You Can’t Do That On Stage Anymore Vol 3

With six volumes to this collection, I wanted to break up the monotony of simply posting about the tracks on each issue. And with Volume three, I thought it might be a good time to explore the issue of bootlegging again.

Clinton Heylin reveals in his 1995 book “Bootleg: The Secret History of the Other Recording Industry,” Zappa’s intense hatred of bootleggers. But this hatred was not simply over money, as Zappa suggests in the opening track of the first “Beat the Boots” release, “As An Am.” In that sound bite, Zappa states that it angers him that bootleggers will record concert performances of material he hasn’t released yet. But there was another factor in Zappa’s antipathy for bootleggers, and that centered on Zappa’s control issues.

“Zappa had always been a control freak,” writes Heylin, “and hated the idea of bootleggers offering an alternative to his own, sometimes questionable, decisions about what should and should not be made available.”

Heylin interviewed a particularly prolific bootlegger identified as “Richard,” who was very likely a huge thorn in Zappa’s side.

“I’m a big Zappa fan,” says Richard. “In fact, my ‘Mystery Box’ got Zappa as upset as Columbia got over ‘Ten of Swords’ (a Dylan bootleg that Richard compiled).” Zappa was apparently so upset about the release of ‘Mystery Box’ that he contacted the FBI, which apparently had no interest in investigating the allegations.

“I guess,” Richard continues, “the problem was that Zappa was doing his (own) ‘You Can’t Do That on Stage Anymore,’ his ongoing series which has just ended, and ‘Mystery Box’ was like a giant ‘You Can’t Do That on Stage Anymore.’ A lot of reviews were saying that ‘Mystery Box’ was better because it was chronological and didn’t jump all over the place and didn’t have all these stupid edits in it. That kind of thing can annoy you if you’re an artist putting out your own thing.”

Zappa blamed bootleggers for profiting off his material and that caused him to lose money. But Zappa had so many other things going on in the legal realm that were costing him money that to point to bootleggers as a culprit seems more like an effort to eschew responsibility for his own travails. And besides, as “Richard” points out, most Zappa bootleggers recorded concerts and distributed their recordings for free or at a cost that was just enough to cover their own costs. The Zappa audience was too esoteric to make any real money off of, so most Zappa bootleggers were doing it because they loved his music.

And besides, the criticism that Zappa was a bit overzealous with his editing that turned a song from one performance into a quilt of sound clips from multiple shows was justified. What started as a technique in the early days that enhanced the quality of his recordings later turned into an obsession that might have improved the sound quality of a recording, but which also led some of his music losing its gut.

This was because Zappa believed that music was unemotional, that it was merely sound. The idea that music had an emotional element was absurd to him.

From Barry Miles’ “Zappa: A Biography”: “See, I take a real cold view about that stuff. I think that music works because of psycho-accoustical things – like the way in which a line will interact with the harmonic climate that’s backing it up. And all the rest of it is subjective on behalf of the listener.”

One of Zappa’s musical idols and influences, Igor Stravinsky, was even harsher in his view regarding music’s ability to convey emotion: “I consider that music, by its very nature, essentially powerless to express anything at all, whether a feeling, an attitude of mind, a psychological mood, a phenomenon of nature, etc… Expression has never been an inherent property of music.”

From that perspective, it is no wonder that Zappa spent hours and hours splicing bits and pieces of performances together and calling it a “live” performance, even when he would dub in a studio cut. To him, it was just music, just notes on a sheet of paper.

It is incredible that both Zappa and Stravinsky would have such points of view given that it is quite clear that each composed music that told stories. And how do you tell an emotionless story?

Two tracks on this recording really challenge this notion, both on Disc two: “Zoot Allures,” and “King Kong.” I can’t see how Zappa can play “Zoot Allures” without him channeling emotion into his guitar playing. He could play it strictly as music, as lines and dots on a page, but it is clear that he doesn’t. And the classic piece “King Kong” in all its many permutations; does not the fact that a performance is altered either through style or time signature change the impression the audience experiences from the piece? Zappa seems to lay all responsibility for any emotional response on the listener rather than the music; yet he ignores how that listener response changes when he changes the timbre or tempo of a song.

Just a few comments about this particular recording, which overall is pretty damn good.

Dweezil’s guitar solo on the opening track “Sharleena” is competent, but rather boring and simplistic. It is only when father and son begin playing together that the solo finally gets interesting.

“Lucille Has Messed Up My Mind” is actually a composition by former Mothers of Invention member Jeff Simmons, which he released on an album of the same name in 1970. Zappa plays guitar on the Simmons release as well.

“Drowning Witch” is a compilation of edits from shows at Stadio Communale, Bolzano, Italy, July 3, 1982 and the Bayfront Center Arena, St. Petersburg, Florida on Dec. 1, 1984 and the Bismarck Theater, Chicago, from Nov. 23, 1984, and the Paramount Theatre, Seattle, Wash., Dec. 17, 1984. It also contains musical quotes from a Hawaiian Punch commercial, Dragnet (Schumann/Rósza) and Le sacre du printemps (Stravinsky).

This CD contains the only releases of “Ride My Face to Chicago,” “Carol, You Fool,” and “Chana in De Bushwop,” which were performed at the Bismarck Theater, Chicago, Nov. 23, 1984. The latter song also included Diva Zappa.

“Zoot Allures” contains two edits, with the first part from Kosei Nenkin Kaikan, Osaka, Japan on Feb. 3, 1976, and the guitar solo from Les Arenes, Cap D'agde, France May 30, 1982.

The sequence of “Society Pages” through “Charlie’s Enormous Mouth” comes from the Halloween show at the Palladium in New York in 1981.

“Cocaine Decisions” is comprised of two edits from the Bismarck Theater, Chicago, Nov. 23, 1984, and Stadio Communale, Palermo, Sicily, July 14, 1982.

This is the only official release that has “Nig Biz,” and it comes from the show at the Stadio Communale, Palermo, Sicily, July 14, 1982. It also contains a musical quote from “The Tracks Of My Tears” (Robinson/Moore/Tarplin).

“King Kong” contains musical quotes from “Shakin’ All Over” (Heath), “Big Swifty,” “Yo Cats” (FZ/Mariano), “Uncle Meat,” “A Love Supreme” (Coltrane), “Midnight Sun” (Hampton/Burke/Mercer) and the “William Tell Overture” (Rossini). It is also comprised of too many edits from various shows to enumerate.

“Cosmik Debris” contains portions from three shows including the Paramount Theatre, Seattle, Wash., Dec. 17, 1984; the Arlene Schnitzer Concert Hall, Portland, Ore., Dec. 20, 1984; and the ending from The Pier, New York City, Aug. 25-26, 1984. It also contains a musical quote from “Who Knows” (Hendrix).

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





Released Nov. 13, 1989 on Rykodisc; various live recordings from Dec. 10, 1971 to Dec. 23, 1984.

Track listings:

Disc one
1. “Sharleena” – 8:54
2. “Bamboozled by Love/Owner of a Lonely Heart” – 6:06
3. “Lucille Has Messed My Mind Up” – 2:52
4. “Advance Romance” – 6:58
5. “Bobby Brown Goes Down” – 2:44
6. “Keep It Greasey” – 3:30
7. “Honey, Don’t You Want a Man Like Me?” – 4:16
8. “In France” – 3:01
9. “Drowning Witch” – 9:22
10. “Ride My Face to Chicago” – 4:22
11. “Carol, You Fool” – 4:06
12. “Chana in de Bushwop” – 4:52
13. “Joe’s Garage” – 2:20
14. “Why Does It Hurt When I Pee?” – 3:07

Disc two
1. “Dickie’s Such an Asshole” – 10:08
2. “Hands With a Hammer” (Bozzio) – 3:18
3. “Zoot Allures” – 6:09
4. “Society Pages” – 2:32
5. “I’m a Beautiful Guy” – 1:54
6. “Beauty Knows No Pain” – 2:55
7. “Charlie’s Enormous Mouth” – 3:39
8. “Cocaine Decisions” – 3:14
9. “Nig Biz” – 4:58
10. “King Kong” – 24:32
11. “Cosmik Debris” – 5:14

Personnel:

Frank Zappa – arranger, editing, keyboards, lyricist, vocals, producer, main performer, liner notes, guitar, compilation
Mark Volman – vocals
Howard Kaylan – vocals
Lowell George – guitar
Denny Walley – guitar
Steve Vai – guitar
Dweezil Zappa – guitar
Jim Sherwood – guitar, vocals, wind
Ray Collins – guitar, vocals
Ike Willis – rhythm guitar, vocals
Ray White – rhythm guitar, vocals
Ian Underwood – guitar, wind, alto saxophone, keyboards
Patrick O'Hearn – bass guitar, wind
Roy Estrada – bass guitar, vocals
Jim Pons – bass guitar, vocals
Scott Thunes – bass guitar, vocals, synthesizer
Tom Fowler – bass guitar, trombone
Peter Wolf – keyboards
Allan Zavod – keyboards
Andre Lewis – keyboards
Don Preston – keyboards, electronics
George Duke – keyboards, vocals
Tommy Mars – keyboards, vocals
Bobby Martin – keyboards, vocals, saxophone
Napoleon Murphy Brock – saxophone, vocals
Bruce Fowler – trombone
Bunk Gardner – horn, wind
Ralph Humphrey – drums
Art Tripp – drums
Chester Thompson – drums
Chad Wackerman – drums, vocals
Jimmy Carl Black – drums, percussion
Aynsley Dunbar – drums
Terry Bozzio – drums, soloist, lyricist
Ruth Underwood – percussion, keyboards
Ed Mann – percussion
Diva Zappa – lyricist
Mark Pinske – engineer
Kerry McNabb – engineer
Bob Stone – engineer, engineering supervisor, remixing, supervisor

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)

One Size Fits All

What on earth is a Florentine Pogen?

This is a conundrum that faces every listener of Zappa’s “One Size Fits All” as soon as the song titled as such begins. There is the initial, albeit superficial, conclusion that the subject of the song is connected somehow with the lore of Italy. After all, a Pogen is a member of the aristocratic class of Florence. But as this Web site reveals, a Florentine Pogen is also a cookie. And given Zappa’s quirkiness, we cannot ignore that possible influence in the song’s origin.

“One Size Fits All” is one of a series of albums released in the years after “The Grand Wazoo” that represent Zappa’s finest work. Zappa, having honed his compositional, recording and playing techniques during the fantastic jazz fusion period he went through during the late 60s and early 70s, took all that he had learned and brought together the brashness of rock music and the story-telling capabilities inherent in a Broadway musical. It kicked off with “Over-nite Sensation” to be followed with “Apostrophe,” and then “One Size Fits All.” This latter album was recorded over a period of five months from December 1974 to April 1975, but many of its songs were already in development. When I saw Zappa play at the field house at Ferris State College in Big Rapids, Mich., on April 28, 1974, he played “Inca Roads.” In fact, I think he opened the show with that tune. I’m pretty sure he played “Titties and Beer” during that show as well, which would be contrary to what is posted about this song at the All Music Guide.



I still prefer the guitar solos on “Over-nite Sensation” primarily because of their sheer energy. But Zappa’s guitar work is brilliant on “One Size Fits All” as well, although I believe in a much more esoteric way than “Over-nite Sensation,” or even “Apostrophe” for that matter; in both those recordings, the guitar work was more mainstream, albeit brilliantly mainstream.

However, I would set myself up a fool if I were to ignore Zappa’s work on “One Size Fits All.” Let’s begin with the beginning and the solo on “Inca Roads.” Apparently, there are others, in addition to me, who think that solo is remarkable on many levels, including Steve Vai. Rhythmically, “Inca Roads” is extraordinarily complex with many abrupt interruptions that apparently frustrated band members like George Duke. But Zappa’s solo, recorded during a Helsinki concert, begins with an ethereal quality that musically combines the emotional opposites of suppression and expression. By the end, his guitar work sends the listener into the ether on a journey that comes very close to religious epiphany punctuated with staccato notes reaching to the quasars. And then there’s George Duke’s frenetic electric piano solo that captures so well the essence of a song that conjures cosmological imagery. The pace is captured vocally as well, juxtaposed with Ruth Underwood’s amazing marimba work. The song closes with an acknowledgement to Underwood’s performance with an “On Ruth, On Ruth, That’s Ruth!”

Initial releases of the album reportedly had a flaw within "Inca Roads" with a barely noticeable skip in the track. Once it was identified, those albums in circulation but unsold were recalled and replaced with corrected versions.

We next jump into “Can’t Afford No Shoes,” one of two rollicking numbers on the record that also includes “Andy.” This is great rock-n-roll with Zappa’s unmistakable flair. And, of course, this song has its own brilliant guitar playing, a bit of Delta blues that sounds like Frank is literally bending the neck on his axe. And there is the “big finish!”

“Sofa No. 1” is simply beautiful. So melodic and still so FZ. Full of bombastic Germanic structure that it almost drips Wagner, but pulled off with such smooth panache, it can bring me near to tears.

Then there’s “Po-Jama People,” which begins with a guitar riff that teases you, foreshadowing another solo that is destined to rip your ears off, ironic considering the song is about people who are boring and soporific.

I already covered the debutante daisy with the color note organ, although there is another inside joke within the song regarding Perellis, who is not a figure from Florentine legend but was Zappa’s manager at the time of the recording.

“Evelyn, A Modified Dog” remains one of my favorite Zappa songs because of its poetic brilliance. But then comes a song that contains a bit of personal arcana right out of Zappa’s life. That reference goes with the verse “Well there’s forty-four men stashed away in Tank C/And there’s only one shower/And it don’t apply to Bob-bee!” Zappa spent time in the San Bernardino County Jail after being convicted of a trumped up indecency charge in 1962.

I mentioned that “Andy” was another fun rollicking tune, although it starts a bit more grandiose than your basic rock-n-roll song. But after the initial question is asked of whether there is anything good inside of you, the guitar gets gritty. I really like this song because it goes to the heart of a belief that is very Buddhist, and that is there is nothing good inside of us. We are neutral. People, of course, misinterpret this notion and twist its expression to mean, well, if there’s nothing good inside of us, then what’s inside of us must be evil. But that is not at all what is being implied in the lyrics. It just means we are what we is, nothing else. By nature, we are very selfish creatures. It is through socialization that we are supposed to learn that by being nice to each other, we get along much better.

“Do you know what I’m really telling you? Is it something that you can understand?”

You have to love Johnny “Guitar” Watson’s vocals at the end of this tune as well, so visceral, so hair-raising, it’s delicious.

Then we have “Sofa No. 2,” with lyrics this time taking the notion that god is everything to its absurd conclusion, that god is the chrome dinette as well. And by the way, we are god’s sofa.

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


This post was edited and new content added on Jan. 4, 2009.

Album release date: June 25, 1975, Warner DiscReet Records.

Song tracks:
Inca Roads - 8:45
Can't Afford No Shoes - 2:38
Sofa No. 1 - 2:39
Po-Jama People - 7:43
Florentine Pogen - 5:27
Evelyn, A Modified Dog - 1:04
San Ber'dino - 5:57
Andy - 6:03
Sofa No. 2 - 2:47

Personnel:
Frank Zappa - guitars, vocals
George Duke - keyboards, synthesizers, vocals
Napoleon Murphy Brock - flute, tenor sax, vocals
Chester Thompson - drums
Tom Fowler - bass
Ruth Underwood - percussion
James Youman - bass
Johnny "Guitar" Watson - flambe vocals
Bloodshot Rollin' Red (Captain Beefheart) – harmonica

The Grand Wazoo

As I mentioned when I wrote about “Waka/Jawaka,” it was decades before I ever listened to “The Grand Wazoo,” despite the fact I saw it in stores at the time of its release. I admit my failing, that it was foolish and childish to let myself be influenced by such a banal reaction as what my friend displayed for me when I played “Waka/Jawaka” for him. In fact, I really didn’t give the recording a serious listen until about six years ago.

I know, you all want to flog me. There’s an appropriate cliché for such a situation, because my lateness to hearing this recording provided for me a breakthrough in how I viewed Zappa’s music. Ironic, isn’t it? Because I see “The Grand Wazoo” as a similar watershed moment in Zappa’s catalog, a moment when the musical instrumentation, themes and compositions he had been developing, starting perhaps with “Uncle Meat,” but definitely by the time of “Burnt Weeny Sandwich,” and which exploded like a birthing star with “Hot Rats,” began to take shape with “Waka/Jawaka,” leading to a musical template that, in my opinion, mapped out the rest of Zappa’s compositions – excluding, perhaps, his more “classical” works. It’s as if “The Grand Wazoo” is Zappa’s own “Birth of the Cool.”

Let me explain.

The general concept of “The Grand Wazoo” to me is an awakening. And I don’t mean that thematically. I’m speaking metaphorically here. In the first song, the title track, we get a clear glimpse into Zappa’s future as he lays out a sound that will largely dominate the remainder of his recordings. Right away I hear glimpses into the future, including “Over-nite Sensation,” and “One Size Fits All.” The guitar solo is searing, yet rich in texture. We even get a little hint at how he would continue to use percussion instruments like the xylophone, particularly in “Apostrophe.” The instrumentation is more “musical,” yet still retains the playfulness that Zappa always had. His music was aurally and intellectually challenging, always throwing sounds and set pieces at you in such a way your listening reverie was suddenly disrupted and you had to ask, "Wait! What was that?" Zappa demanded engagement from his listeners – sometimes literally during his concerts when he encouraged “audience participation.” But it was always there in his musical presentation.




The second track, “For Calvin,” clearly appears to be a precursor to the later “Inca Roads,” with lyrics that seem to foreshadow the story line in the later release.

Zappa’s playfulness is fully apparent with the third track “Cletus Awreetus Awrightus.” Zappa uses his voice as an instrument, which is not so outlandish to think of “voice” as just another instrument. It’s a concept that Zappa remarks on in his autobiography. And I think too he may be testing out his vocal range following the assault in London when his larynx was damaged. He mentions in his autobiography that following the incident, his voice dropped two registers.

Then look out for “Eat That Question.” This heavy song reminds me initially of Deep Purple with the key boards during the opening, but when the theme comes in, it’s much more like Ten Years After from “Cricklewood Green.” But the soaring guitar solo is nothing that Alvin Lee would have done; it’s airiness is a perfect compliment to the heavy beat established when the song begins. Yet it concludes with, what I believe, to be a slight nod to Jimi Hendrix (not the song’s end, but the guitar solo’s end) from “Electric Ladyland” and “Moon, Turn the Tides…Gently, Gently Away.”

An appropriate set up for the closure, “Blessed Relief,” which has set pieces that would repeatedly show up in variations in Zappa’s future recordings. It has a very Weather Report feel to it, though it will take me some time to nail down the recording I’m thinking of.

Be sure to read Crimhead420's post on this recording as well. I agree with his comments regarding Aynsley Dunbar's drumming on this album; Zappa comments in his autobiography on how difficult it has been to find a drummer who could keep up with his abrupt time changes, and Dunbar was among the best to play with Zappa.

It may have taken me decades to eventually listen to this recording, although I had heard bits and pieces of it in many of Zappa’s live recordings, but when I did, “The Grand Wazoo” proved for me to be the critical link between his recordings of the 1960s and those that followed.

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

This entry was edited and new content added on Jan. 10, 2009.

Album release date: December, 1972 on the Bizarre/Reprise label.

Song tracks:
1. The Grand Wazoo – 13:20
2. For Calvin (And His Next Two Hitch-Hikers) – 6:06
3. Cletus Awreetus-Awrightus – 2:57
4. Eat That Question – 6:42
5. Blessed Relief – 8:00

Personnel:
Frank Zappa – guitar, percussion, vocals
Mike Altschul – woodwind
Billy Byers – trombone
Chunky (Lauren Wood)– vocals
Lee Clement – percussion
George Duke – keyboards, vocals
Earl Dumler – woodwind
Aynsley Dunbar – drums
Tony Duran – guitar, bottleneck guitar
Erroneous (Alex Dmochowski) – bass
Alan Estes – percussion
Janet Neville-Ferguson – vocals
Fred Jackson, Jr. – woodwind
Sal Marquez – bass, trumpet, vocals, brass
Joanne Caldwell McNabb – vocals, brass, woodwind
Malcolm McNabb – trombone, horn, trumpet in D
Janet Neville-Ferguson – vocals
Tony Ortega – woodwind
Joel Peskin – saxophone, woodwind
Don Preston – Mini Moog
Johnny Rotella – woodwind
Ken Shroyer – trombone, brass, contractor and spiritual guidance
Ernie Tack – brass
Ernie Watts – tenor saxophone, C Melody Saxophone (the "Mystery Horn") solo on "Cleetus Awreetus Awritus", woodwinds
Robert Zimmitti – percussion

Related links:
Blind Janitor review of “The Grand Wazoo” Web site written in Israeli
The Legend of Cleetus Awreetus-Awrightus & The Grand Wazoo, article by Frank Zappa

Waka/Jawaka

While my first experiences with Zappa’s music generally involved his more “humorous” compositions, “Waka/Jawaka” was the first album of his I listened to that really opened my ears to what an extraordinary composer and musician he was.

I was just 10 years old when I first listened to “Absolutely Free,” my first experience with Zappa and the Mothers. Later, while in junior high, the Flo and Eddie recordings that included “Fillmore East: June 1971 (Live)” and “Just Another Band From L.A.,” caught my prurient juvenile mind. (And oh yes, don’t forget “200 Motels.”) The stuff was hilarious, and the songs were very interesting as well.

And so recalling my positive memory of “Absolutely Free,” combined with my interest rekindled with the Flo and Eddie concert albums, I sought out new Zappa. And low and behold I found a new release: “Waka/Jawaka.”

Within Zappa’s catalog, this recording doesn’t seem to get the respect it should. Often overshadowed by “The Grand Wazoo,” the earlier “Waka/Jawaka” is relegated to a sort of second place within Zappa’s fusion jazz experiments.

I remain dubious. Because I really believe the album both in its composition and presentation (not to mention its technical recording) is on par with “The Grand Wazoo,” as amazing as that recording is. And I wonder if the dismissive attitude of some toward this album might have something to do with the two “bridge’ numbers that separate “Big Swifty” from the title track.


On its first play on the old, Magnavox console stereo up in my room, which I had rigged to accommodate headphones, I was blown away. I was in the junior high band at the time playing saxophone, and maybe that, combined with my early exposure to classical music (as a very young boy, I used to spend hours listening to the LPs in the “Golden Treasury of Classical Music”) and the jazzy pop sounds of 1960s-era artists like Herb Alpert and Xavier Cougat, played a role in me having the proper mind set to accept these fantastic sounds I was hearing.

I wanted to share this experience with a friend of mine at the time who I knew liked Zappa and the Mothers. But when I played “Waka/Jawaka” for him, I could tell right away he didn’t get it. He didn’t want to hear instrumental songs. He wanted “Billy the Mountain.” His distaste for the recording unfortunately had a significant impact on me. While I secretly enjoyed the heck out of the album, when “The Grand Wazoo” appeared later in record stores, I resisted my temptation to purchase it. As a result, it was decades before I ever listened to that recording.

You have the theme introduced quickly with “Big Swifty,” and then the composition proceeds with the many variations on that theme, including the usual instrument solos common with jazz performances. The song bursts upon your ears and swiftly glides from one syncopated rhythm to another, returning an almost cosmic jazz sound with George Duke’s first solo on the electric piano. Soon enters Sal Marquez on muted trumpet and the sound is complete, very reminiscent of Miles Davis in “Bitches Brew.”

It’s like Sal Marquez playing Miles Davis, but Marquez is doing more than recalling Davis’ style. Rather, it sounds more like Sal Marquez playing Miles Davis who is playing Sal Marquez playing Zappa’s “Big Swifty.” And that is neat.

Zappa’s guitar, which up till the end of Marquez’s solo acted as a punctuation to the music, comes forward in quintessential Zappa style. It carries a bit of a Spanish flair to it as well that blends well with the overall feel of the piece.

And then the piece repeats the theme, which usually occurs at the end of compositions like this. But Zappa doesn’t “end” the piece as neatly as that. In fact, the “end” of “Big Swifty” really drags on and on well past what the ear was initially thinking was the end (almost another eight minutes); hence the brain becomes engaged and begins to ask, “What is all this?” And what it is is Tony Duran’s slide guitar solo. It is brilliant, because just as the listener’s ear, conditioned by years and years of jazz compositions, and even classical compositions, is about to say “ahh, that was nice,” the piece picks up and drolls on to a conclusion that is not only interesting, but suitable as well.

When the theme is reintroduced just after the 13-minute mark of this 17:22 song, there is a real sense of return and set up for the finale.

And then comes “Your Mouth.” What is this? Not only is this tonally very different from the expansive “Big Swifty,” it has lyrics! Someone is singing! From fusion, Zappa easily slips into a 12-bar blues piece that has just a hint of New Orleans gospel to my ear. We go Western with “It Just Might Be a One Shot Deal,” complete with slide guitar and a short burst of music that recalls the themes from many a 1950’s cowboy television show. And all the while the slide guitar is dreamily carrying on the tune toward the end, I can see graceful couples dancing to country swing.

The title track launches into an expansive intro with the theme laid out and reminiscent of, perhaps, a 1950s era Western movie, or maybe even a detective show from television, like “Hawaii Five-O.” It just has this kitschy feel to it. Preston on the Mini-Moog seems to be dropping hints that are more strongly revealed in “The Grand Wazoo.” Namely, hints at the future direction of Zappa’s music. It’s almost a prototype of “One Size Fits All.”

Zappa’s guitar solo at the end goes through some outrageous rhythm changes, but Ansley Dunbar’s drumming effectively keeps pace, adjusting as needed, and when the horn section blasts in, Dunbar keeps the rhythm on track, then finishes with a respectful solo of his own. The theme returns with a thunderous “da-toom, da-toom, da-do-do-do-do-toom.” The addition of flute at this point really a nice point, as well as the staccato piccolo by Mike Atschul accompanying the same staccato from the horns. The song fades to completion, recalling an image of a cowboy, perhaps, riding off into the desert, or if we go with the detective show theme, a helicopter shot looking down but fading back from the busy streets of L.A. I like the cowboy movie theme better myself.

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

Album release date: July 5, 1972 on the Bizarre/Reprise label.

Song tracks:
1. Big Swifty (17:22)
2. Your Mouth (3:12)
3. It Just Might Be A One-Shot Deal (4:16)
4. Waka/Jawaka (11:18)

Personnel:
Frank Zappa – guitar, percussion, electric bed springs
Tony Duran – slide guitar, vocals
George Duke – ring-modulated & echoplexed electric piano, tack piano
Sal Marquez – trumpet, vocals, flugelhorn, chimes
Erroneous (Alex Dmochowski) – electric bass, vocals, fuzz bass
Aynsley Dunbar – drums, washboard, tambourine
Chris Peterson – vocals
Joel Peskin – tenor sax
Mike Atschul – baritone saxophone, piccolo, bass flute, bass clarinet, tenor sax
Jeff Simmons – Hawaiian guitar, vocals
Sneaky Pete Kleinow – pedal steel
Janet Ferguson – vocals
Don Preston – guitar Minimoog
Bill Byers – trombone, baritone horn
Ken Shroyer – trombone, baritone horn

Related links:
YouTube “Waka/Jawaka”
All Music Guide “Waka/Jawaka”
Wikipedia “Waka/Jawaka”
Ground and Sky review of “Waka/Jawaka”
RolingStone review of “Waka/Jawaka” 10/12/1972