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.
The Little House I Used To Live In
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lalalalala
Hoopla!
Oink! oink!
Lalalala
Aah!
Lalalala mud shark
That's right, you heard right,
The secret word for tonight is mud shark
And of course with the mud shark secret word is the mud shark arpeggio
A marvelous little arpeggio
And now the mating call of the adult male mud shark:
The song Little House I Used To Live In by Frank Zappa is known for its unique and unconventional lyrics that are open to interpretation. The song starts with the sounds of people in a festive mood, screaming and making animal noises. The word "hoopla" is used to describe the party atmosphere, while "oink" suggests the presence of pigs, which could symbolize the greed and corruption of society. The repetition of "lalalala" further enhances the chaotic and nonsensical setting of the song.
As the song progresses, Zappa introduces the phrase "mud shark", which is the secret word for the night. This is significant as it is not clear what the word represents, but it adds to the playful and mysterious nature of the song. The phrase "mud shark arpeggio" is then introduced as a musical component, and the song transitions into a more structured sound. The arpeggio is described as a "marvelous little arpeggio", highlighting the beauty and intricacy of the music.
The song concludes with the "mating call" of the adult male mud shark, which is an otherworldly sound that adds to the surreal nature of the song. Overall, the song Little House I Used To Live In is a commentary on modern society, its corrupt nature, and the need to break free from convention and embrace creativity.
Line by Line Meaning
Ooh!
Expression of excitement or surprise
Lalalalala
Nonsensical vocalization without a clear meaning
Hoopla!
Expression of excitement or commotion
Oink! oink!
Onomatopoeic representation of pig sounds
Lalalala
Nonsensical vocalization without a clear meaning
Aah!
Expression of surprise or relief
Yayayayayaya
Expression of excitement or celebration
Lalalala mud shark
Nonsensical vocalization including a reference to the subject of the song, the 'mud shark'
That's right, you heard right,
Confirmation that the previous statement was accurate
The secret word for tonight is mud shark
Announcement of a secret word for the audience to pay attention to
And of course with the mud shark secret word is the mud shark arpeggio
Further explanation of the musical theme associated with the 'mud shark' secret word
A marvelous little arpeggio
Complimentary description of the 'mud shark arpeggio'
And now the mating call of the adult male mud shark:
A humorous introduction of a sound effect that mimics the mating call of a 'mud shark,' continuing the theme of the song
Lyrics © Kobalt Music Publishing Ltd.
Written by: Frank Zappa
Lyrics Licensed & Provided by LyricFind