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.
That's Not Really A Shuffle
Frank Zappa Lyrics
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Brondbyhallen, Copenhagen, Denmark
May 11, 1982
FZ--LES PAUL CUSTOM
Ray White--rhythm guitar
Steve Vai--stunt guitar
Tommy Mars--keyboards
Ed Mann--percussion
Scott Thunes--bass
Chad Wackerman--drums
The song "That's Not Really a Shuffle" by Frank Zappa is an instrumental piece that features a guitar solo by Zappa himself. The song was recorded on May 11, 1982, at the Brondbyhallen in Copenhagen, Denmark, and features several other talented musicians, including Ray White on rhythm guitar, Steve Vai on stunt guitar, Tommy Mars and Bobby Martin on keyboards, Ed Mann on percussion, Scott Thunes on bass, and Chad Wackerman on drums.
The song's title is a poke at the concept of a "shuffle" beat, which is a common rhythm used in blues and rock music. Drawing on his extensive knowledge of music theory and his own unique style, Zappa creates a complex and dizzying composition that toys with the listener's expectations of what a shuffle should sound like. The guitar solo is particularly impressive, showcasing Zappa's technical chops as well as his ability to convey emotion through his instrument.
Overall, "That's Not Really a Shuffle" is a masterclass in musical innovation and experimentation. Zappa's willingness to push the boundaries of what was considered "acceptable" in popular music is evident in every note of the song. Despite its lack of lyrics, the piece manages to be deeply expressive and thought-provoking, inviting listeners to explore new possibilities in music and art.
Line by Line Meaning
That's not really a shuffle
This musical rhythm does not adhere to the standard shuffle pattern.
That's a blues in 7/4
This piece is actually a blues song in a time signature of 7/4, rather than a traditional 12/8 shuffle.
You're foolin' yourself
If you believe this piece is a shuffle, you are deluding yourself.
If you don't believe me
If you doubt my assertion, allow me to provide further evidence.
Get a metronome
To verify the timing, utilize a device which keeps a steady beat.
Keep it on your desktop
Place this device on your workspace for easy reference.
I'm sure you'll find
I am confident that upon examination, you will reach the same conclusion as I.
It's playing a different kind
This piece is functioning with a distinct, unconventional beat-type.
It's not really a shuffle
Again, this track simply cannot be classified as a shuffle.
Contributed by Carter W. Suggest a correction in the comments below.