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.
Kenny's Booger Story
Frank Zappa Lyrics
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Frank zappa (guitar)
Kenny:
Before, uh while I was away in boarding school lived with ronnie by the name of dwight demith. uh, used to live there with ronnie an' they would uh, instead of blowing their nose on a handkerchief they would, uh, stick their finger up in their nose and uh, pull out all their boogers an' smear em' on the window. uh, I don't know, I always thought it was crazy, an' it didn't look good, an' after a while, I mean you couldn't see out the window! he-hunh!
Fz:
Did you ever do that?
Kenny:
Uhh, I may have added one or two on there, yeah.
In Frank Zappa's song "Kenny's Booger Story," Kenny Williams shares a rather disgusting tale of his former roommates Ronnie and Dwight, who instead of using handkerchiefs to blow their noses, would stick their fingers up their nostrils and smear the resulting boogers on the window. Kenny expresses how he found this behavior crazy and gross, to the point where it obscured the view through the window. When asked if he participated in this activity himself, Kenny admits that he may have added a booger or two onto the window.
While the lyrics may initially appear ridiculous and somewhat repulsive, the song can be interpreted as a commentary on the strange habits and practices that people develop in their daily life, especially in group settings where peer pressure and conformity can have a significant impact. It may also highlight the importance of personal hygiene and cleanliness in shared living spaces.
Line by Line Meaning
Before, uh while I was away in boarding school lived with ronnie by the name of dwight demith.
Kenny was living in a boarding school with a guy called Ronnie who also lived with Dwight Demith.
uh, used to live there with ronnie an' they would uh, instead of blowing their nose on a handkerchief they would, uh, stick their finger up in their nose and uh, pull out all their boogers an' smear em' on the window.
Kenny and Ronnie used to live together and instead of using handkerchiefs, they would insert their fingers in their noses, take out the boogers, and then apply them to the window.
uh, I don't know, I always thought it was crazy, an' it didn't look good, an' after a while, I mean you couldn't see out the window! he-hunh!
Kenny found the practice crazy and unhygienic since it made the window dirty and prevented you from seeing through it.
Did you ever do that?
Frank asks Kenny if he ever indulged in the same practice.
Uhh, I may have added one or two on there, yeah.
Kenny admits to having also added a few boogers on the window as well.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Vincent Zappa
Lyrics Licensed & Provided by LyricFind