Orchestral Favorites

Among the broken up parts to “Lather” that were released as individual recordings was “Orchestral Favorites,” a nice addition to anyone’s Zappa collection, although not necessarily essential. Zappa had several orchestral releases, all of which are good. But if you’re looking for an essential orchestral recording, go for “The Yellow Shark.”

All but the first and second tracks on this release appear on “Lather.” Both “Strictly Genteel” and “Bogus Pomp” are compositions carried from “200 Motels,” with the latter being an instrumental interpretation of the themes from “This Town Is A Sealed Tuna Sandwich.” These tunes, omitted from “Lather,” again form the musical bread for this particular recording, a technique that Zappa had used in the past, most pointedly with “Burnt Weeny Sandwich.”

If there is a flaw with “Strictly Genteel,” it is in the fact that it was originally composed as a lyrical piece. It was the closing composition to the movie “200 Motels,” when the entire cast gathers on the set with the orchestra; indeed, it is a very genteel salutation to the audience, just before Howard Kaylan rips into his guttural finale. As an instrumental piece, it doesn’t quite work; its structure reveals the fact that something is missing – the vocals.

The fourth track, however, does work as an instrumental. “The Duke of Orchestral Prunes” is a good interpretation, sans lyrics, of the song “The Duke of Prunes,” which first appeared on “Absolutely Free.” Zappa’s guitar solo on this piece also adds a nice touch.


“Pedro’s Dowry” is a really interesting composition. It’s atonal and complex rhythmic structure draws you in and demands your attention. It has a soundtrack quality to it, in that it is easy to envision the music accompanying a series of movie scenes. But it doesn’t require a visual element; the music tells its own story, allowing the listener to create his or her own visual representations of what is heard.

And with “Naval Aviation in Art?” we have a very brief, but intense interlude, a sort of abbreviated tone poem. It could easily be mistaken for an extension of “Pedro’s Dowry,” it is that similar.

As a package, the compositions within “Orchestral Favorites” work out alright. But spread out as they are, mixed in with other songs of different genres and structure, on “Lather,” they work much better. Still, the fact that not all of these pieces appear on “Lather” is reason enough to have both.

I rate this three of five stars. Add your own rating below.




Released May 4, 1979, DiscReet Records; Recorded at Royce Hall, UCLA, Sept. 19, 1975.

Track listing:

1. Strictly Genteel (7:04)
2. Pedro’s Dowry (7:41)
3. Naval Aviation In Art (1:22)
4. The Duke Of Orchestral Prunes (4:20) (titled “The Duke Of Prunes”)
5. Bogus Pomp (13:28)

Personnel:

Frank Zappa (guitar)
Terry Bozzio (drums)
Dave Parlato (bass)
Mike Lang (keyboards)
Emil Richards (percussion)
Pamela Goldsmith (viola)
John Wittenberg (violin)
Bobby Dubow (violin)
Jerry Kessler (cello)
Bruce Fowler (trombone)
Earle Dumler (oboe)
Mike Altschul (flute, trumpet)
Malcolm McNabb (trumpet)
David Duke (french horn)
Dana Hughes (bass trombone)
Ray Reed (flute)
David Shostak (flute)
Tommy Morgan (harmonica)
Marty Perellis (?)
Captain Beefheart (dancing)

Falkoner Theater, March 1979

It was at the Falkoner Theater in Copenhagen, Denmark, where Ian Underwood’s saxophone solo during “King Kong,” following his explanation of how he met Frank Zappa found within the track “Ian Underwood Whips It Out” on Uncle Meat, was recorded. That event occurred on Oct. 1, 1967. This bootleg, however, is a recording from a show at the same venue from March 5, 1979.

Frank has some outstanding guitar solos on this boot, so don’t be misled by my rating. It’s the sound quality of this alleged soundboard recording that brings it down to the four-star level, not the material. In general, I have vowed not to award five stars to a boot, simply because of the diminished sound quality with boots. However, this concert boot is one that I could easily give five stars to had the sound quality been better.

A picture LP bootleg was apparently released of this concert, with the Falkoner show on one side, and on the other side, a February show from Gothenburg, Sweden, from a year earlier. I’ve read in a few spots, such as here, that the 1979 tour was very erratic, with some outstanding shows like at the Falkoner, as well as some very mediocre performances. This should come as no surprise, really. When you’re touring and performing that many shows, it’s difficult to call up every night the same inspiration to play equally well as the night before. It’s like the NBA; there are so many games scheduled in the NBA season that if you were a season ticket holder, you’re inevitably going to watch some very boring games during which the home team gets its ass whupped. You follow any rock band’s tour, you’re bound to hit a few bummer shows.

The Falkoner show begins with “The Deathless Horsie,” which was a common opener during the 1978-79 tours. Frank puts his guitar through the wringer on this number, cranking out an amazing solo as he tests his axe from one extreme to the other. Many bands would avoid this type of solo as the first number in a set, as the opening number is usually a fairly routine item used to make sure everyone’s instruments are functioning properly and are in tune. The next tune, “Dead Girls of London,” never showed up on an official, Zappa “studio” release, the closest official recording it was released on being YCDTONA Vol. 5. However, Zappa recorded it with Lakshminarayana Shankar for the latter’s 1979 release of “Touch Me There,” an album that Zappa produced and on which he appeared, along with Ike Willis.

After a quick “I Ain’t Got No Heart,” we get a decent, full-blown performance of “Brown Shoes Don’t Make It,” one of my favorite Zappa compositions. There’s a brief, but searing, guitar solo on “Cosmik Debris,” (I suspect by Warren Cuccurullo), followed by “Tryin’ to Grow a Chin,” with competent vocals turned in by Denny Walley. But there’s a special treat coming up next with “City of Tiny Lites,” a song constructed with a guitar solo in mind, and with this performance we get two good solos, one each from Frank and Denny Walley. Denny starts first with a furious slide guitar, followed by a demented Frank, who is almost vicious with the way he takes his playing to the high end of the neck. Arthur Barrow and Vinnie Colaiuta provide a rhythm line in the background on bass and drums respectively that sends this song into the stratosphere of kick-ass arena rock. It’s tracks like this one that I would normally give a recording 4.5 or five stars, but the recording isn’t that clear or mixed well, so alas, I can’t give it a higher rating than I did.


The band zips through “Dancin’ Fool,” followed by “Easy Meat,” featuring another of Frank’s amazing solos. And again, Colaiuta’s pounding on the drums really turns this song into an intense, heavy-metal of a head-banger. Good god, those Danes were treated to a musical miracle that night. And we’re not even half way into this more-than two-hour show.

Things slow down a bit with “Jumbo Go Away,” but the heavy intensity remains (the sound quality is very muddled through this as well). Following is one of the few live performances of “Andy” that I’ve heard, followed by “Inca Roads,” a song of such rhythmic complexity that it frustrated George Duke to no end. One of the few times I saw Zappa in concert, the band played “Inca Roads,” but the solo he played in that show was nothing like on this boot. This is certainly one of Zappa’s more cerebral, yet still accessible, works.

Another song from “One Size Fits All” comes along with a tune about a cookie, “Florentine Pogen.” This brings the band into a period of the show when they sweep through a series of songs from, at the time, yet-to-be-released albums, including “Tinseltown Rebellion,” (which wasn’t released for another two years) “Joe’s Garage,” (released later in 1979) and “You Are What You Is” (released two years later). This is followed by one of Zappa’s most recognizable melodies, “Peaches En Regalia.” Better sound quality would have made this version much more enjoyable, as there are some very interesting rhythmic interpretations going on here. The song is the concert’s closer, but there is an encore!

That encore begins with “The Yellow Snow Suite,” which includes the first four songs from “Apostrophe(‘).” You can hear the crowd digging this performance. “St. Alphonzo’s Pancake Breakfast” and “Father O’Blivion” are normally fast-paced songs, but the tempos of these two numbers during this concert are amazingly frenetic; the band is spot-on.

Next comes “A Pound For a Brown (On the Bus),” which demonstrates again the band’s tight playing on some very complex rhythms. Ed Mann on the vibes is fantastic, as are Tommy Mars and Peter Wolf, who play some brilliant keyboards (normally, Tommy Mars’ keyboard playing bores me). And Vinnie Colaiuta provides a rare and outstanding drum solo.

The concert closes with the dark “Treacherous Cretins,” a very grand piece featuring Frank’s virtuoso guitar. This is a more-than eight-minute song with Zappa’s guitar front and center. It is a beautiful piece, one that rivals “Watermelon in Easter Hay.”

I give this four of five stars. Add your own rating below.




Recorded live at the Falkoner Theater, Copenhagen, Denmark, March 5, 1979

Set list:

The Deathless Horsie
Dead Girls Of London
I Ain't Got No Heart
Brown Shoes Don't Make It
Cosmik Debris
Tryin' To Grow A Chin
City Of Tiny Lites
Dancin' Fool
Easy Meat
Jumbo Go Away
Andy
Inca Roads
Florentine Pogen
Honey Don't You Want A Man Like Me
Keep It Greasy
The Meek Shall Inherit Nothing
For The Young Sophisticate
Fembot in A Wet T-Shirt Nite
Why Does It Hurt When I Pee?
Peaches En Regalia
The Yellow Snow Suite
A Pound For A Brown (On The Bus)
Treacherous Cretins

Personnel:

FZ (guitar, lead vocals)
Arthur Barrow (bass)
Vinnie Colaiuta (drums)
Warren Cuccurullo (guitar)
Ed Mann (percussion)
Tommy Mars (keyboards)
Denny Walley (slide guitar, vocals)
Ike Willis (vocals, guitar)
Peter Wolf (keyboards)

Sheik Yerbouti

I find considerable irony in the fact that “Sheik Yerbouti” is among the Zappa recordings that fall into the category of either loving it or hating it. I can see such a dichotomy of opinion existing when it comes to some of the more complex works, such as “200 Motels,” or “Uncle Meat.” But with “Sheik Yerbouti,” it’s the simplicity of much of the material that seems to be at the center of all the controversy. That, and the album’s prurient humor.

For example, there is the ever-so-terse Robert Christgau who opines with, “If this be social ‘satire,’ how come its sole targets are ordinary citizens whose weirdnesses happen to diverge from those of the retentive gent at the control board? Or are we to read his new fixation on buggery as an indication of approval? Makes you wonder whether his primo guitar solo on Yo' Mama and those as-unique-as-they-used-to-be rhythms and textures are as arid spiritually as he is. As if there were any question after all these years.”

Mark Prindle in his comments divides his opinion based on the two LPs contained in the original release, castigating sides 1 and 2, but heaping praise on sides 3 and 4. “If anything, his unfunny X-rated comedy made his music LESS palatable to most sensible listeners!” writes Prindle. “There’s a great 30-minute EP hidden within this double-album, but boy do you have to swog and swishle your way through reams and reams of smelly smelly chicken bellies to get to it.”

The replies to Prindle’s comments on his blog exemplify the split in opinion, as all of them laud the album.

But in some respects I agree with Prindle. Sides 3 and 4 are stronger than 1 and 2, but the first album in this double album set remains good stuff in my opinion. And let’s face it; Zappa himself has admitted that his material can often be stupid. It’s a joke, and if taken too seriously, well, you’ll just be unhappy.

Consider my situation: what do you think my reaction to songs like “Broken Hearts Are For Assholes” and “Bobby Brown” might be considering the fact I am gay? Admittedly, I wondered if Zappa were a homophobe. But that would also make him an anti-Semite and a misogynist, and the release of “You Are What You Is” would confirm him as being a racist. That’s nonsense. So when I consider how Zappa showed very little discretion when choosing targets to lampoon, as well as the fact that his satirical snipes are often so far over the top that their hyperbole requires them to be taken as less-than-serious, I have to conclude that either Zappa hated everybody, or that he hated the way that all people lull themselves into comfortable zones of ignorance. I choose the latter conclusion. We are all deluded in some way, and Zappa time and time again exposed our delusions for us with such sophomoric delivery that we often just didn’t get it.

Which is probably why the two sides of the LP release I found myself playing over and over again were sides 1 and 3. And of these two sides, my favorite tracks have been “Flakes” and “City of Tiny Lites.”


With “Flakes,” we not only have a humorous story line, but great song structure and orchestration as well. And when the song cuts into the bridge section with the lyrics, “I am a moron and this is my wife/ she’s frosting a cake with a paper knife,” Zappa effectively pulls into the song icons of American culture and advertising and couples them with a description of the lemming-like behavior of the consumer mentality. And Adrian Belew’s impression of Bob Dylan during this song is spot on. Still, despite the musical structure of “Flakes,” it is the lyrical content that impresses me the most.

However, it’s the music in “City of Tiny Lites” that makes it a favorite for me. Lyrically, there’s not much to this song. There’s no real narrative, overtly at least. But listening to the sweeping sound of the melody’s theme combined with the mundane lyrics, it’s not difficult to call up an image of seeing the flickering lights of Los Angeles from a view high up in the hills. “You’re so big/It’s so tiny/Every cloud is silver liney.” And the song is structured in a manner to easily accommodate a long guitar solo, which made this item a fixture in many a Zappa concert.

Side 2 has two outstanding guitar solo tracks that were both taken from the Feb. 15, 1978 show at the Deutschlandhalle in Berlin; “Rat Tomago” and “The Sheik Yerbouti Tango.” The former was taken from the solo during the 1978 concert’s performance of “The Torture Never Stops,” while the latter was pulled from a performance of “Little House I Used to Live In.” And, of course, there is the solo within “Yo’ Mama.” But, as was often the case with much of Zappa’s material, this song is a mix of live material from multiple performances and studio overdubs. Somewhere there is an article that alludes to the song’s origin. The lyrical theme has to do with an individual’s ineptitude. Allegedly, Zappa wrote it after one of the musicians failed miserably to properly know his or her material prior to a performance and was subsequently fined as punishment. Please leave a comment if you know the link to this article, which was published I believe in the mid-1980s.


Almost everyone I know who is familiar with the album will immediately mention “Bobby Brown.” It’s like a Freudian word association: I say “Sheik Yerbouti” and the immediate reply is, “Bobby Brown.” Interesting, in a way, when you consider the song’s content: A straight man who eventually drifts into the gay S&M subculture. Probably the second song to come to mind for many is “Jewish Princess,” a song that drew condemnation and a request for an apology from Zappa by the Anti Defamation League of the B’nai B’rith. Needless to say, Zappa refused. However, the song was seldom, if ever, played live following this incident. Francois Couture opines that it may have been the extensive overdubbing Zappa did with the song for the vinyl release that may have rendered it virtually impossible to effectively perform live, although Couture does not discount the possibility that Zappa’s decision to avoid live performances of the song may have been influenced by reaction to it.

Two other songs I really like are “I’m So Cute” and “Trying to Grow a Chin.” Terry Bozzio’s screeching vocals on “I’m So Cute” are spot on, the shrill hyperbole making the necessary point; not so much about “pretty people” being self-centered prigs, but rather, regarding the circular logic behind the lyrics, “Ugly is bad/And bad is wrong/And wrong is sinful/and sin leads to eternal damnation/And hot burnin’ fire!” Bozzio’s shrill timbre in his voice is effectively used again for “Trying to Grow a Chin,” with a reprise line that is just plain awesome despite its dark message: “I wanna be dead/In bed/Please kill me/’Cause that would thrill me.”

Overall, I think “Sheik Yerbouti” is among Zappa’s finest material, a tour de force mix of comedic and intricate musical themes served up for your listening pleasure … or not.

I rate this 4.5 out of five stars. Add your own rating below.



Album released March 3, 1979, Zappa Records.

LP release:

Side One
1. I Have Been In You (3:33)
2. Flakes (6:41)
3. Broken Hearts Are For Assholes (3:46)
4. I'm So Cute (4:20)

Side Two
1. Jones Crusher (2:49)
2. What Ever Happened To All The Fun In The World (0:33)
3. Rat Tomago (5:15)
4. We've Got To Get Into Something Real (0:32)
5. Bobby Brown (2:43)
6. Rubber Shirt (2:58)
7. The Sheik Yerbouti Tango (2:44)

Side Three
1. Baby Snakes (1:50)
2. Tryin' To Grow A Chin (3:32)
3. City Of Tiny Lites (5:30)
4. Dancin' Fool (3:43)
5. Jewish Princess (3:16)

Side Four
1. Wild Love (4:10)
2. Yo' Mama (12:38)

CD release:

1. I Have Been In You (3:34)
2. Flakes (6:42)
3. Broken Hearts Are For Assholes (3:42)
4. I'm So Cute (3:09)
5. Jones Crusher (2:50)
6. What Ever Happened To All The Fun In The World (0:33)
7. Rat Tomago (5:16)
8. Wait A Minute (0:33)
9. Bobby Brown Goes Down (2:49)
10. Rubber Shirt (2:45)
11. The Sheik Yerbouti Tango (3:56)
12. Baby Snakes (1:50)
13. Tryin' To Grow A Chin (3:31)
14. City Of Tiny Lites (5:32)
15. Dancin' Fool (3:44)
16. Jewish Princess (3:17)
17. Wild Love (4:10)
18. Yo' Mama (12:37)

Personnel:

Frank Zappa (lead guitar, vocals)
Adrian Belew (rhythm guitar, vocals)
Tommy Mars (keyboards, vocals)
Peter Wolf (keyboards)
Patrick O'Hearn (bass, vocals)
Terry Bozzio (drums, vocals)
Ed Mann, David Ocker (clarinets on "Wild Love")
Napoleon Murphy Brock (background vocals)
Andre Lewis (background vocals)
Randy Thornton (background vocals)
Davey Moire (background vocals)

Sleep Dirt

I was surprised when I read the reviews for “Sleep Dirt” at Ground and Sky. Both Bob Eichler and Gary Niederhoff were effusive with their praise for this recording.

“Sleep Dirt remains one of Zappa’s better works,” writes Eichler.

“This is a great Zappa album,” writes Niederhoff.

And then Robert Christgau gives the album a B+. “For what it's worth, I thought I'd mention that this collection of outtakes showcases more good music than any Zappa album in years,” opines Christgau.

Wow. I wasn’t as enthusiastic about this “collection of outtakes” as these guys. To me, “Sleep Dirt” is mediocre at best. Was I missing something?

Curiously, the All Music Guide review of the album gives it 3.5 stars, compared to the 3 stars it awarded for “Studio Tan.” Ironically, I think “Studio Tan” is the better collection. Yet, I am comforted by Francois Couture’s words when he writes, “There are strong guitar solos, but the whole thing lacks panache (and the cover artwork is truly awful).”

And I was disappointed that Mark Prindle omited both albums from his litany of reviews. I was hoping I might find some common ground with Mark; we at times disagree on a few albums, but by and large I respect his thoughts on Zappa’s works.

So I gave it another listen to make sure I was certain about my opinion. By the way, I have the album version, which is deliciously devoid of lyrics and singing.

The album opens with “Filthy Habits,” which starts with a forlorn and dolorous sound that is almost painful, but don’t take that as a criticism. When this song begins, I am extraordinarily optimistic about my listening experience with this album. This is one of the leftovers from “Zoot Allures.” The chilling guitar work is clearly stylistically connected to the dark and ponderous sound that dominated that album.

Then comes “Flambay,” a song filled with promise, opening with a pretty piano introduction, but which devolves into the style of extraordinarily bland lounge music. I can picture myself in a bar while the band plays this piece, and I can hear the chatter of all the patrons rising above the musicians because the music just isn’t interesting enough to warrant rapt attention. And for me, that is what Zappa’s music is all about: it requires your rapt attention, and most of the time you are willing to give it because the music is so damned interesting and stimulating. I’m sure the musicians are playing this piece expertly; you can’t argue with Ruth Underwood’s skill. It’s just a tune that doesn’t grab me.

“Spider of Destiny” isn’t any better, and in fact, sounds like a somewhat more robust relative of “Flambay.” But frankly, I think I’m being kind in saying that. I do like George Duke’s delicate piano when he provides a tinkling interlude.


I’m feeling optimistic again when “Regyptian Strut” comes along. Bruce Fowler’s horns really add some class to this song. Unfortunately, this would sound so much better if it weren’t associated with the two previous tunes, “Spider of Destiny” and “Flambay.” The melodic similarity between the pieces detracts from “Regyptian Strut”’s strength. Nonetheless, I am feeling better when this tune comes along.

“Time is Money,” however, resumes my disappointment. The timbre is just wrong. In fact, I think this would likely sound better performed by a string quartet or small orchestra, rather than the band Zappa used.

Ah, but I get a reprieve with “Sleep Dirt.” It’s not often you get to hear Zappa play acoustic guitar, and the duet he plays with James Youman is just freaking excellent! And you don’t feel let down when Youman caves and the piece stops, as he explains that “my fingers got stuck.” It is an awesome piece.

Both “Sleep Dirt” and the final cut on the album, “The Ocean is the Ultimate Solution” are leftovers from “Zoot Allures,” and frankly, it is these songs that were cut from that album that are best pieces on the album “Sleep Dirt.” The last cut is great jazz fusion; Patrick O’Hearn’s bass playing is outstanding. Such a simple song in terms there are just three musicians on this (Terry Bozzio is on drums), but it is quintessential Zappa in that it demands your delighted attention. And the guitar solo is stellar too.

So my conclusion? I’m still sticking with my original opinion, and that is overall, “Sleep Dirt” the album is just mediocre. It has three outstanding pieces that definitely project themselves beyond the other rather dull tracks.

I rate this album three out of five stars. Add your own rating below.


Released Jan. 19, 1979, DiscReet Records.

Album release:

Side One
1.Filthy Habits (7:33)
2.Flambay (5:02)
3.Spider Of Destiny (2:54)
4.Regyptian Strut (4:15)

Side Two
1.Time Is Money (2:52)
2.Sleep Dirt (3:20)
3.The Ocean Is The Ultimate Solution (13:20)

CD release:

1.Filthy Habits (7:34)
2.Flambay (4:54)
3.Spider Of Destiny (2:33)
4.Regyptian Strut (4:13)
5.Time Is Money (2:49)
6.Sleep Dirt (3:21)
7.The Ocean Is The Ultimate Solution (13:20)

Personnel:

Frank Zappa (guitar, keyboards)
Dave Parlato (bass)
Terry Bozzio (drums)
George Duke (keyboards)
Patrick O'Hearn (bass)
Ruth Underwood (percussion)
Chad Wackerman (drum overdubs on CD)
Thana Harris (vocals overdubs on CD)
Bruce Fowler (all brass)
James Youman (bass)
Chester Thompson (drums)

Joe's Garage

When listening to the epic “Joe’s Garage” today, I am struck by its prescience. With the recording’s introduction of the Central Scrutinizer, it’s easy for our minds to begin thinking in terms of the George W. Bush administration, particularly when the Central Scrutinizer, voiced by Zappa, proclaims that his duty is to “enforce the laws that haven’t been passed yet.” But this opera was released in 1979 on the eve of the Reagan administration. Foreshadowing what was to come during the Reagan years, the theme presented in “Joe’s Garage” is just as relevant, if not more so, today as it was at the time of its release.

I’m going out of my intended (although perhaps seemingly random) order of presenting Zappa’s recordings to write about this one primarily because of somewhat recent events involving the opera, and that is a stage production of the work that premiered in September 2008 at the Open Fist Theater in Los Angeles, all with the blessings of the Zappa Family Trust. The production has received rave reviews and its run has been extended. This review presents the details of the work’s story line, as well as information about the production for the stage, so I have no need to delve into that.

Reviews of “Joe’s Garage” are mixed, which is often the case with Zappa’s work. In giving it three out of five stars, reviewer William Ruhlmann points out that after Zappa was freed from his contractual obligations with Warner Bros., he was free to produce as much and as often as he liked. Mark Prindle also notes this flurry of activity, commenting that, in his opinion, this created “quality control issues” and led to Zappa releasing unrefined material using sterile techniques.


Comments left regarding the album at Kill Ugly Radio are interesting in that people who visit the page often give it a high rating (8.69 out of 10 stars), as well as glowing praise. Yet the first comment indicates that a mixed reaction is retained by others when one opines that “you can find masterpieces beside dull tunes.” Perhaps ironically, Rolling Stone raved on the recording: “Joe's Garage ties the dual extremes of Frank Zappa’s sensibility closer together than ever. An attack on authoritarianism in which fascist governments, self-help pseudoreligions and the music industry are inextricably linked….” It’s surprising because Zappa often lambasted music critics, particularly those from Rolling Stone. I must point out that Rolling Stone reviewer Don Shewey states that “As a stage musical, ‘Joe’s Garage’ is unproducible.” I wonder if he went to the show at the Open Fist Theater.

I really like the opera. Besides its brilliant prescience, the variety of the guitar work is refreshing because Zappa, in my opinion, can get into these ruts with his solos, pushing out a repetitive sound that shows little distinction from one to another. Through my joining two Facebook Zappa pages ( Frank Zappa and The Real Frank Zappa Group) I have learned that the solo “Watermelon in Easter Hay” is a favorite among fans. Indeed, Zappa infuses this beautiful solo with real emotion, a sense of sorrow and wistfulness that is neither condescending, nor a form of parody.



See this blog for additional information.

I rate this recording four out of five stars. Add your own rating below.


Additional content was added to this post on Jan. 4, 2009.

Album release date: Sept. 17, 1979 for Act I, Nov. 19, 1979 for Acts II and III, Zappa Records.

Track listings:

Act I
Side one
“The Central Scrutinizer” – 3:28
“Joe's Garage” – 6:10
“Catholic Girls” – 4:26
“Crew Slut” – 6:31

Side two
“Fembot in a Wet T-Shirt” (aka “Wet T-Shirt Nite”) – 4:45
“On the Bus” (aka “Toad-O Line”) – 4:19
“Why Does It Hurt When I Pee?” – 2:36
“Lucille Has Messed My Mind Up” – 5:43
“Scrutinizer Postlude” – 1:35
On vinyl, “Lucille” and “Scrutinizer Postlude” were indexed as one track.

Act II
Side one
“A Token of My Extreme” – 5:30
“Stick It Out” – 4:34
“Sy Borg” – 8:56

Side two
“Dong Work for Yuda” – 5:03
“Keep It Greasey” – 8:22
“Outside Now” – 5:50

Act III
Side three
“He Used to Cut the Grass” – 8:35
“Packard Goose” – 11:34

Side four
“Watermelon in Easter Hay” – 9:09
“A Little Green Rosetta” – 8:15

Personnel:

Frank Zappa – Vocals, guitar
Warren Cuccurullo – Rhythm Guitar, Vocals, Choir, Chorus, Organ, Guitar
Denny Walley – Vocals, Slide Guitar, Guitar
Craig Twister Steward – Harmonica
Jeff – Sax (Tenor)
Marginal Chagrin – Sax (Baritone)
Patrick O'Hearn – Wind, Bass
Peter Wolf – Keyboards
Stumuk – Sax (Baritone), Sax (Bass)
Tommy Mars – Keyboards
Vinnie Colaiuta – Drums, Percussion
Arthur Barrow – Vocals, Bass
Ed Mann – Vocals, Percussion
Dale Bozzio – Vocals
Al Malkin – Vocals
Ike Willis – Vocals
Barbara Isaak – Choir, Chorus, Assistant
Geordie Hormel – Choir, Chorus
Terry Bozzio – Guest Vocals
Ferenc Dobronyi – Cover Design
Steve Alsberg – Project Coordinator
Joe Chiccarelli – Engineer, Mixing, Recording
Norman Seeff – Photography, Cover Photo
John Williams – Artwork
Steve Nye – Remixing
Mick Glossop – Remixing
Stan Ricker – Mastering
Jack Hunt – Mastering
Thomas Nordegg – Assistant
Tom Cummings – Assistant