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.
Stick Together
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Steve Vai (guitar, acoustic guitar)
Ray White (guitar, vocals)
Roy Estrada (vocals)
Bob Harris (boy soprano)
Ike Willis (vocals)
Bobby Martin (keyboards, saxophone, vocals)
Tommy Mars (keyboards)
Ed Mann (percussion)
Scott Thunes (bass)
Chad Wackerman (drums)
Vinnie Colaiuta (drums)
Craig Steward (harmonica)
Dick Fegy (mandolin)
Marty Krystall (saxophone)
This is a song about the union, friends
How they fucked you over and the way they bends
The rules to suit a special few
And you gets pooched every time the do
You know we gotta stick together
You know we gotta stick together
You know we gotta stick together
You know we gotta stick together
Once upon a time the idea was good
If only they'd a done what they said they would
It ain't no better, they's makin' it worse
The labor movement's got the Mafia curse
You know we gotta stick together
You know we gotta stick together
You know we gotta stick together
You know we gotta stick together
Don't be no fool, don't be no dope
Common sense is your only hope
When the union tells you it's time to strike
Tell the motherfucker to take a hike
You know we gotta stick together
You know we gotta stick together
You know we gotta stick together
You know we gotta stick together
(repeats)
Frank Zappa's "Stick Together" is a satirical song that explores the relationships of labor unions and the government. The lyrics suggest that the government often changes the rules in favor of a few, while everyone else gets the short end of the stick. The message behind the song is that working people must unite and support each other to succeed, instead of relying on unions and government authorities.
The opening lines describe the unfair practices of unions, which always seem to screw over the common worker. The chorus emphasizes the need for unity amongst the workers, as they are the ones who are truly affected by labor laws. The second verse references a time when labor unions had good intentions, but failed to follow through on their promises. The chorus is repeated, followed by lyric's message within the third verse, which is that "common sense" is key when dealing with labor unions. Ultimately, Zappa advises workers to trust themselves rather than the unions when it comes to striking, as unions' suggestions may be motivated by self interest, rather than the importance of protecting the workers.
Overall, "Stick Together" is a sarcastic, yet concerned critique of the state of the labor movement. The song explores the fragile balance between worker's rights, union promises, and corporation's accountability. It speaks to an audience that is tired of being jerked around by those in power, and encourages them to rely on self-respect and collective action to secure better living conditions.
Line by Line Meaning
This is a song about the union, friends
The song is about the union and how they operate.
How they fucked you over and the way they bends
The union has betrayed workers.
The rules to suit a special few
Union rules only benefit a select few.
And you gets pooched every time they do
Workers suffer every time the union breaks the rules.
Once upon a time the idea was good
The concept of a labor movement was once necessary.
If only they'd a done what they said they would
If only the union had kept its promises.
It ain't no better, they's makin' it worse
The union is making things worse.
The labor movement's got the Mafia curse
The union is corrupt like the Mafia.
Don't be no fool, don't be no dope
Use common sense when dealing with the union.
Common sense is your only hope
Logic is the only solution.
When the union tells you it's time to strike
When the union calls for a strike.
Tell the motherfucker to take a hike
Refuse to follow the union into a strike.
You know we gotta stick together
Workers have to stay united.
You know we gotta stick together
Workers have to stay united.
You know we gotta stick together
Workers have to stay united.
You know we gotta stick together
Workers have to stay united.
Contributed by Joshua N. Suggest a correction in the comments below.