Lil' Clanton Shuffle
Frank Zappa Lyrics
[Don "Sugar Cane" Harris violin
FZ guitar
Ian Underwood Fender Rhodes
Unknown [probably Max Bennett] bass
John Guerin drums]
Contributed by Max I. Suggest a correction in the comments below.
To comment on specific lyrics, highlight them
Frank Vincent Zappa (born December 21, 1940 in Baltimore, Maryland, United States – December 4, 1993 in Los Angeles, California, United States) was an American composer, guitarist, singer, bandleader and producer. He was one of the most prolific musicians of his time, releasing over fifty albums of original material spanning over a thirty-five year career.
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. Read Full BioFrank Vincent Zappa (born December 21, 1940 in Baltimore, Maryland, United States – December 4, 1993 in Los Angeles, California, United States) was an American composer, guitarist, singer, bandleader and producer. He was one of the most prolific musicians of his time, releasing over fifty albums of original material spanning over a thirty-five year career.
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.
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. Read Full BioFrank Vincent Zappa (born December 21, 1940 in Baltimore, Maryland, United States – December 4, 1993 in Los Angeles, California, United States) was an American composer, guitarist, singer, bandleader and producer. He was one of the most prolific musicians of his time, releasing over fifty albums of original material spanning over a thirty-five year career.
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.
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periurban
@Matt H All good points, but I do have some further comments on yours if you're up for it!
1) I don't object to the owners of music making money from it, but Frank Zappa did not want his music to be managed in this way. He wanted the business to be sold off, presumably to people who would know how to treat the archive with respect. Frank was a completely unsentimental person, and if he had any whiff of what Gail planned he would have tried to thwart her, which is why he left a written will that Gail ignored and hid.
2) Frank archived everything. Then when he was terminally ill he created a will requiring that the business (including the archive) be sold off. Does the Vatican do that sort of thing? lol
3) The best testament to the musicians involved is the part they played in making one of the best albums ever made. What this collection shows is the way Frank edited the performances into something better, which is worthwhile knowing. But the package should not pretend to have anything to do with the original album. It is confusing for non-fans.
4) That's an assumption I don't agree with. On search engines today enter "hot rats" and you will be led to this collection in preference to the real thing. You might easily think you are getting something better than the real thing, which only exists on a single CD. After all, many of the ZFT's other box sets have the original album included. But even those not making that mistake should not hear this FIRST!
5) I agree with this point at least, and there is no doubt value in hearing the process. But it should not be presented like this, and it certainly shouldn't ever have been named after the original album, and be packaged the same way, with the same font etc.
If this package was called "Frank Zappa - The 1969 TTG, Sunset and Whitney Sessions" there would be no need for this discussion.
Take care fellow Zappa fan! Peace and love from Scotland.
Matt H
I'm going to have to disagree. While I can't say I know what Zappa's will did or didn't say,I can bring up these points.
1) The people who will buy a hot rats set are not legion so I doubt millions are being made off this. Its unlikely the ZFT are sipping Dom Perion instead of Del Monte with its proceeds. And buyers will in almost all instances will have owned the original vinyl and CD reish and to a fan of the album this is beyond a treat level. Only serious adepts need apply.
2) If Frank did deem this to show himself and the band in a bad light,why didn't he destroy it years ago? Why would it be archived? And if the archive was never to be seen by anyone,why wasn't it given to the Vatican?
3) Zappa not withstanding,its a wonderful testament to the other musicians involved,many of which are also,like Frank,no longer with us. Its nice to hear them doing something "fresh" (at least to our ears) and if they could answer,I'm sure Lowell George,John Guerin et all would be tickled to know that their work and talent are still appreciated. Even Miss Christine on the cover would be happy knowing that people still think of her and know she was once alive and part of something special.
4) Any "new" fans would likely buy the standard copy first before buying a 6 CD set or whatever it is. And any youngster seeking out Zappa is going to be cut from a different cloth anyway,so its a safe bet they would "get" this is a work in progress.
5) Hearing these takes (and I'm sure there are many,many we didn't get to hear) and how they were created is both educational as well as fascinating. From Franks direction(s) to hearing how the musicians accented things with their own personal dynamics,a further testament to their skills. To me,this is the aural equivalent of sitting in a folding chair (40 of Mickeys en mitt) and watching Michaelangelo paint the Sistine chapel.
This is a few points. While I understand your argument I don't feel this sullies Franks legacy in any way. If I had my druthers, I'd be demanding that the ZFT give Burnt Weenie Sandwich much the same treatment.
I'm sure many would agree. But then again....what do I know?
Grok Effer
This reminds me of Big Leg Emma.
PC Jones
It is Big Leg Emma....FZ is the best!
Brian Keller
Thank You!
horsew/noname
whether you like that it was released or not, i think we can agree that there's plenty of straight-ahead jam to enjoy here
Raymond Najera
Love the jams that come out of a garage. w.s. clanton 14st.
Angelo Mezzadri
The only thing can i say is that i like too much this whole album.
Davett53
Great Blues number featuring violin,....I think an atypical tune for Zappa, though he incorporated blues music in a lot of compositions,....this sounds like something quite unique, imo.
periurban
This track shames those who have chosen to release it. The ZFT act against Frank's express wishes by putting this out there. It is in no condition to see the light of day, which is why Frank left it languishing in the vault, which is where it correctly belongs. After the opening violin phrases, there is a gap where a distant guitar can be heard, then someone remembers to put the fader up and we suddenly get the guitar and piano! This kind of sloppiness is not part of Frank's legacy, but here it is for all to hear. Frank could choose to hide this away from the world, and quite right he was. Everything Frank released during his lifetime was what Frank deemed his work. These tracks are works in progress, abandoned works or works that were used elsewhere, sometimes in whole or in part. But Frank would never have showed his dirty linen like this, and his legacy should not be subjected to this cash in. It's horrible, and it shouldn't be happening.
periurban
@Matt H All good points, but I do have some further comments on yours if you're up for it!
1) I don't object to the owners of music making money from it, but Frank Zappa did not want his music to be managed in this way. He wanted the business to be sold off, presumably to people who would know how to treat the archive with respect. Frank was a completely unsentimental person, and if he had any whiff of what Gail planned he would have tried to thwart her, which is why he left a written will that Gail ignored and hid.
2) Frank archived everything. Then when he was terminally ill he created a will requiring that the business (including the archive) be sold off. Does the Vatican do that sort of thing? lol
3) The best testament to the musicians involved is the part they played in making one of the best albums ever made. What this collection shows is the way Frank edited the performances into something better, which is worthwhile knowing. But the package should not pretend to have anything to do with the original album. It is confusing for non-fans.
4) That's an assumption I don't agree with. On search engines today enter "hot rats" and you will be led to this collection in preference to the real thing. You might easily think you are getting something better than the real thing, which only exists on a single CD. After all, many of the ZFT's other box sets have the original album included. But even those not making that mistake should not hear this FIRST!
5) I agree with this point at least, and there is no doubt value in hearing the process. But it should not be presented like this, and it certainly shouldn't ever have been named after the original album, and be packaged the same way, with the same font etc.
If this package was called "Frank Zappa - The 1969 TTG, Sunset and Whitney Sessions" there would be no need for this discussion.
Take care fellow Zappa fan! Peace and love from Scotland.
Matt H
I'm going to have to disagree. While I can't say I know what Zappa's will did or didn't say,I can bring up these points.
1) The people who will buy a hot rats set are not legion so I doubt millions are being made off this. Its unlikely the ZFT are sipping Dom Perion instead of Del Monte with its proceeds. And buyers will in almost all instances will have owned the original vinyl and CD reish and to a fan of the album this is beyond a treat level. Only serious adepts need apply.
2) If Frank did deem this to show himself and the band in a bad light,why didn't he destroy it years ago? Why would it be archived? And if the archive was never to be seen by anyone,why wasn't it given to the Vatican?
3) Zappa not withstanding,its a wonderful testament to the other musicians involved,many of which are also,like Frank,no longer with us. Its nice to hear them doing something "fresh" (at least to our ears) and if they could answer,I'm sure Lowell George,John Guerin et all would be tickled to know that their work and talent are still appreciated. Even Miss Christine on the cover would be happy knowing that people still think of her and know she was once alive and part of something special.
4) Any "new" fans would likely buy the standard copy first before buying a 6 CD set or whatever it is. And any youngster seeking out Zappa is going to be cut from a different cloth anyway,so its a safe bet they would "get" this is a work in progress.
5) Hearing these takes (and I'm sure there are many,many we didn't get to hear) and how they were created is both educational as well as fascinating. From Franks direction(s) to hearing how the musicians accented things with their own personal dynamics,a further testament to their skills. To me,this is the aural equivalent of sitting in a folding chair (40 of Mickeys en mitt) and watching Michaelangelo paint the Sistine chapel.
This is a few points. While I understand your argument I don't feel this sullies Franks legacy in any way. If I had my druthers, I'd be demanding that the ZFT give Burnt Weenie Sandwich much the same treatment.
I'm sure many would agree. But then again....what do I know?