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.
Strictly Genteel
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Howard kaylan (vocals)
Ian underwood (keyboards, woodwinds)
Aynsley dunbar (drums)
George duke (keyboards, trombone)
Martin lickert (bass)
Ruth underwood (orchestra drum set)
Jim pons (vocals)
Theodor bikel:
This, as you might have guessed, is the end of the movie. the entire cast is assembled here at the centerville recreational facility to bid farewell to you, and to express thanks for your attend
At this theatre. this might seem old fashioned to some of you, but I'd like to join in on this song. it's the kind of a sentimental song that you get at the end of a movie. it's the kind of a so
At people might sing to let you in the audience know that we really like you and care about you. we uh, understand how hard it is to laugh these days, with all the terrible problems in the world
Lord, have mercy on the people in england,
For the terrible food these people must eat.
( errrr, excuse me )
And may the lord have mercy on the fate of this movie
And God bless the mind of the man in the street.
Chorus:
Help all the rednecks and the flatfoot policemen
Through the terrible functions they all must perform.
God help the winos, the junkies, and the weirdos,
Female soprano:
And every poor soul who's adrift in the storm.
Chorus:
Help everybody, so they all get some action,
Some love on the weekend, some real satisfaction.
Female soprano:
A room and a meal
And a garbage disposal
A lawn and a hose'll
Be strictly genteel.
Mark volman & howard kaylan:
Reach out your hand to the girl in the dog book,
The girl in the pig book, and the one with the horse.
Make sure they keep all those businessmen happy
And the purple-lipped censors and the germans of course.
Chorus:
Help everybody, so they all get some action,
Some love on the weekend, some real satisfaction.
Mark volman & howard kaylan:
A swedish apparatus with a hood and a bludgeon
With a microwave oven. "honey, how do it feel? "
Everybody:
Yeah
Ahhh
Mark volman & howard kaylan:
Lord, have mercy on the hippies and faggots
And the dykes and the weird little children they grow.
Help the black man.
Help the poor man.
Help the milk man.
Help the door man.
Help the lonely, neglected old farts that I know.
Theodore bikel:
It's been swell havin' you with us tonight folks.
Mark volman:
But, don't leave the theatre yet, 'cause there's still more to come, but before we go on, I want to introduce to you my friend and musical associate, howard kaylan, who's going to give us all a
Closing benediction.
Howard kaylan:
They're going to clear out the studio...
They're going to tear down all the...
They're going to whip down all the...
They're going to sweep out all the...
They're going to pay off all the...
Mark volman:
(oh, yeah!)
Mark volman & howard kaylan:
And then... and then... and then... and then...
Hey hey hey, everybody in the orchestra and the chorus
Aww now, every one of our lovely and talented dancers
The light bulb men, camera men, make-up men
Mark volman:
(the fake-up men)
Mark volman & howard kaylan:
And, the rake-up men.
Jimmy carl black:
(especially herbie cohen, yeahoooo...)
Mark volman & howard kaylan:
They're all going to rise up.
They're going to jump up! I said jump up!
Talkin' 'bout jump right up on off the floor.
Jump right up and hit the door!
Mark volman:
They're all going to rise up, and jump off.
Mark volman & howard kaylan:
They're going to ride on home.
They're going to ride on home.
They're going to ride on home.
They're going to ride on home.
Howard kaylan:
And once again take themselves seriously.
Yeah, two, three, four, seriously.
Mark volman:
They're all going to go home,
Mark volman & howard kaylan:
Through the driving sleet and rain
Mark volman:
They're all going to go home,
Mark volman & howard kaylan:
Through the fog, through the dust.
Through the tropical fever and the blistering frost.
Mark volman:
They're all going to go home.
Howard kaylan:
And get out of it as they can be.
Jimmy carl black:
And the same goes for me.
Mark volman & howard kaylan:
Oh, yeah! oh, yeah! oh, yeah! oh, yeah!
Howard kaylan:
And each and every member of this rock oriented comedy group
In his own special way is going to get out of it as he can be.
Mark volman & howard kaylan:
They're all going to get wasted.
They're all going to get twisted.
They're all going to get wasted.
They're all going to get twisted.
Howard kaylan:
And I am definitely going to get ....
Mark volman & howard kaylan:
Reamed
Howard kaylan:
'cause I'm such a lonely.. I'm such a lonely..
A lonely, lonely, talkin' 'bout a lonely guy.
Oh, and I know tonight, I am definitely...
I am positively... I just have to get...
Mark volman & howard kaylan:
Bent, reamed and wasted.
Jimmy carl black:
A disaster area the size of atlantic city, new jersey.
Howard kaylan:
He's making me do this, ladies and gentlemen. I wouldn't do it if it weren't for this. you noticed, all through this material, I've been glancing over toward my left? well, I'll tell you the rea
Or that ladies and gentlemen. he is over there. he is over on the left. he is the guy that is making me do all this shit. right over there. now all through this movie, every time we've been on s
I've had to look over in that direction, right? you saw it... you know! well that's 'cause he's over there. I've got to watch him for signs. he jumps up and down like a jackass. I can't even be
The guy sometimes. but we gotta watch him. "after all," we said, "it's frank's movie." now, we're the mothers, but it's still frank's movie. he rented the studio, had all th
Heesy sets built...it's so moche!. he's telling everybody, right now, right over there to...(text obscured by disaster area, fades out)
The song “Strictly Genteel” by Frank Zappa and London Symphony Orchestra is the final track on the album ‘200 Motels’. The song is a tribute to the audience, thanking them for attending the movie and acknowledging that it has not been easy to find reasons to laugh in the midst of all the problems happening in the world. The song highlights the poverty, discrimination, and other issues faced by many people in society, and prays for their well-being. The song also features a closing benediction where all the members of the orchestra and crew are thanked and wished a safe journey home.
Line by Line Meaning
This, as you might have guessed, is the end of the movie. the entire cast is assembled here at the centerville recreational facility to bid farewell to you, and to express thanks for your attend
At this theatre.
The cast has come together to say goodbye and thank the audience for their attendance at this theatre.
this might seem old fashioned to some of you, but I'd like to join in on this song. it's the kind of a sentimental song that you get at the end of a movie. it's the kind of a so
At people might sing to let you in the audience know that we really like you and care about you. we uh, understand how hard it is to laugh these days, with all the terrible problems in the world
Although it may be old-fashioned, they would like to include the audience in this sentimental song, expressing their appreciation for their presence and understanding the difficulties of finding joy in current troubles.
Lord, have mercy on the people in England,
For the terrible food these people must eat.
( errrr, excuse me )
And may the lord have mercy on the fate of this movie
And God bless the mind of the man in the street.
Asking for mercy for those in England suffering from poor food, hoping for mercy for the fate of the movie, and blessing the average person.
Help all the rednecks and the flatfoot policemen
Through the terrible functions they all must perform.
God help the winos, the junkies, and the weirdos,
Asking for assistance for those with difficult jobs, and for those who may be considered societal outcasts due to addiction or other factors.
Female soprano:
And every poor soul who's adrift in the storm.
Help everybody, so they all get some action,
Some love on the weekend, some real satisfaction.
Including every person who feels lost and providing them with the opportunity for joy and fulfillment.
A room and a meal
And a garbage disposal
A lawn and a hose'll
Be strictly genteel.
The basics of a home (a room, food, and basic luxuries) will provide a comfortable and peaceful environment.
Reach out your hand to the girl in the dog book,
The girl in the pig book, and the one with the horse.
Make sure they keep all those businessmen happy
And the purple-lipped censors and the Germans of course.
A call to take care of all aspects of society, including those who may be considered odd by providing entertainment for everyone, even difficult customers.
Lord, have mercy on the hippies and faggots
And the dykes and the weird little children they grow.
Help the black man.
Help the poor man.
Help the milk man.
Help the door man.
Help the lonely, neglected old farts that I know.
Asking for mercy and assistance for those who may be considered socially unacceptable or neglected in any way, and benefitting even the most mundane of jobs.
They're going to clear out the studio...
They're going to tear down all the...
They're going to whip down all the...
They're going to sweep out all the...
They're going to pay off all the...
(oh, yeah!)
And then... and then... and then... and then...
The studio is being cleared for an undefined reason, and other actions are being taken, leading to a sense of finality.
Hey hey hey, everybody in the orchestra and the chorus
Aww now, every one of our lovely and talented dancers
The light bulb men, camera men, make-up men
(the fake-up men)
And, the rake-up men.
A farewell to everyone involved in the production, including those behind the scenes, with a playful twist on words.
They're all going to rise up.
They're going to jump up! I said jump up!
Talkin' 'bout jump right up on off the floor.
Jump right up and hit the door!
They're all going to rise up, and jump off.
They're going to ride on home.
Everyone is leaving and going home in an energetic and dynamic way.
And once again take themselves seriously.
Yeah, two, three, four, seriously.
Back to a serious mindset after being playful, the count signals a transition to a new focus.
Through the driving sleet and rain
Through the fog, through the dust.
Through the tropical fever and the blistering frost.
They're all going to go home.
Despite any obstacle or challenge, everyone is going home.
And get out of it as they can be.
And the same goes for me.
Oh, yeah! oh, yeah! oh, yeah! oh, yeah!
And each and every member of this rock-oriented comedy group
In his own special way is going to get out of it as he can be.
An emphasis on everyone pursuing what makes them most comfortable, with reassurance for the members of the group and its audiences alike.
They're all going to get wasted.
They're all going to get twisted.
And I am definitely going to get ....
Reamed
'cause I'm such a lonely.. I'm such a lonely..
A lonely, lonely, talkin' 'bout a lonely guy.
Oh, and I know tonight, I am definitely...
I am positively... I just have to get...
Bent, reamed and wasted.
A tone of humor and levity, encouraging everyone to enjoy themselves and be carefree.
He's making me do this, ladies and gentlemen. I wouldn't do it if it weren't for this. you noticed, all through this material, I've been glancing over toward my left? well, I'll tell you the rea
Or that ladies and gentlemen. he is over there. he is over on the left. he is the guy that is making me do all this shit. right over there. now all through this movie, every time we've been on s
I've had to look over in that direction, right? you saw it... you know! well that's 'cause he's over there. I've got to watch him for signs. he jumps up and down like a jackass. I can't even be
The guy sometimes. but we gotta watch him. "after all," we said, "it's frank's movie." now, we're the mothers, but it's still frank's movie. he rented the studio, had all th
Heesy sets built...it's so moche!.
A humorous explanation for the glancing during the performance, directing attention to a member of the crew. Despite being credited as the mothers, it is still Frank's movie.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Zappa
Lyrics Licensed & Provided by LyricFind
Dimitri Godhead
This is probably one of the most incredible, if not most delicate and sensitively arranged , tributes to Francis Vincent Zappa ever created. I've heard a lot of Zappa, virtually everything worth hearing, seen a lot of covers and renditions. But this is outstanding. You should be extremely proud. I listen to this a fair bit too, btw
💕❤️
Driecnk
Well said
boomaga
Thank you
Absolutely Positively
Arturo’s Michelangeli you are correct. Frank: not Francis.
Get Zappéd 1974
Arturo’s Michelangeli thanks! Even many years after his death the nonsens persist to exist.
Reading his book is not a big deal....
Royale with Cheese
Arturo’s Michelangeli
Not his middle name, his first name.
curiousnomad
Check out Phyllis Bryn-Julson at 2:20. She went on to become one of the leading sopranos and interpreters of contemporary classical music. What an amazing voice singing these beautiful melodies. I can't imagine anyone but FZ conceptualizing and writing this. Which, I guess is the point. No one else could.
Obie Serious
I have been coming back to this version for so many years. Just the best thing ever. Nice work
Alex Rees
One Of Frankie's best numbers and criminally underrated.
Paul Tatara
Actually, it's pretty much not rated at all.