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.
Jeff Quits
Frank Zappa Lyrics
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FZ: In other words, you don't wanna be in the movie
Jeff: Yeah
FZ: You're sure?
Jeff: Mm-mh
FZ: Is there anybody else that doesn't want to be in the movie? . . . Is there anything specific that you don't like about the script?
Jeff: No . . . in fact my part is the best part of the movie, I think . . .
FZ: You have the biggest part
FZ: And why do you think it went so far?
Jeff: It was probably boiled in ammonia
Mark: I'm curious to know why -like I asked you this morning-, why puts you out so much to do it, man? Unless you're just a little afraid that what you gotta say is too much what you'd say, anyway?
Jeff: It is what I'd say, it's exactly, it's there!
Mark: So you . . . why you're afraid to say to the people out there what you've been saying to us for months?
Jeff: I'm not afraid to say it to the people out there, I'm just afraid to be in this band anymore
Mark: Why?
FZ: The lines that are in this film are based on things I heard people say for years, all the way back to the very beginning, you know? I don't think anybody should have any objection to say any of those things, because you're playing yourself
Jeff: Should I trim the scene?
FZ: Sure
The lyrics to Jeff Quits by Frank Zappa are a conversation between Zappa and his band member Jeff, who expresses his dissatisfaction with being a part of a movie. Zappa questions Jeff's decision and asks if there is anything specific that he does not like about the script. Jeff admits that his part is the best in the movie and that he did not know how far it could go. Zappa presses him on why he does not want to be in the movie, and Jeff reveals that he is not afraid to say what he has been saying to Zappa and his band members for months, but he is afraid to continue being a part of the band.
The conversation reflects the tensions within the band at that time and the creative differences that often arise in collaborative projects. Jeff's reluctance to be a part of the movie suggests that he may not feel that it accurately reflects his own artistic vision, or that he does not want to be portrayed in a way that he does not agree with. Zappa's defense of the movie, based on the fact that the lines are taken from real conversations, suggests that he is trying to create an authentic portrayal of the band's experiences.
In conclusion, the lyrics to Jeff Quits by Frank Zappa reveal the complex dynamics of a band in the midst of a creative project, highlighting the tensions and disagreements that can arise when multiple artistic visions are involved.
Line by Line Meaning
This is what I joined for. This I don't think is pretty good.
Jeff expresses disappointment with the movie he has joined, suggesting he finds it unappealing.
In other words, you don't wanna be in the movie
Zappa interprets Jeff's statement and implies he does not want to be part of the movie.
Yeah
Jeff confirms his original statement about not wanting to be in the movie.
Mm-mh
Jeff responds in the negative to Zappa's inquiry.
Is there anybody else that doesn't want to be in the movie? . . . Is there anything specific that you don't like about the script?
Zappa asks if anyone else shares Jeff's negative sentiment and if there are specific aspects of the script causing these feelings.
No . . . in fact my part is the best part of the movie, I think . . .
Jeff contradicts his previous statement and confesses that his role in the movie is the best.
You have the biggest part
Zappa confirms that Jeff's role in the movie is indeed the biggest.
I didn't know how far this could go
Jeff seems unsure of how deeply involved he would become in the project.
And why do you think it went so far?
Zappa asks Jeff for the reason he got heavily involved in the movie.
It was probably boiled in ammonia
Jeff makes a sarcastic remark, suggesting that the reason for the project's progress is due to using chemically extreme methods.
I'm curious to know why -like I asked you this morning-, why puts you out so much to do it, man? Unless you're just a little afraid that what you gotta say is too much what you'd say, anyway?
Mark inquires about Jeff's reluctance to work on the project, and implies that he may be scared to express his true thoughts.
It is what I'd say, it's exactly, it's there!
Jeff asserts that he is ready and willing to say what is on his mind to the public.
I'm not afraid to say it to the people out there, I'm just afraid to be in this band anymore
Jeff clarifies that he is no longer afraid to speak out but is frightened to be part of the band.
The lines that are in this film are based on things I heard people say for years, all the way back to the very beginning, you know? I don't think anybody should have any objection to say any of those things, because you're playing yourself
Zappa defends the script, stating that the lines are based on real people's conversations and that the cast should have no issues playing themselves.
Should I trim the scene?
Jeff asks for Zappa's opinion on whether he should shorten the scene.
Sure
Zappa gives his approval for Jeff to trim the scene.
Contributed by Jake H. Suggest a correction in the comments below.