Sunday, December 13, 2009

You Can't Do That On Stage Anymore Vol. 1


With all that recording going on during the 1981 Halloween shows at the Palladium, some of that material was bound to be released by Zappa. What was a bit strange, perhaps, was how long it took for the material to be published, and the form it took.

In 1984, portions of the concert appeared on the video “The Dub Room Special,” but even that release included just five songs from the shows, with only three of them in sequence. The video with the most material from the 1981 shows was “The Torture Never Stops,” but that wasn’t released until 2008. Despite that, “TTNS” is the most complete package released, coming the closest to a true live release of the shows.

More material from the shows was eventually released while Zappa was still alive through the “You Can’t Do That On Stage Anymore” series, beginning with Vol. 1, which was released in 1988. Three songs from the 1981 early show appear in sequence on this release: “Dumb All Over,” “Heavenly Bank Account,” and “Suicide Chump,” all of which are from “You Are What You Is.”

The YCDTOSA series is a six-volume collection, plus one sampler. Most of the subsequent volumes have a theme, although sometimes a loose one, around which the song selection is focused. But Vol. 1 appears to have no theme at all, taking material from a wide variety of sources performed by many variations of Zappa’s touring ensemble. There’s material from 1969 all the way to 1984, including a complete performance of the “Yellow Snow Suite” from a London show that includes some of Zappa’s famous audience participation.

Some of the more interesting items on this double CD are tracks 2 and 3 on Disc One. These consecutive takes were recorded Dec. 10, 1971, at the Rainbow Theater in London, just a week after the band lost its equipment at the Casino de Montreux in Geneva, Switzerland, in a fire immortalized by Deep Purple’s “Smoke on the Water.” The song “Once Upon a Time” acts as an introduction into “Sofa No. 1” with Mark Volman setting things up with allusions to both the upcoming song as well as to material the band had been playing in previous concerts, in particular the song “Eddie Are You Kidding Me,” which was released on “Just Another Band from L.A.” Of course, the song “Sofa No. 1,” as well as its companion “No. 2,” weren’t released until 1975 with “One Size Fits All.”

Another interesting song is the guitar solo “The Mammy Anthem,” which pulls heavily from themes developed and later released as the instrumental “Zoot Allures,” from the album of the same title. However, this particular item later appeared as “The Mammy Nuns” on “Thing-Fish,” with vocals by Ike Willis and Ray White.

There are two songs set to the musical signature of “Louie Louie,” about which Zappa comments on the second of these two songs, “Plastic People,” which was originally released on “Absolutely Free.” While introducing “Plastic People” in 1969 to the folks at The Factory in the Bronx, Zappa tells the crowd, “Now, if you’ll analyze what we’re playing here, if you use your ear and listen, you can learn something about music, y’see? ‘Louie Louie’ is the same as the other song with one extra note, see? . . . They’re, they’re very closely related and they mean just about the same thing.”

The song “Ruthie Ruthie” is also based on the “Louie Louie” melody, this time the lyrics themed around an homage to Ruth Underwood, who performs on this song and the next, “Babbette.”

The performance of “I’m the Slime” (from “Over-Nite Sensation”) on this release was taken from a couple 1973 gigs at The Roxy in Los Angeles. It includes a very tasty and heavily fuzzed guitar solo. This transitions right into “Big Swifty,” also recorded at The Roxy, a sweeping orchestration that debuted a year and a half earlier on “Waka Jawaka.” There’s a really fine keyboard solo by George Duke here. Gotta love Ruth Underwood’s playing during this as well, she was brilliant. But the really delectable treat during this performance is Zappa’s solo. It pulls the band away from the original musical theme into a much funkier and more rock-n-roll timbre that is beautifully executed rhythmically by the dual drumming of Chester Thompson and Ralph Humphrey. It all smoothly returns to the “Big Swifty” theme, played by Zappa on his guitar.

Disc One closes out with a complete “Yellow Snow” suite that also includes “Rollo.” Of course, there is Zappa’s famous audience participation throughout this with apparently deranged audience members reading bizarre poetry, etc.


Unsurprisingly, on Disc Two, there is a performance of “The Torture Never Stops.” I say unsurprising because this composition shows up on a lot of Zappa recordings, both official and bootlegs. This performance is credited to being from an “unknown venue,” likely during the band’s European tour during the winter of 1978. It doesn’t sound like any of the performances from that tour that I have, so I remain stumped.

“Torture” is followed by “Fine Girl” and “Zomby Woof,” both recorded at the infamous concert in Milan, Italy, on July 7, 1982, when the band was nearly eaten alive by swarms of mosquitoes, an incident immortalized on the cover of “The Man From Utopia.” Despite that annoyance, the band’s performance of “Zomby Woof” is chilling. Steve Vai’s “stunt guitar” is crisp and fantastic, and Zappa’s guitar solo is the best I’ve heard for this song ever – even better than the studio solo.

“The Deathless Horsie” comes next from a 1984 performance at The Pier in New York City. Although a frequent number in the sets lists for live performances, it was first officially released on the “Shut Up ‘N Play Yer Guitar” series in 1981, and then again later on “Halloween” in 2003.

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




Released May 16, 1988, Rykodisc.

Track listing

Disc One

1. The Florida Airport Tape (1:04)
2. Once Upon A Time (4:38)
3. Sofa # 1 (2:53)
4. The Mammy Anthem (5:41)
5. You Didn’t Try To Call Me (3:39)
6. Diseases Of The Band (2:22)
7. Tryin’ To Grow A Chin (3:44)
8. Let’s Make The Water Turn Black (3:28)
9. The Groupie Routine (5:41)
10. Ruthie-Ruthie (2:57)
11. Babbette (3:36)
12. I’m The Slime (3:13)
13. Big Swifty (8:47)
14. Don’t Eat The Yellow Snow (20:16)

Disc Two

1. Plastic People (4:38)
2. The Torture Never Stops (15:48)
3. Fine Girl (2:55)
4. Zomby Woof (5:39)
5. Sweet Leilani (2:39)
6. Oh No (4:34)
7. Be In My Video (3:30)
8. The Deathless Horsie (5:29)
9. The Dangerous Kitchen (1:50)
10. Dumb All Over (4:20)
11. Heavenly Bank Account (4:06)
12. Suicide Chump (4:56)
13. Tell Me You Love Me (2:09)
14. Sofa # 2 (3:01)

Sunday, December 6, 2009

Halloween 1981 The Palladium late show


What is really amazing about the 1981 Halloween shows at the Palladium is that they were simultaneously broadcast live over radio and on MTV. And the second show kicks off with a kickass performance of “Black Napkins” from “Zoot Allures.” Granted, Zappa had already warmed up pretty well with the early show, but opening a show with this number, composed around an intense guitar solo, is very ballsy.

Probably because of the live broadcasts as well, the set list is actually pretty tame, although the songs are performed exceptionally well. But even the second song, “Montana” is nothing like the studio version or any other live version I have heard. It is frankly quite tame and even a tad disappointing.

The band is tight, however. Their playing during “Easy Meat” is outstanding. And we're treated to another stupendous Zappa solo. But what really gets me is the polyrhythmic structure to the solo section. Chad Wackerman is really amazing during this section, which finishes with a time signature I still haven’t figured out.

Both the early and the late shows pull heavily from “You Are What You Is.” The band gives “Society Pages” a very funky beat that is utterly delicious. Ray White gives “I’m a Beautiful Guy” a very Rat Pack sound that is sumptuously glib. The band’s expertise is exemplified again with “Beauty Knows No Pain,” a number so tightly orchestrated that any fuck up would stand out like a hardon at a junior high dance.

Steve Vai’s guitar playing is a bit understated on “Charlie’s Enormous Mouth,” but make no mistake, it is excellent. We get a reggae rhythm with “Fine Girl,” as well as some keyboard playing by Tommy Mars that I actually enjoy; his falsetto singing is also quite good.


The bands returns to “You Are What You Is” with a couple very tightly performed songs: “Teenage Wind,” and “Harder Than Your Husband.” About the latter, I get the feeling that the song is both a rip and an homage to the Rolling Stones’ “Girl with the Far Away Eyes.” What some listeners fail to grasp is that a Zappa spoof that is obviously directed at a particular artist or band isn’t necessarily done because Zappa dislikes the target. Some were darts thrown with unmistakable disdain. But remember that Zappa often did satires of doo-wop music; yet he held a deep regard for that genre.

Talk about a heavy rock beat, “Bamboozled By Love” comes along and crushes your head. Ray White is getting off on his Allman Bros. muse. It is an incredible interpretation of the song. And the guitar solo is worthy of adoration, although it is too short.

“Sinister Footwear” comes along, showing some more of Zappa the composer, and for true Zappa fans, pieces like this are gems. I really like Bobby Martin’s keyboards just before Zappa’s guitar solo. The precision of the setup is chilling, as the mood is completely translated and delivered with impeccable skill. Jesus, this shit is good! Again, even Tommy Mars’ keyboards are excellent, recalling a choir of voices bringing a triumphant crescendo (sorry, I’ve never been a fan of Tommy Mars’ style of playing. It has always struck me as rather pedestrian, like he was stroking Keith Emerson).

“Stevie’s Spanking” is a grandiose heavy metal head-banging splurge of electronic musical madness that delights the synapses. After all, “it’s not that he required grooming.” You can tell how Stevie Vai was influenced by Zappa with his guitar solo. While distinctly different in timbre, you nonetheless hear the Zappa influence. And when the two of them are jamming together, it’s killer.

The two CDs that make up this boot are nicely divided, with the first disc ending with a commercial break for the live FM broadcast. CD 2 picks up with “Cocaine Decisions,” a song that wouldn’t be released for another two years on “The Man From Utopia.”

Next comes an obscure blues number, “Nig Biz,” a substantial surprise in many ways considering the concert was still being broadcast. This is a rollicking blues number that officially appears only on YCDTOSA Vol. 3 and “The Dub Room Special” DVD. Next come another two songs from “You Are What You Is,” beginning with “Doreen,” which in this live version really lacks the oomph of the official release. This is followed by “Goblin Girl,” a song seldom performed live, but which was a welcomed number in the show’s lineup considering it was, after all, Halloween. It’s a very short rendition of the song, coming in at less than two minutes, quickly transitioning into the more complex “The Black Page #2.” I have to comment here that Ed Mann’s percussion, particularly with the vibraphones, is outstanding and precise. Wackerman’s drumming is also spot-on. But, of course, Zappa’s solo on this number is exquisite as well.


This concert’s performance of “Tryin’ to Grow a Chin” in my opinion is merely mediocre. The playing is great, but it’s just not the same without Terry Bozzio singing. What follows is much better, a very cool interpretation of “Strictly Genteel,” sans vocals. While there are a lot of good songs on this boot, this performance of “Strictly Genteel” is worth tracking it down alone. There’s even a section almost four minutes into the song that recalls sounds from the “Burnt Weeny Sandwich” era. The song acts as an end to the FM broadcast, with Frank coming in and saying goodnight. However, the FM broadcast didn’t end until about half way through the next song, “The Torture Never Stops,” which Zappa proclaims is “a traditional Halloween number.” It is the title number for a DVD released in 2008 that contains video from both the early and late shows. Frank says “Good night to our television audience” at the end of this, but there is still plenty more.

The “rest of the show” starts with “Joe’s Garage,” which is followed by “Why Does It Hurt When I Pee.” Unfortunately, there is some feedback buzz in the background during portions of these songs. Two long classics come up next with “The Illinois Enema Bandit” and perhaps one of Zappa’s most brilliant as well as flexible compositions he ever wrote: “King Kong.” To demonstrate its flexibility, the band performs it with a reggae beat and a variety of interesting percussive solos, featuring some very cool “outside” playing by Ed Mann. Of course, there is a guitar solo. The show closes with “Auld Lang Syne.”

This Web site outlines the various official formats that material from the two 1981 shows was released on.

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



Track listing

CD1
Black Napkins – 6:53
Montana – 3:44
Easy Meat – 6:44
Society Pages – 2:29
I’m A Beautiful Guy – 1:53
Beauty Knows No Pain – 2:52
Charlie’s Enormous Mouth – 3:36
Fine Girl – 3:09
Teenage Wind – 2:57
Harder Than Your Husband – 2:23
Bamboozled By Love – 5:26
Sinister Footwear – 6:38
Stevie’s Spanking – 6:32

CD2
Cocaine Decisions – 4:48
Nig Biz – 5:03
Doreen – 2:02
Goblin Girl – 1:45
The Black Page #2 – 4:14
Tryin’ To Grow A Chin – 2:27
Strictly Genteel – 6:41
The Torture Never Stops – 12:46
Joe’s Garage – 3:40
Why Does It Hurt When I Pee? – 2:38
The Illinois Enema Bandit – 10:44
King Kong – 11:59
Auld Lang Syne – 2:57

Players

Frank Zappa – guitar and vocals
Steve Vai – guitar
Ray White – guitar and vocals
Scott Thunes – bass
Chad Wackerman – drums
Ed Mann – percussion
Tommy Mars – keyboards
Bobby Martin – keyboards

Saturday, November 21, 2009

The Palladium 1981 Halloween Early Show


The year 1981 saw a flurry of releases from Frank, beginning with the live release of “Tinseltown Rebellion” in May, followed by the “Shut Up ‘N Play Yer Guitar” series (also all in May) and then in September that year came the release of “You Are What You Is.” The set list for the early show at the Palladium on Halloween night in New York drew heavily from “You Are What You Is,” with seven of the first eight songs performed at the show coming from that album; those seven tunes were also preformed consecutively. Overall, the show’s material primarily came from albums released in the late 1970s, with a small preview of Zappa’s next album to be released in 1982, “Ship Arriving Too Late to Save a Drowning Witch,” which was to come out the following May.

In terms of audio quality, this boot isn’t quite as clear as the one for the 1978 show. Despite that, a considerable amount of material from both the 1981 early and late shows was re-mastered and released on “You Can’t Do That On Stage Anymore” volumes 1, 3, and 6, on the “Beat the Boots” release “As An Am,” as well as on “The Dub Room Special,” and “One Shot Deal.”

The shows were also filmed, and this footage was variously released on the DVDs “The Dub Room Special” and “The Torture Never Stops.” Bits were released on a video “Dumb All Over,” and a lot of film was released as well on MTV. Details on all of this can be found here.

Given the fact that there are plenty of official releases of material from both the 1981 shows, there’s no strong need to go out and find the boot releases because, as I said, the sound quality on this boot in particular is not all that great. However, there is still plenty of material on this boot that was not subsequently released. And with some of the audio releases, the guitar solo was edited out.

Rather than run through the set list song by song as I have done with previous posts, I just want to cover some of the highlights. And one is the performance of “Envelopes,” a song that would be released later on “Ship Arriving Too Late to Save a Drowning Witch.” This bit of avant-garde is not only really interesting, but very well-played by the band. Chad Wackerman’s drumming is precise. The song segues into another song from the same up-coming album, “Drowning Witch.” The variation in musical themes, rhythms and vocal styles lends a sense that the material is ad-libbed, but of course it is not. Certainly the band rehearsed this over and over according to Zappa’s infamous reputation of rehearsing bands to the extreme to ensure the material was performed flawlessly. I have to mention Wackerman’s drumming again, as his precision is key to one’s enjoyment of Zappa’s solo.


In an article following Zappa’s death in 1993 in the February 1994 edition of “Musician,” Wackerman was among those interviewed for the piece.

“I knew the reputation of how difficult Frank’s music was to play and I wasn’t disappointed when I saw the music,” Wackerman told the magazine. “It was extremely intricate and detailed.

“The working process really varied. Often you would learn a rock song by rote, without any paper, which didn’t mean it was a simple thing to learn. Some of his material would be a rock song until you to an interlude section, when he’d bring in a piece of paper.

“You had to use your ears a lot, be able to memorize things quickly. When we went on the road, all this music we’d accumulated had to be memorized because it was a rock’n’roll show, basically. You had rock’n’roll lighting and you couldn’t have your face buried in any music.

“Also, he tended to change things all the time. A piece we might have learned as a heavy-metal song, he’d give the cue and it might become a reggae song, just spontaneously. So every show was completely different ….

“It’s amazing – so many people don’t know about Frank or don’t know how deep he was. They just think that he was this rock’n’roll star. To me, Frank was this amazing composer who happened to play great rock’n’roll guitar. Some very different combinations of influences came out of that. To me, nobody’s ever going to touch it or come close.”

This interlude of songs begun with “Envelopes” and carried forward by “Drowning Witch” comes to a close with a really delightful performance of “What’s New in Baltimore?” While these tunes reach forward (“What’s New in Baltimore?” wasn’t released until “Frank Zappa Meets the Mothers of Prevention” and “YCDTOSA Vol.5”), this avant-garde section of the show continues with a brilliant performance of “Moggio,” from “The Man From Utopia.”

The next song in the set, “We’re Turning Again,” reaches forward again to FZMTMP. What I find interesting in this song is not only Zappa’s commentary on how the vision of the 60s and 70s had been supplanted by empty consumerism, but his almost affectionate and wistful homage to Jimi Hendrix. The more you learn about Frank, the more you recognize his connections with so many different musicians who he encountered, many of whom went on to form recognizable and influential bands of there own. While Zappa respected the skill of and the music created by many of these musicians he worked with and encountered, he wasn’t one to be necessarily awed by them – except perhaps one: Jimi Hendrix. In Barry Miles’ “Zappa: A Biography,” shares some insight into Zappa’s experience with Hendrix in the late 1960s when The Mothers of Invention were playing at the Garrick Theater in New York City.

“In July (1967) Jimi Hendrix played the CafĂ© Au Go Go directly beneath the Garrick and Zappa went to see him” Miles writes, then quotes Zappa: “’He had a whole stack of Marshalls and I was right in front of it. I was physically ill – I couldn’t get out; it was so packed I couldn’t escape. And although it was great, I didn’t see how anybody could inflict that kind of volume on himself, let alone other people. That particular show he ended by taking that guitar and impaling it in the low ceiling of the club. Just walked away and left it squealing.’

“Frank invited Jimi to see the Mothers play, and Jimi and his drummer Mitch Mitchell sat in with them. Frank was so intrigued by what Hendrix was doing that he left the stage and sat in the audience to watch him play with the band, indicating a previously unseen level of respect for another musician’s work.”

Another tasty tidbit from this concert is the final song, a cover of The Allman Brothers’ “Whippin’ Post.” While a different version of this cover appeared later on “The Best Band You Never Heard in Your Life,” this one is just as kick-ass. The guitar interplay between Vai and Zappa is tight and incredible as the band not only brings authenticity to the cover, but interprets the song with that unique Zappa flare. It sets your hair on fire.

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



Track listing:

Disc 1
01) Chunga’s Revenge (fades in) – 4:15
02) You Are What You Is – 5:05
03) Mudd Club – 2:56
04) The Meek Shall Inherit Nothing – 316
05) Dumb All Over – 5:48
06) Heavenly Bank Account – 4:10
07) Suicide Chump – 5:49
08) Jumbo Go Away – 3:56
09) Envelopes – 3:11
10) Drowning Witch – 8:46
11) What’s New in Baltimore – 3:45
12) Moggio – 2:43
13) We’re Turning Again – 5:00

Disc 2
14) Alien Orifice – 5:10
15) Teenage Prostitute – 2:28
16) Flakes – 5:11
17) Broken Hearts Are For Assholes – 4:06
18) The Blue Light – 4:42
19) Tinseltown Rebellion – 4:52
20) Yo Mama – 9:08
21) Bobby Brown – 3:52
22) City of Tiny Lights – 9:52
23) Strictly Genteel – 9:01
24) Dancin’ Fool (cuts in) – 3:47
25) Whippin’ Post – 6:54

Musicians:

Frank Zappa – guitar, vocals
Steve Vai – guitar and etc.
Ray White – guitar, vocals
Scott Thunes – bass
Chad Wackerman – drums
Ed Mann – percussion
Tommy Mars – keyboards
Bobby Martin – keyboards