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.
Ms. Pinky
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Davey Moire (vocals)
Andre Lewis (organ, vocals)
Roy Estrada (bass, vocals)
Dave Parlato (bass)
Napoleon Murphy Brock (saxophone, vocals)
Ruth Underwood (synthesizer, marimba)
Donnie Vliet (harmonica)
Ruben Ladron De Guevara (background vocals)
Sharkie Barker (background vocals)
I got a girl with a little rubber head
Rinse her out every night just before I go to bed
She never talked back like a lady might do
And she looks like she loves it every time I get through
And her name is P-I-N-K-Y
P-I-N no lie
K-Y me-oh-my
She's 69 - 95, give her a try
P-I-N-K-Y
P-I-N I cry
K-Y don't be shy
69 - 95 boy, give her a try
Her eyes 's all shut in an ecstasy face
You can cram it down her throat, people, any old place
Throw a little switch on her battery pack
You can poot it, you can shoot it till your wife gets back
And her name is P-I-N-K-Y
P-I-N I cry
K-Y don't be shy
69 - 95 boy, give her a try
I got a girl with a little rubber head
Rinse her out every night just before I go to bed
She never talked back like a lady might do
And she looks like she loves it every time I get through
Her eyes 's all shut in an ecstasy face
You can cram it down her throat, people, any old place
Throw a little switch on her battery pack
You can poot it, you can shoot it till your wife gets back
You can poot it, you can shoot it till your wife gets back
You can poot it, you can shoot it till your wife gets back
You can poot it, you can shoot it till your wife gets back
You can poot it, you can shoot it till your wife gets back
You can poot it, you can shoot it till your wife gets back
The song "Ms. Pinky" by Frank Zappa is a satirical and provocative take on sex toys and the way they are used in society. The singer of the song is a man who is proud of his collection of sex dolls, but one in particular catches his fancy, a rubber doll called Ms. Pinky. He explains how he cleans her every night before bed, and how she never talks back or complains like a "lady might do". The explicit lyrics suggest a sense of ownership and dominance over the objectified doll, who he can use for pleasure whenever he desires.
The lyrics also highlight the impersonal and mechanical nature of sex toys and their ability to satisfy sexual desires without any emotional connection. The singer boasts that he can "cram it down her throat, people, any old place" and how he can use her until his wife gets back, implying that his relationship with Ms. Pinky is solely based on his own needs.
Overall, the song's lyrics are a commentary on the dehumanization of sex and the commodification of human sexuality in modern society.
Line by Line Meaning
I got a girl with a little rubber head
I own a sex doll that has a head made of rubber
Rinse her out every night just before I go to bed
I clean the sex doll every night before I go to sleep
She never talked back like a lady might do
The sex doll doesn't talk back like an actual person would
And she looks like she loves it every time I get through
The sex doll appears to enjoy sexual activity every time I use it
And her name is P-I-N-K-Y
The sex doll is named Pinky
P-I-N no lie
The spelling of Pinky's name is accurate
K-Y me-oh-my
Lubricant is necessary for using Pinky
She's 69 - 95, give her a try
Pinky is a sex doll with multiple orifices, offering various possibilities for sexual exploration
P-I-N I cry
The artist is emphasizing that Pinky is the sex doll's name
K-Y don't be shy
Using lubricant is nothing to be embarrassed about
69 - 95 boy, give her a try
Pinky has specific dimensions, and the singer encourages trying her out
Her eyes 's all shut in an ecstasy face
The expression on the sex doll's face suggests pleasure or ecstasy
You can cram it down her throat, people, any old place
The singer is expressing the flexibility and versatility of using Pinky
Throw a little switch on her battery pack
Pinky is powered by a battery, which enhances the experience
You can poot it, you can shoot it till your wife gets back
The singer can use Pinky for sexual activity until his wife returns home, suggesting infidelity
You can poot it, you can shoot it till your wife gets back
Repetition of the previous line
You can poot it, you can shoot it till your wife gets back
Repetition of the previous line
You can poot it, you can shoot it till your wife gets back
Repetition of the previous line
You can poot it, you can shoot it till your wife gets back
Repetition of the previous line
Contributed by Lila D. Suggest a correction in the comments below.
Red Garnett
This is one of Frank's best ever !!
lambisi buto
Sixty-nine, ninety five boy give er a try.!! What a great sing along. This album is in my top 20 of Frank's.
DaWiredChristian
I discovered this song thru an old kid friend and we laugh our "S" off to the lyrics.
terrypussypower
One of Frank’s most kick ass riffs ever!! I LOVE IT!! When idiots come at me with that “Zappa didn’t write any riffs” bullsh*t, this is the first one I hit ‘em with!!
Red Garnett
No doubt one of his best tracks ever !!
Baron of Livonia.
I usually say Trouble Every Day.
Patricia Liesens
Heel mooi nummer. Zal ik nog vaker beluisteren
xane
Tell 'em Frank!
Zappa Lives!
Baron of Livonia.
This and Roxy Music's In Every Dream Home are the best songs about them blow up dolls.
Primitive In The Extreme
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