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 Mudshark Interview
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
September, 1970-February, 1971
FZ--voice, guitar
Mark Volman--voice
Howard Kaylan--voice
Jeff Simmons--voice, bass
George Duke--voice, keyboards
Aynsley Dunbar--voice, drums
Martin Lickert--voice
Dick Barber--voice
Roelof Kiers--voice
June 5-6, 1971
Fillmore East, NYC
FZ--lead guitar, vocal
Mark Volman--vocal
Howard Kaylan--vocal
Jim Pons--bass, vocal
Bob Harris--wurlitzer
Ian Underwood--keyboards, alto sax
Aynsley Dunbar--drums
+
Don Preston--keyboards, electronics
John Lennon--guitar, vocal
Yoko Ono--bag, vocal
August 7, 1971
Pauley Pavilion, UCLA, California
and
December 10, 1971
Rainbow Theatre, London, UK
FZ--lead guitar, vocal
Mark Volman--vocal
Howard Kaylan--vocal
Jim Pons--bass, vocal
Don Preston--keyboards, electronics
Ian Underwood--keyboards, alto sax
Aynsley Dunbar--drums
"It's a Good Thing We Get Paid to Do This" is a song by Frank Zappa that reflects his philosophy of life as a musician. The lyrics suggest that musicians are fortunate to be able to do what they love and get paid for it, despite the challenges and difficulties they encounter. Zappa seems to be aware of the irony in his statement and acknowledges that the life of a musician is not always easy; however, he is thankful for the opportunity to create music and perform in front of an audience.
Throughout the song, Zappa emphasizes the importance of music as a means of expression, both for himself and for others. He celebrates the power of music to bring people together and to create a sense of community, even in the face of adversity. He also acknowledges the role that money plays in the music industry, but believes that the ability to make music should not be motivated by financial gain.
The lyrics of "It's a Good Thing We Get Paid to Do This" offer insight into Zappa's musical philosophy and his relationship with his career as a musician. He saw music as more than just a job, but an opportunity to make a difference in the world by creating something meaningful and valuable. Ultimately, the song is a celebration of music and the people who dedicate their lives to it.
Line by Line Meaning
It's a good thing we get paid to do this
We are fortunate to be compensated for our musical work.
We don't have to work at no square dance
We are grateful that we do not have to play old-fashioned music.
We can play the stuff we like
We have the freedom to play the kind of music that we enjoy.
And if you don't like it, well, kiddies, we don't give a toss
We do not care about the opinions of those who dislike our music.
We ain't gonna change just to be double-crossed
We will not alter our music in order to appease those who may deceive or betray us.
It's a pretty good system
The way we get paid for playing music is satisfactory.
And I think everybody ought to be in show business
I believe that everyone should experience the performing arts.
It's a clean way to have a good time
Performing music is a wholesome and entertaining activity.
There's no need to get too heavy
There is no necessity to take music too seriously.
And I can always change my name if I decide to have a child
If I ever have a child and decide to change my name, I am legally allowed to do so.
Contributed by Ella F. Suggest a correction in the comments below.