Bongo Fury

“Bong Fury” was a decent live recording representing some shows Zappa did while paired up with Captain Beefheart. But like some of Zappa’s other projects, was spoiled by Frank’s impulsive need to re-mix material in the studio, even adding tracks that were entirely studio produced at the expense of removing live tracks.

Zappa’s relationship with Beefheart was never an easy one. He spends considerable time in his autobiography discussing his encounters with the avant-garde musician nee Don Van Vliet. That relationship went back to the days not only prior to Beefheart’s Magic Band and before the Mothers as well, but back to the two men’s school days. It’s worth mentioning what went on during the production of “Trout Mask Replica,” as Zappa’s description of this project provides an excellent vignette on Van Vliet’s manic persona.

Recorded between November 1968 and April 1969, the production of “Trout Mask Replica” presented some interesting challenges, Zappa writes in his autobiography. For example, Zappa got the idea of recording the tracks at the house where the band lived, placing the various instruments in different rooms to take advantage of the unique acoustics offered in each room. But Beefheart apparently accused Zappa of trying to produce the album “on the cheap,” and demanded that they finish the project in a real studio.


Now, if you’re familiar at all with Beefheart’s voice, you know he sounds like a crazed Howlin’ Wolf amped up on handfuls of amphetamines and on the verge of his vocal cords exploding.

“Ordinarily a singer goes in the studio, puts earphones on, listens to the track, tries to sing in time with it and away you go,” Zappa writes in his autobiography. “Don couldn’t tolerate the earphones. He wanted to stand in the studio and sing as loud as he could – singing along with the audio leakage coming through the three panes of glass which comprised the control-room window. The chances of him staying in sync were nil – but that’s the way the vocals were done.”

Van Vliet and the Magic Band loved the final product, and it became the group’s quintessential recording. The album was released in June 1969, and later in the year, Zappa accompanied Van Vliet and his group to Europe as their road manager for the Amougies festival. “Trout Mask Replica” at the time and to this day remains highly regarded as a masterpiece of avant-garde and blues despite its at times atonal and rhythmically difficult delivery. Matt Groening’s comments about the album demonstrate that it was not an easy one to grasp for many listeners. I also admit that while I did not hate the album on its first listen, it kind of bugged me. Nonetheless, it really is a brilliant recording because of both Van Vliet’s incredible lunatic genius and Zappa’s outstanding recording and mixing.

Despite that, and despite the continued influence the album has had on the pop music world, Beefheart always remained on the far extreme of the business. He recorded many other albums, some of which came close to the brilliance of “Trout Mask Replica,” but as Zappa described it, Van Vliet was in continual contractual bondage with record companies and couldn’t make a dime. Zappa re-connected with Van Vliet in mid-1970s for the “Bongo Fury” tour, at a time when Van Vliet, as Zappa described it, was “just about destitute.” (A note here: Zappa states in his autobiography, “The Real Frank Zappa Book,” that Van Vliet joined him for the Bongo Fury tour in 1976. Yet the album “Bongo Fury” was released in late 1975, having been recorded earlier that same year. This curious error should be evidence to anyone who wants to develop any expertise on any subject that even the subjects of such investigation occasionally have mistaken memories and sometimes muff the facts.)


“Life on the road with Captain Beefheart was definitely not easy,” Zappa relates in his autobiography. “He carried the bulk of his worldly possessions around in a shopping bag. It held his art and poetry books and a soprano sax. He used to forget it in different places – just walk away and leave it, driving the road manager crazy. Onstage, no matter how loud the monitor system was, he complained that he couldn’t hear his voice. (I think that was because he sings so hard he tenses up the muscles in his neck, causing his ears to implode.)”

Which brings us to the opening track of “Bongo Fury.” This live performance from the Armadillo World Headquarters in Austin, Texas, launches with the track “Debra Kadabra,” complete with Van Vliet’s raucous vocals and guttural beat poetry style delivery. Things get a bit more melodic with the next track, “Carolina Hard-Core Ecstasy,” a song that shows up frequently in Zappa’s live shows. Great guitar solo here; pure jam. Beefheart returns with a spoken-word piece, “Sam with the Showing Scalp Flat Top,” that has an intriguing story line that is made all the more interesting by Van Vliet’s alliterative delivery. This is followed by Beefheart’s vocals on the country-esque ditty “Poofter’s Froth Wyoming Plans Ahead.” The bluesy “200 Years Old” is an added studio track that on first listen might sound like it’s still part of the live show.

Good stuff so far, but it all gets spoiled by the frustrating fade out at the end. I mean, why? That’s followed by another studio track, “Cucamonga” that really sounds out of place. It just doesn’t fit in with the mood that was established by the prior tracks. Placed in different context (like maybe on “Zoot Allures”), “Cucamonga” might have sounded much better, but stuck on “Bongo Fury,” it sounds like crap.

Eliminate that song, extend the harmonica and guitar at the end of “200 Years Old,” and the rest of the album would seamlessly return with “Advance Romance.” I would even accept wholeheartedly the fact that “200 Years Old” is a studio intrusion and was not part of the show. You got to love Denny Walley’s slide guitar on “Advance Romance,” it is sweet stuff. And Zappa’s guitar work on this track is brilliant as well, as usual. The spoken-word “Man with the Woman Head,” reminds me of a smoky café straight out of the 1950s Beat scene.

But what really makes this album memorable is “Muffin Man.” It represents one of Zappa’s most recognizable melodies.

Despite the other gems on this recording, I’m only rating this album as OK, largely because of the two studio tracks. Those items, in my view, should have been left off to allow more room for other songs out of the Bongo Fury tour. Interestingly, those two studio tracks apparently were never performed live.

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


Released Oct. 2, 1975, DiscReet Records.

Track listing:

Side one
"Debra Kadabra" (live) – 3:54
"Carolina Hard-Core Ecstasy" (live) – 5:59
"Sam With the Showing Scalp Flat Top" (live) – 2:51
"Poofter's Froth Wyoming Plans Ahead" (live) – 3:03
"200 Years Old" – 4:32

Side two
"Cucamonga" – 2:24
"Advance Romance" (live) – 11:17
"Man With the Woman Head" (live) – 1:28
"Muffin Man" (live) – 5:34

Personnel:

Terry Bozzio – drums
Michael Braunstein – engineer
Napoleon Murphy Brock – saxophone, vocals
Captain Beefheart – vocals, harmonica
George Duke – keyboards, vocals
Bruce Fowler – trombone, dancer
Tom Fowler – bass, dancer
Frank Hubach – engineer
Kelly Kotera – engineer
Kerry McNabb – engineer
Davey Moire – engineer
Cal Schenkel – design
Bob Stone – engineer
Mike Stone – engineer
Chester Thompson – drums
Denny Walley – vocals, slide guitar
John Williams – photography, cover photo
Frank Zappa – vocals, guitar

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