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.
Ship Ahoy
Frank Zappa Lyrics
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[Guitar solo from Zoot Allures
Kosei Nenkin Kaikan, Osaka, Japan
February 3, 1976
FZ lead guitar
Roy Estrada bass
Terry Bozzio drums
Patrick O'Hearn voice
Davey Moire voice?]
Moire?: Ee-el-eel-el-el-ell . . .
O'Hearn: Oh, Ship Ahoy
In the introduction of Frank Zappa's "Ship Ahoy," a snippet of a conversation regarding leather is included before launching into a guitar solo. The conversation is possibly a reference to the fetishization of leather in the gay community or a frank discussion about the material itself. The use of this conversation hints at cultural taboos and alternative lifestyles.
When O'Hearn utters the line "oh, Ship Ahoy," the song kicks off into a blend of jazz fusion and rock. The lyrics themselves are surreal and disconnected, but often speak to themes of authority and power dynamics. "Ship Ahoy" has been interpreted to be a criticism of both the government and organized religion.
This song was performed in Osaka, Japan in 1976 and featured a talented lineup featuring Zappa, Roy Estrada, Andre Lewis, and Terry Bozzio. Davey Moire and Patrick O'Hearn provided backup vocals. It's no surprise that the performance was well-received in Japan, as Zappa was a respected and influential artist there. The song itself is one of Zappa's lesser-known tracks but stands out as a prime example of his unique blend of musical styles.
Line by Line Meaning
Moire?: Ee-el-eel-el-el-ell . . .
Random nonsensical sound that has no significant meaning in the context of the song.
O'Hearn: Oh, Ship Ahoy
Introduces the beginning of the song.
I am a cruising missile, I am a love dictator
The singer compares themselves to a missile and suggests they are in control of love.
Pay heed to me, baby, I am a love instigator
The artist demands attention and expresses their ability to inspire love.
Let's see the regulation skin
The artist is requesting to see a person's body and any tattoos or artwork on their skin.
Underneath the leather
Referring to the clothing material.
Let's breach the status quo
The singer wants to break away from tradition or norms and do something different.
Come on, meet me on the floor
Inviting the listener to dance and join the fun.
Ship ahoy!
An exclamation to announce the arrival or sighting of a ship.
Ship ahoy!
Repeating the exclamation to emphasize the arrival or sighting of a ship or to emphasize the chorus.
Oh, we're the punk patrol, and we're cruising in control
The singer identifies themselves as part of a group called the punk patrol and suggests they are in control of their journey.
We got our ego in a sling, and we're ready to be loved
Although the group may have inflated egos, they are also open and willing to receive love.
We gonna stomp and strut and choke and scream and make it tough
The singer is describing how they plan to dance in a way that is assertive, aggressive, and tough.
Ship ahoy!
Repeating the exclamation to emphasize the arrival or sighting of a ship or to emphasize the chorus.
Ship ahoy!
Repeating the exclamation to emphasize the arrival or sighting of a ship or to emphasize the chorus.
Oh, we can't turn back, we got to live
The artist emphasizes the importance of living life to the fullest and avoiding regrets.
Let's take the head of the situation and make it a head to give
The artist is suggesting that they take control of the situation and turn things around to benefit themselves and others.
We been taking too much for granted, let's give it all we can
The singer acknowledges that they have been taking things for granted and suggests that they commit to giving their all.
And maybe we can turn this whole world around while we're at it, man
The singer is expressing optimism and suggests that they can effect positive change in the world.
Ship ahoy!
Repeating the exclamation to emphasize the arrival or sighting of a ship or to emphasize the chorus.
Ship ahoy!
Repeating the exclamation to emphasize the arrival or sighting of a ship or to emphasize the chorus.
Lyrics © O/B/O APRA AMCOS
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