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.
Skweezit Skweezit Skweezit
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
God, Oh God, Oh, Oh, oh
Little right there, little right there, oh
A little right there! Right there, oh oh!
Right there, oh! Ah! Ah! ah-h-h-h
More, more, more, more, more
More, more, more, more, more
More, more, more, more, more oh oh, God!
More, more, mo-mo-mo-mo-more, mo-mo-more!
He's had enough, he's had enough!
Bwah hah ha hah, gettin' off, gettin' off!
Bwah hah ha hah, gettin' off, gettin' off!
Bwoh-hoh ha hah, more!
Oh God, oh God, oh more more
Oh, God, oh, God!
Touch it! Touch it! Touch it! Touch it!
Skweezit! Skweezit!
"Skweezit Skweezit Skweezit" by Frank Zappa is a playful and humorous song that can be interpreted in a variety of ways. The repetitive and nonsensical lyrics seem to be a commentary on the excessive and mindless consumption prevalent in society. The repetition of "Oh God" could be seen as an expression of surprise or shock at the overwhelming abundance of material things. The exclamation of "More, more, more" and the insistence to "Touch it! Skweezit!" can be seen as a satirical critique of the insatiable desire for more possessions and the materialistic mindset.
The repetitive nature of the song can also be seen as a reflection of the monotony and superficiality of consumer culture. The insistence on "right there" and the emphasis on physical sensations could be a criticism of the superficiality of pleasure-seeking and the tendency to prioritize immediate gratification over deeper meaning or connection.
Overall, "Skweezit Skweezit Skweezit" seems to be a satirical critique of consumerism and the empty pursuit of material possessions. It highlights the absurdity and shallowness of a society obsessed with acquiring more and more things, and the emptiness that can result from this mindset.
Line by Line Meaning
Oh God, Oh God, Oh God, Oh God, Oh God, Oh, Oh, oh
Expressing intense emotion or desperation, longing for divine guidance or intervention.
Little right there, little right there, oh / A little right there! Right there, oh oh! / Right there, oh! Ah! Ah! ah-h-h-h
Directing attention to a specific detail or aspect, emphasizing the significance or importance of its presence.
More, more, more, more, more / More, more, more, more, more / More, more, more, more, more / More, more, more, more, more oh oh, God! / More, more, mo-mo-mo-mo-more, mo-mo-more!
Expressing a strong desire or craving for increased quantity or intensity, while also acknowledging divine approval or involvement.
He's had enough, he's had enough! / Bwah hah ha hah, gettin' off, gettin' off! / Bwah hah ha hah, gettin' off, gettin' off! / Bwoh-hoh ha hah, more!
Revealing satisfaction or contentment with the current situation or experience, suggesting the attainment of personal satisfaction or pleasure.
Oh God, oh God, oh more more / Oh, God, oh, God!
Reiterating the previous pleas for divine assistance or intervention, seeking additional support or blessings.
Touch it! Touch it! Touch it! Touch it! / Skweezit! Skweezit!
Urging physical interaction or contact with a specific object or entity, emphasizing the act of compression or grasping.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Vincent Zappa
Lyrics Licensed & Provided by LyricFind