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.
Them Or Us
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Scott thunes (bass, mini-moog)
Chad wackerman (drums)
(instrumental)
As the lyrics to Them Or Us are instrumental, there are no specific words to interpret. However, one can interpret the mood, tone, and musicality of the song. The track begins with a very fast pace and heavy drumming, which might signify the urgency and chaos in our daily lives. The guitar and bass then join in, creating a tumultuous yet layered soundscape. The fast-paced rhythm and lively guitar riffs in the song hint towards the restlessness and frenetic energy present in modern society.
The different phases of the song seem to alternate between being loud and aggressive and then more subdued and introspective. This could be interpreted as a commentary on how our various emotions and daily experiences can shift between differing intensities. The instrumental nature of the song allows for a more open interpretation, with the audience free to contemplate their own experiences ad how it matches the mood of the song.
Line by Line Meaning
Johnny 'guitar' watson contributed one line to the original song that frank zappa used in this version
This instrumental section acknowledges the contribution of Johnny 'Guitar' Watson, whose line was used in the original song by Frank Zappa for the creation of this version.
What do you want, what do you want from life?
The singer is questioning the wants and desires of the audience - what do they seek in life?
To kidnap an heiress or threaten her with a knife?
The singer suggests some drastic actions that people may take to achieve their desires - such as kidnapping an heiress or using threats of violence.
What do you want, what do you want from life?
The artist repeats the question, urging the audience to examine their motivations and desires.
An Indian guru or a trip to Bombay?
The artist suggests some other things that people may seek in life - including spirituality and travel to exotic locations.
An afternoon nap or a memorable lay?
The singer suggests some more mundane and physical pleasures people may seek - such as napping or sexual encounters.
What do you want, how're you gonna get it?
The singer demands answers on how people intend to achieve their desires - what actions they plan to take.
What do you want, how're you gonna get it?
The artist repeats the demand, emphasizing the importance of having a clear plan to achieve one's desires.
What do you want, what do you want from life?
The artist repeats the question once again, urging the audience to reflect on their goals and aspirations.
Tell it like it is...
The artist encourages honesty and authenticity in expressing one's desires and motivations.
Lyrics © O/B/O APRA/AMCOS
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