sing
Frank has previously heard the artist sing.
Sing something, sing baby snakes
Frank wants the singer to showcase their singing ability by singing the song 'Baby Snakes.'
Writer(s): Zappa Frank
Contributed by Skyler R. Suggest a correction in the comments below.