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.
Ring of Fire
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And it makes a firery ring
Bound captured by pure desire
I fell in to a ring of fire
I fell in to a burning ring of fire
I went down, down, down
And the flames went higher.
And it burns, burns, burns
The ring of fire
The ring of fire.
Frank Zappa's song "Ring of Fire" is a deep and intense portrayal of the power of love. The lyrics state that love is a burning thing, and it creates a fiery ring that entraps those who fall into it. The singer explains that he fell into a ring of fire, bound and captured by his pure desire for this love. As he fell deeper into the flames, the intensity of the fire increased, burning higher and higher. The repetitive chorus emphasizes the intensity of the love, burning uncontrollably like a ring of fire.
The song "Ring of Fire" is a take on the traditional love story, talking about the dangers and intensity of love. Instead of portraying love as uplifting and joyful, Zappa chooses to give it a darker portrayal with a constant reminder of the intensity of this feeling. This song is a classic representation of the dark side of love, warning us of its powerful and sometimes destructive force.
Line by Line Meaning
Love is a burning thing
Passionate love can be all-consuming and overwhelming, like a flame that is constantly burning.
And it makes a firery ring
When two people are completely consumed by their love for each other, it creates a powerful aura of intense emotion.
Bound captured by pure desire
The pure passion and desire that comes with being in love can be so strong that it feels like you are completely captured by it.
I fell in to a ring of fire
I was completely engulfed by my passionate love for someone and it felt like I was falling into a fiery abyss.
I went down, down, down
And the flames went higher.
My love for this person intensified to the point where it felt like I was descending into a fiery pit, yet the flames of my passion continued to grow stronger.
And it burns, burns, burns
The ring of fire
The ring of fire.
The intense flame of my love for this person continues to burn brightly, surrounding us both in a fiery ring of passion and desire.
Lyrics © RESERVOIR MEDIA MANAGEMENT INC, Warner Chappell Music, Inc.
Written by: June Carter, Merle Kilgore
Lyrics Licensed & Provided by LyricFind