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.
Lonesome Electric Turkey
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Mark volman (lead vocals, dialog)
Howard kaylan (lead vocals, dialog)
Ian underwood (woodwinds, keyboards, vocals)
Aynsley dunbar (drums)
Jim pons (bass, vocals, dialog)
Bob harris (keyboards, vocals)
Don preston (mini-moog)
Aaaah...aaah...
Arf!
"Lonesome Electric Turkey" is a satirical track by Frank Zappa. The song starts with the sounds of a turkey, which quickly transitions into heavy guitar riffs. The singer then mocks the traditional Thanksgiving Day feast, criticizing the turkey's taste and calling it dry. The song also contains other humorous themes such as the commercialization of the holiday, the oppression of Native Americans, and American politics.
The track features a variety of musical genres including rock, jazz, and funk. Zappa's guitar playing is impressive throughout the song, and he also provides humorous dialogue. The vocalists, Mark Volman and Howard Kaylan, also known as Flo and Eddie, provide entertaining call-and-response segments with Zappa. Ian Underwood's woodwinds and keyboards add a unique touch to the song.
The song's lyrics reflect Zappa's characteristic wit and satire. He uses the turkey as a symbol to criticize American society and its consumerism. The song is a commentary on the holiday tradition of consuming and celebrating without thinking about the historical and cultural context of the holiday. "Lonesome Electric Turkey" is a prime example of Zappa's unconventional style and witty social commentary.
Line by Line Meaning
Aaaah...aaah...
Musical intro, no actual lyrics
Arf!
A dog barking, also used as musical interjection
In the lonely night
Setting the scene, describing the mood
Stark and dark and slight
Further describing the atmosphere, using alliteration
Clouds above that move
Visual description of the clouds moving in the sky
Sorrow in the wind
Personifying the wind to convey a feeling of sadness
And a body being moved
Implies someone is being carried, possibly dead or injured
Doo-doo doo-doo doo-doo doo
No actual lyrics, just a musical interlude
Doo-doo doo-doo doo-doo doo
Continuation of the above musical interlude
Lonesome electric turkey
Title of the song, using absurd imagery to create interest
In the land where the electric Indians sleep
Describing a surreal environment where electric turkeys and Indians coexist
Indian, Indian, what did you die for?
Questioning the reason behind an Indian's death
Indian says, nothing at all
The Indian doesn't give an answer, reinforcing the mystery
Has somebody stepped on your feet?
Asking if the Indian's death was caused by someone, implying foul play
Tears splash against the side of the driver's seat
Describing a person crying in a car
Whyyyyyy?
A scream, expressing intense emotion or frustration
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Vincent Zappa
Lyrics Licensed & Provided by LyricFind