Frank Vincent Zappa (born December 21, 1940 in Baltimore, Maryland, United … Read Full Bio ↴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. 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. 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.
Opening
Frank Zappa Lyrics
Oh, I smoked a Pall Mall yes, I did
Oh, yeah
Sssh
Oh, you can't fall on the floor
You know? You
Know, I make like I'm down on the floor
You know
DO-DO-DO-DOH!
Hah hah lOUIE LOUIE!
Motorhead: Oh, yeah
I was out screwing this broad one
Time, we was in the car, you know
I had the radio turned down a little
Bit some shitty commercial came on
(DOOT DOOT)
Motorhead: She started telling about
Her, her girlfriends, you know they would
Go in the bathroom someplace, not
At, at school, you know
At a gas station or something like that
And they would compare each other's box, man
And uh, compare tit's and all this shit
And they'd tell how their
Boyfriends screwed 'em
And all this stuff, you know
How exciting it was i was screwing this girl
And she was telling me all this shit
Don Van Vliet: Ha ha ha!
?: Well, I'm waiting
FZ: Get the rubber hose
Bob: Damn, I give this guy a
Ride, ha ha! You know, eEEEH!
And stopped his car, and, hey
Hey hey where you goin', eh? Wanna ride?
Motorhead: Sort of lost the
The desire to screw her after all that shit
Went to the nearest supermarket
(And all you will mean to me in the future)
Stole a Hank magazine (And each time)
Went home (I think of those lovely eyes)
Ate some jello
(I think of your smile that is so true)
And had a mellow mellow mellow muelo
(And so dear to me) had a swell time
(And each year that I have known you
My love) i knew
(I've needed you more)
I knew that my granny would be there
(Each day, each hour, each minute)
Because I had a crush on her
(It's pathetic, my darling)
Granny knew that I smoke Pall Mall (To note)
Oh, yeah
Sssh
Oh, you can't fall on the floor
You know? You
Know, I make like I'm down on the floor
You know
Hah hah lOUIE LOUIE!
Motorhead: Oh, yeah
I was out screwing this broad one
Time, we was in the car, you know
I had the radio turned down a little
Bit some shitty commercial came on
(DOOT DOOT)
Motorhead: She started telling about
Her, her girlfriends, you know they would
Go in the bathroom someplace, not
At, at school, you know
At a gas station or something like that
And they would compare each other's box, man
And uh, compare tit's and all this shit
And they'd tell how their
Boyfriends screwed 'em
And all this stuff, you know
How exciting it was i was screwing this girl
And she was telling me all this shit
Don Van Vliet: Ha ha ha!
?: Well, I'm waiting
FZ: Get the rubber hose
Bob: Damn, I give this guy a
Ride, ha ha! You know, eEEEH!
And stopped his car, and, hey
Hey hey where you goin', eh? Wanna ride?
Motorhead: Sort of lost the
The desire to screw her after all that shit
Went to the nearest supermarket
(And all you will mean to me in the future)
Stole a Hank magazine (And each time)
Went home (I think of those lovely eyes)
Ate some jello
(I think of your smile that is so true)
And had a mellow mellow mellow muelo
(And so dear to me) had a swell time
(And each year that I have known you
My love) i knew
(I've needed you more)
I knew that my granny would be there
(Each day, each hour, each minute)
Because I had a crush on her
(It's pathetic, my darling)
Granny knew that I smoke Pall Mall (To note)
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Zappa
Lyrics Licensed & Provided by LyricFind
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@tomweatherby8508
The way I see it Barry, this should be a real dynamite show. Great album, great rendition.
@simonpepper3971
It was Franks dream to hear his own music played by other bands etc. I hope he saw a few before he passed. RIP ZAPPA.
@5jerry1
~ And it was Gail's dream to see no bands ever did' what a fuster=cluck.
@alancumming6407
Excellent. Played in the right spirit. A marvellous tune from a marvellous album.
@csblendo
Absolutely terrific ! Bravo ! Let Zappa's music be heard, the more the better. In Europe there are a lot of groups playing Zappa. It's great to have a local group join in. I am in Santa Cruz. Let me know when you are playing. I'll be there if you play more Zappa.
@fastnbulbouss
And I was hoping one of them would get up and play Louie Louie on the pipe organ.....;-)
@monoped8437
+fastnbulbouss with a drum sola
@tixximmi1
I like your avatar.
@keltyk
Loved the album as a kid because I liked weird stuff. Hearing this without sound effects and voices, I hear straight classical music that is catchy and memorable
@oozie28
that piccolo trumpet kicks seriou a** !