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.
Well
Frank Zappa Lyrics
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Who have no idea what's about to happen, this is in a minor and it's not standard blues changes"
"Oh, my god!"
"But it's close!"
"This is a song that I used to sing when I was in the cavern in liverpool. I haven't done it since so"
Two, three, four!
You know I love you, baby, please don't go, well, well
You know I love you, baby, please don't go, well, well
You know I love you, honey child
There's nothing that I wouldn't do for you at night
You know I love you, baby, please don't go, well
You know I love you, baby, please don't go
You know I love you, baby, please don't go, uh
You know I love you, honey child
There's nothing that I wouldn't do for you at night
You know I love you, baby, please don't go, well
Zappa!
You know I want you, baby, please don't go, well, well
You know I want you, baby, please don't go
You know I love you, honey child
There's nothing that I wouldn't do for you right now
You know I want you, baby, please don't go, well
Well, you know I love you, baby, please don't go, well
You know I love you, baby, please don't go
You know I love you, honey child
Nothing that I wouldn't do for you right now
I know I love you, baby, please don't go, well, well
Hey!
The lyrics to Frank Zappa's song "Well" are a combination of a pre-song monologue and the actual song itself. The monologue sets the scene for the song by instructing the band members to sit down and get ready to play in a minor key that deviates from standard blues changes. Then, Zappa makes a reference to a song he used to sing in the Cavern in Liverpool, which is likely a reference to The Beatles' early days of playing in the same venue. The actual song is a simple love song in which the singer pleads with his lover not to go, proclaiming his love and willingness to do anything for her.
Despite its simplicity, the song is noteworthy for its musical arrangement, which deviates from blues norms and reflects Zappa's experimental tendencies. Additionally, the inclusion of the pre-song monologue adds context and depth to the song, highlighting Zappa's dedication to creative expression and attention to detail.
Line by Line Meaning
Hey! sit down and cool it for a minute so we can hear what we're gonna do. and those of you in the band
Who have no idea what's about to happen, this is in a minor and it's not standard blues changes
Attention band and listeners, let's take a moment to focus on the music. Those who are not familiar, this song has a unique minor key and it does not follow the typical blues progression.
Oh, my god!
An exclamation of surprise or excitement.
But it's close!
Although this song isn't a standard blues, it still shares similarities.
This is a song that I used to sing when I was in the cavern in liverpool. I haven't done it since so
I want to share a song I used to play in my earlier days when we performed at The Cavern in Liverpool. It's been a while since I last played it live.
Two, three, four!
A rallying call to initiate the start of the song.
You know I love you, baby, please don't go, well, well
You know I love you, baby, please don't go, well, well
You know I love you, honey child
There's nothing that I wouldn't do for you at night
You know I love you, baby, please don't go, well
The singer is trying to convince his lover to stay with him. He deeply cares for them and willing to do anything to satisfy their desires for a joyful night together.
You know I love you, baby, please don't go
You know I love you, baby, please don't go, uh
You know I love you, honey child
There's nothing that I wouldn't do for you at night
You know I love you, baby, please don't go, well
Reiterating his plea for his lover not to leave him, he expresses his love once more to try and sway their decision.
Zappa!
A self-introduction of the artist prominently featured in the song.
You know I want you, baby, please don't go, well, well
You know I want you, baby, please don't go
You know I love you, honey child
There's nothing that I wouldn't do for you right now
You know I want you, baby, please don't go, well
He isn't just saying he loves her, but also conveying how much he wants her company. He reemphasizes his willingness to do anything for her to entice her to stay.
Well, you know I love you, baby, please don't go, well
You know I love you, baby, please don't go
You know I love you, honey child
Nothing that I wouldn't do for you right now
I know I love you, baby, please don't go, well, well
The singer tries his best to show how much he cares for his lover, repeating his pleading message in different variations as his love is now desperate.
Hey!
An exclamation, often used to grab attention or spark energy.
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: WALTER WARD
Lyrics Licensed & Provided by LyricFind