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.
Mothers At KPFK
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oh, Joe! Joe, Roy. Oh, Joe
Where you going with that thing in your pants?
This is Bunk Sweet Pants Gardner
Sock it to him, guy
Why don't you step out here and pack it to me, Art? Glistening white skin, Art
Roy, what did Frank always say? He said we could say anything we want to, didn't he?
Corn on that cob
Ay, Indio, Indio? Kim
Jina, and Kim
I'm here from Calif, ay
Calif, California!?: Calif! Oh, man
All right, Santa Ana, California
Roy and Jim have a special kind of form of communication... To illustrate this point we'll now have a conversation between Roy and Jim
I refuse
As if, as if it was happening in the back seat of a car in San Francisco
How 'bout you?
How 'bout you?
How 'bout you? Pink?
Yeah
Sure?
Mhm
Mhm-hm-mhm
Estáis loco, indio
Caray, hombre
Estás loco
Estás loco, estás loco
Wannanenema? Wannanenema?
The recipe is available by mail.
Wanna wanna wannanenema
Yeah-nema
WOAHH
RAY COLLINS, WE LOVE YOU
We'll never forget you
No
We'll never forget you
Hratche Plche Hratche Plche
Hratche Plche Hratche Plche
(American way)
Hratche Plche Hratche Plche
(Ray Ray Ray)
Hratche Plche Hratche Plche
(Help, I'm a rock!)
Hratche Plche Hratche Plche
Hratche Plche Hratche Plche
(Ray Ray Ray)
Now, ladies and gentlemen, Don Preston
I have an organ, a piano, a harpsichord uh, uh, forty-five oscillators and uh, that's my instruments
I've got a uh, bass clarinet, and a clarinet, and a piccolo, and a flute and an alto flute, and a tenor and an alto, and a soprano, and a chanter, and a C melody
I have a low cowbell, and a hi cowbell.?: Oh, Art!?: You never heard about that, did you?
I have a snare drum and I have a hi tom tom and a low tom tom, I have four melody horns, and they go beep, and I have a slapstick which Don Preston graciously gave to me
And caresses now
And it goes pap, and uh, then I have Ga—, Bunk Gardner, and whenever I goose him, he goes 'Bunk'
Bunk Bunk
Bunk
Bunk Bunk
Ian: The other half of the percussion section is Jimmy Carl Black who plays
I have a red set of drums
How you doin' Gary
Ian: And when, and when the whole band gets together, and plays all these wonderful instruments it sounds like this...
The song "Mothers At KPFK" by Frank Zappa is a strange blend of seemingly unrelated conversations and musings. The lyrics begin with a dedication to Joe Lattanzi, who played third base for the North-American Italian, but then quickly move on to a bizarre conversation between various individuals. There are mentions of white skin, California, special forms of communication between Roy and Jim, and even a recipe for an unknown dish. The song concludes with a chanting of "Hratche Plche" and a description of the many instruments that make up the band.
The meaning behind the lyrics is difficult to decipher, but it highlights Zappa's unique perspective and unconventional approach to music. The random ramblings and disjointed conversations in the song seem to be Zappa's commentary on the absurdity of modern life, with no particular meaning or purpose behind them. The song is a testament to his creativity and willingness to experiment with different forms of musical expression.
Line by Line Meaning
I'd like to dedicate an ode to Joe Lattanzi who played third base for the North-American Italian. Oh, Joe
Frank introduces the song with a dedication to Joe Lattanzi, who played third base for the North-American Italian.
Oh, Joe! Joe, Roy. Oh, Joe
Frank repeats Joe's name and addresses Roy, referring to a previous conversation or joke they shared.
Where you going with that thing in your pants?
Frank jokingly asks Joe where he's going with something in his pants, possibly referencing a private joke or an innuendo.
This is Bunk Sweet Pants Gardner
Frank introduces musician Bunk Gardner and humorously adds his nickname 'Sweet Pants.'
Sock it to him, guy
Frank encourages Bunk to perform or show his skills.
Why don't you step out here and pack it to me, Art? Glistening white skin, Art
Frank calls out to Art and uses a playful tone, complimenting his skin while implying he should showcase his talent.
Roy, what did Frank always say? He said we could say anything we want to, didn't he?
One of the musicians (Roy) remembers a previous statement made by Frank about their freedom of expression and implies they should take advantage of it.
Corn on that cob
Frank brings up a seemingly random phrase, which may have been used as a code word or inside joke among the group.
You'd better take care of all those kids, especially Geronimo, Darrell, Gary
Frank reminds someone to take care of the group's children, specifically highlighting Geronimo, Darrell, and Gary.
Ay, Indio, Indio? Kim
Jina, and Kim
I'm here from Calif, ay
Calif, California!?: Calif! Oh, man
All right, Santa Ana, California
Frank mentions a few names and locations (Indio, Kim, Jina, and Santa Ana, California) without much context, which could be a reference to certain people or events familiar to the group.
Roy and Jim have a special kind of form of communication... To illustrate this point we'll now have a conversation between Roy and Jim
Frank introduces a bit that showcases the unique communication style between Roy and Jim, which is likely a humorous skit or banter.
I refuse
One of the musicians (likely Roy or Jim) responds with a flat refusal or joke, possibly playing along with the previous bit.
As if, as if it was happening in the back seat of a car in San Francisco
How 'bout you?
How 'bout you?
How 'bout you? Pink?
Yeah
Sure?
Mhm
Mhm-hm-mhm
The conversation continues with some nonsensical phrases and questions, perhaps meant to be funny or confusing.
Estáis loco, indio
Caray, hombre
Estás loco
Estás loco, estás loco
Wannanenema? Wannanenema?
Frank throws in a few Spanish phrases (which translate to 'You guys are crazy, Indian,' and 'Wow, man! You're crazy!'), followed by a nonsensical question ('Wannanenema?'), possibly meant to add humor or randomness to the song.
The recipe is available by mail.
Wanna wanna wannanenema
Yeah-nema
WOAHH
RAY COLLINS, WE LOVE YOU
We'll never forget you
No
We'll never forget you
Frank includes a phrase about a recipe being available by mail, followed by more nonsensical phrases and a shout-out to Ray Collins who is loved and won't be forgotten.
Hratche Plche Hratche Plche
Hratche Plche Hratche Plche
(American way)
Hratche Plche Hratche Plche
(Ray Ray Ray)
Hratche Plche Hratche Plche
(Help, I'm a rock!)
Hratche Plche Hratche Plche
Hratche Plche Hratche Plche
(Ray Ray Ray)
Frank repeats the nonsensical phrase 'Hratche Plche' a few times, with some variations that include 'American way' and 'Ray Ray Ray,' possibly meant to be an inside joke or nonsensical chant.
Now, ladies and gentlemen, Don Preston
I have an organ, a piano, a harpsichord uh, uh, forty-five oscillators and uh, that's my instruments
Frank introduces Don Preston and his many instruments, which include an organ, a piano, a harpsichord, and forty-five oscillators.
I've got a uh, bass clarinet, and a clarinet, and a piccolo, and a flute and an alto flute, and a tenor and an alto, and a soprano, and a chanter, and a C melody
Don Preston lists off several types of clarinets, flutes, and saxophones he has, likely with some exaggeration or humor.
I have a low cowbell, and a hi cowbell.?: Oh, Art!?: You never heard about that, did you?
Don Preston mentions having two cowbells (one low and one high) and addresses Art with the question, implying he didn't know about the cowbells before.
I have a snare drum and I have a hi tom tom and a low tom tom, I have four melody horns, and they go beep, and I have a slapstick which Don Preston graciously gave to me
And caresses now
And it goes pap, and uh, then I have Ga—, Bunk Gardner, and whenever I goose him, he goes 'Bunk'
Bunk Bunk
Bunk
Bunk Bunk
Don Preston continues listing his instruments, including drums, melody horns that produce beeping sounds, and a slapstick gifted by him. In addition, he mentions 'goosing' Bunk Gardner, which prompts him to make a sound effect ('Bunk') in response.
Ian: The other half of the percussion section is Jimmy Carl Black who plays
I have a red set of drums
How you doin' Gary
Ian: And when, and when the whole band gets together, and plays all these wonderful instruments it sounds like this...
Ian introduces Jimmy Carl Black and his red drums, before explaining how the band sounds when all the instruments are played together.
Writer(s): Zappa Frank
Contributed by Claire R. Suggest a correction in the comments below.