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.
Theme From The 3rd Movement Of Sinister Footwear
Frank Zappa Lyrics
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October 27, 1978
FZ--lead guitar
Steve Vai--stunt guitar
Ed Mann--percussion
David Ocker--clarinet and bass clarinet
Tommy Mars--keyboards
David Logeman--drums
The lyrics to Frank Zappa's song Theme From the 3rd Movement of Sinister Footwear are largely instrumental, and contain no discernible words. This is not uncommon in Zappa's music, as he frequently incorporated long instrumental passages and complex rhythms and time signatures into his compositions. However, the lack of lyrics does not diminish the impact of the song. The guitar solo, played by Zappa himself, is particularly noteworthy. It begins with a slow, mournful melody that gradually builds in intensity, before exploding into a furious torrent of notes. Throughout the solo, Zappa demonstrates his virtuosic guitar skills, effortlessly shifting between different scales and modes, and incorporating a variety of techniques such as fast picking, string bending, and sweep picking.
Zappa's music was often deeply satirical, and it is possible that the absence of lyrics in Theme From the 3rd Movement of Sinister Footwear is meant to be a commentary on the limitations of language. By eschewing traditional song structures and lyrics, Zappa may have been signalling his belief that music is a more powerful and universal form of communication.
Overall, the song is an impressive demonstration of Zappa's musical prowess and his willingness to challenge conventional ideas about what constitutes a "song." With its complex rhythms, intricate melodies, and stunning guitar solo, it remains one of Zappa's most enduring and beloved compositions.
Line by Line Meaning
The idiot bastard son
Referring to someone who was born out of wedlock and considered a disgrace for being foolish and incompetent.
Is busy polishing his Japanese sandals
Implies that the idiot bastard son is engaged in an unimportant activity rather than doing something productive or relevant.
His CV's a mess
The idiot bastard son's resume or work history is poorly organized or has a lot of discrepancies.
He's never encountered a job
Suggests that the idiot bastard son has never been employed or has trouble finding a job due to incompetence or a lack of skills.
That he's for SURE qualified for
Implies that the few jobs the idiot bastard son does come across, he is not qualified for.
He doesn't own a pencil
Indicates that the idiot bastard son is unprepared and lacks the necessary tools to complete even the simplest of tasks.
But he's glad to see you
Despite his lack of preparation, the idiot bastard son is happy to encounter others and may be seeking attention or validation from them.
Walk through my door for sure
Invites others to come to him with confidence.
All I want to do
Communicates the singer's motivation or desire.
Is love your ass
The phrase is meant to be taken literally and is an explicit or vulgar way of expressing sexual desire or passion.
Walk through my door
Encourages others to visit or enter his space.
Walk through my door
Repeats the previous line and further emphasizes the singer's desire for company or interaction.
Walk through my door
Repeats the previous line for a final time.
Walk through my door
Emphasizes the repeated phrase and the singer's eagerness to engage with others.
Contributed by Skyler M. Suggest a correction in the comments below.