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Zappa brought something new that no other artist had.

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Music wouldn't be what it is today if it weren't for Frank Zappa.

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The music is unique.

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It's different from the Beatles' music, it's different from anything that's ever happened, man.

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What they did was so radical in the context of their time in the recording industry and on stage that

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it gave future performers license to take risks in their recordings and live performances.

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There is no other group that combines comedy and rock 'n' roll quite like the Mothers of Invention.

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Music

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Music

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Frank Zappa was born in Baltimore, Maryland in 1940.

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Due to early health problems, the family moved to California, which remained Frank's home for most of his career.

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His interest in music began early, and it was at Mission Bay High School in San Diego that Zappa joined his first band as a drummer.

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By 1956, Zappa was living in Lancaster, California.

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At a local school, he met Don Van Vliet, who would later become known as the legendary Captain Beefheart.

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with whom he developed a close friendship based largely on their shared love of music.

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However, it was not the popular music of the late 1950s that aroused the interest of these two prominent outsiders.

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One of the important things about Frank was that he often emphasized that for him, growing up in California, it was a cultural desert.

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There was nothing. He was very insistent on this.

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When he later became acquainted with the great world of classical music and listened to his works performed by Pierre Boulez,

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he always insisted that when he grew up there would be nothing like it for him.

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Culture is the big “C,” he didn’t understand. He had to invent everything himself.

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So, as for Frank Zappa and his buddy Don Vliet, who later became Captain Beefheart,

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the music scene was dominated by the older generation.

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It's time for daddies in bow ties to listen to singers imitate Frank Sinatra.

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That's what the music scene is and that's what they wanted to explode.

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And their greatest thrill was listening to the radio and hearing black music,

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which they thought was the only cultural thing that had any meaning.

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No death, no death, no death.

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So they listened to Howl and Wolf, Muddy Waters, Clarence Gaitmuth Brown, the penguins, and Dew Op and Soft Rock and Roll.

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what was on the radio and they liked it.

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There's a whole bunch of them there.

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Look at me.

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He has no eyes.

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How could this bastard even see anything?

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Ooh baby, baby, I'll be afraid of being touched.

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Well, I would love to live in this world, otherwise I won't even be able to see it.

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Zappa writes about this in the real Frank Zappa book.

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It was nostalgia for this teenage hobby.

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But from the point of view of Zappa's later music, it is important to understand that there was more to it than that.

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He was very interested in modern classical music.

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Initially, he believed that all types of classical music were just what old ladies listened to.

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Of course, he was never a fan of this kind of mainstream music, you know, like Mozart, Beethoven, Mendelssohn and all that.

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However, one day he saw the cover of Look magazine, which had an article about a composer named Edgar Veres.

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It all depended on the record store owner.

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This owner was bragging about what a great salesman he was, or at least what a big scammer he was.

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And, apparently, he even managed to sell this record by Edgar Veres, a composer who wrote post-serials.

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And it wasn't exactly something to listen to if you liked what was on the radio at the time.

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He bought it cheap because he couldn't sell the record.

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And he brought it home. And the first track he played was “Nothing but percussion.”

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Zappa always loved drums. He was a drummer as a teenager...

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I want to say his teenage duet, because that's one of the Zappa cliches.

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He says he's playing in a teenage band. Or rather, his school group. He was a drummer there.

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He turned it on and it was just drums. And he liked it right away.

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This was his direction in avant-garde classical music.

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Nowadays the image of avant-garde classical music looks very intellectual.

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Zappa didn't really understand it. He understood that it was a huge noise,

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Huge interest in percussion instruments. And an ear capable of discerning rhythm.

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And Verese reworked all the music. But one thing you can notice: if you are very rhythmically inclined,

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you can tell there's a lot going on and it's very interesting.

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Zappa really liked this record. And those two things really distort RandB.

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And then Verese, on the slightly different side of things, presents this very broad palette.

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I would say that palette is not quite the right word. These are two poles that, if you think about it, are almost diametrically opposed.

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Pop RandB that could be played on the radio. Extremely mysterious music written by a Frenchman.

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This mysterious classical music. There are two things he really loves.

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And he used this recording as an intelligence test for his friends. That's what he called it.

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That Zappa was so confident in his reactions. And he did not succumb to the pressure of others.

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It wasn't some terrible secret to him that he liked some uncool, weird record. In fact, it became a test for his friends.

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He played on this album. And if they said that this was complete nonsense, he would no longer be friends with them.

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After leaving home in 1959, Zappa briefly devoted himself to the world of advertising.

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However, his musical career has always been a priority for him.

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Not only did he make a living as a musician and composer, but he also met producer Paul Buff,

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owner of Powell Recording Studios in Cucamonga, which later became Zappa Studio Z.

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It was here that he began to create his first works, composing music for low-budget films and writing

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and scored the number one instrumental hit in Mexico, Tijuana Surf.

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He also teamed up with singer-songwriter and longtime collaborator Ray Collins.

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Through both his experimentation and his solo compositions, Zappa began to achieve some minor success.

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When Frank Zappa entered the music industry at the bottom of the business in the early 1960s,

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In some ways it was pretty bland because there were a lot of teen idols on the charts and there were a lot of new records.

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On the other hand, it was a really good time to enter the business because it was much more open to newcomers.

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without any real powers or connections than it would be today.

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And Zappa was willing to take advantage of this, I think, because although his music at that time was not as sophisticated as it would be five years or so later,

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he was knowledgeable enough about the commercial trends of the time to place individual discs here and there.

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Music

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Frank and Ray originally met because I think Ray Collins saw Frank play at a club in Pomona, California in 1962 with a band I think was called The Sportsman.

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And Ray liked what Frank was doing and came up to him and said, “Listen, I’m a singer and I’d like to sing with you on stage, and I came out and sang with you on stage, which is what you did.”

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Thus, they became friends, because Frank realized that Ray had great vocals, and Frank, on the contrary, liked most of the blues.

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But Ray Collins was never into heavy blues; he was more interested in modern hits.

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They had a duo, Frank Zappa and Ray Collins, and they called themselves the Sin City Boys.

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And what they did was, as a duo, they parodied folk songs, popular folk songs of the time, like Peter Paul and Mary's Puff the Magic Drag and things like that.

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So they actually played concerts.

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As for Frank and Ray, although they had a musical affinity, the real attraction between them both, I think what attracted Ray Collins most to Frank was his sense of humor.

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And Frank just found it very attractive, and I think it was the humor that brought them together more than the music.

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Despite his early success, Zappa sought greater public recognition.

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So he and Ray Collins recorded a song called "How's Your Bird", based on a catchphrase from American television personality Steve Allen.

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The sole purpose of this composition was to break free from anonymity and get an invitation to Allen's show.

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He understands perfectly well that getting on television will make life easier and open up opportunities for touring.

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He's promoted by Elvis on TV, he's promoted by the Beatles on TV.

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Therefore, despite the fact that he has a very low opinion of television, he constantly insults it throughout his career.

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He still realizes that in order to get enough gigs to support the band, he needs that kind of fame.

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And as an illustration of his pragmatism, he turned to the TV channel with his compositions of the third stream.

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I say "third movement" to mean some strange fusion of written music, jazz and improvisational music.

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And they said, look, no one wants to hear this.

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So he reapplied and said, “Listen, I’ll do something different for you—I’ll play a bicycle.”

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How long have you been playing on your bike, Frank?

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About two weeks.

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He probably sold insurance or something like that.

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He said, “What kind of jerky will get me on the Steve Allen show?”

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Playing with a bicycle - what could be more stupid?

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And he did it, and now we most likely know how it happened.

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He came up with something called cyclophone music or something like that, but its main instrument was the bicycle.

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And something like a mouthpiece, similar to a horn, was attached to the handles, and the spokes of the instrument resembled a violin bow.

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And he actually appeared on Steve Allen's national network show and played some sort of bicycle music,

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which was accompanied by a studio orchestra trying to keep up, and various noises on the tape recorder.

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We work like this: when the person who operates the booth feels the desire to add his electronic part to our work,

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He flips a little switch that just lets some of that noise through, and then I ask the musicians, if they feel so moved,

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Make as much noise as possible on your instrument.

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Don't try to abstain from musical tones.

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In fact, they won't have any problems with this order.

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It would be possible for you.

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I'm sorry.

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You can put some objects on the strings of the piano you receive.

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This is good. I'd rather you play it that way.

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All season, Don.

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No, we'll start.

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Are we in?

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It's interesting to watch this clip, mainly from a visual point of view, because Frank is a man with short hair, almost preppy style,

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very similar to the one featured on the back cover of the Ruben in the Jets album.

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In fact, Steve Allen doesn't talk down to him and actually listens to him impartially.

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But soon after that everything collapsed.

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Zappa spent a lot of time at Studio Z, and somehow, through his work with young bands and low-budget films,

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it attracted the attention of the San Bernardino County Sheriff's Department, which became suspicious.

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An undercover officer posing as a bachelor party organizer offered Frank $100 for an audio recording of simulated sex acts.

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Frank, who at that time had very little money, agreed, and after he gave the film, the police raided the studio.

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They ended up confiscating all the equipment, all the recordings, and to this day I don't know if Frank got it all back.

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I don't think he managed to get most of his money back.

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And then he was arrested for conspiracy to produce pornographic materials, as well as sexual perversion.

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The morale police raid had a deep psychological impact on Frank, largely due to the injustice that surrounded him.

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And I think the authorities kind of insisted that he serve some time in prison.

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And it was, you know, it was the height of summer, and he, you know, had business.

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He had sadistic guards and he had to cut his hair very short.

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And I certainly think that this has shaped his attitude towards power ever since.

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And this also influenced his music.

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I think there was a very skeptical, cynical undertone added to his music, and I think that comes through in this particular episode.

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Shortly after Frank was released from prison, he had the opportunity to team up with Ray Collins again.

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He simply joined a cover band, The Soul Giants, which consisted of Roy Estrada on bass, Ray Hunt on guitar, and Jimmy Kyle Black on drums.

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He decided that pop music needed a special product.

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According to him, the drawings were drawn up two years before he founded The Mothers of Invention.

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There is a certain amount of imagination in this, because he would not have been able to continue if he had not met a group of musicians.

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To play music that he thought was really good, and even better, music that he would listen to and with which he could create a band.

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And it was The Soul Giants with Jimmy Kyle Black on drums.

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And around February 1964, in search of... you know, I moved in with my then father-in-law with his wife and three children.

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I went to the West Coast Music Store in Santa Ana, California and put my name on the bulletin board as a drummer looking for work.

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Well, I just did it and Roy Estrada happened to be there and said:

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Hey dude, we're looking for a drummer for our band The Soul Giants.

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We're starting a band called The Soul Giants and I said:

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he said, “Are you ready to audition?”

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I said, "Sure, man, I don't care."

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Of course, I'd like to do an audition to see how the rest of the players are doing.

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So I did that, and naturally I passed the exam.

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So I joined The Soul Giants and we played and played and then we got a gig at the Broadside club in Pomona, California.

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And our singer was drafted into the army.

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It was early 1964, the beginning of the Vietnam War.

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But Ray Collins came and sat with us.

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So, Ray, in my opinion, turned out to be one of the best singers I have ever heard in my entire life.

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Well, we took care of that, we had a singer.

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And something else happened with the guitarist, he and Ray didn't get along, Ray and this vocalist didn't get along at all.

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So one guy left the band and we asked Ray, “Do you know the guitarist?”

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He said, “Yeah, I know this guy, his name is Frank Zappa.”

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He just got out of prison.

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And so we said, “Well, could you call him and ask him if he would like to audition for the band?”

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And so Ray called him and said: “Yes, I will come to audition for the group.”

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So he came and played for us.

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And to be honest, Frank wasn't a good lead guitarist at all at first.

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He was good, one of the best rhythm guitarists I've ever heard in my life.

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But his leading player... he wasn't really a great leading player at that time.

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Anyway, he auditioned and Frank ended up in the group.

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And a month later the saxophonist, his name was David Cornado, left and went back, he was going to return to Texas.

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And he left, and there were only four of us left.

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And that's when Frank called us all together and said, "Listen, if you play my music,

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I will make you rich and famous.

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As for Frank Zappa, when it comes to him joining the group, it seems as if he never joined the group.

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He was never going to be the one to say, “Yeah, I'm a guitar player and I'll do some vocals.”

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This is great.

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I think he would never have been satisfied if he had not become the leader of the group.

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And if you look at his career as a whole, of course, he changed many musicians.

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It's also clear that he didn't really want to save any particular group.

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But before the Mothers of Invention started, he played in bands like the Soul Giants, and again, I think it was just good for the experience.

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He had so many ideas in his head, but it's very different from when you were a teenager and had these avant-garde ideas in your head.

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and hearing the music in your head, taking a step towards translating it into reality is a very big gap.

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And I think when you listen to existing records from bands like Soul Giants, they're not impressive at all,

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except that the accuracy is not very good.

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I think this gives Zappa a lot of practical experience in how I can implement these strange, complex ideas for the time.

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in fact, into music using other players, because it's not like today when,

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In theory, you could record all the parts yourself.

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He had to use other musicians.

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Now that Zappa had established himself as the band's leader and began playing music he had written, the band needed a new name.

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He changed his name.

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We replaced this with power outages.

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We played one gig as Captain Glass Pack and his Magic Mufflers.

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And then we settled on the name "Mothers", which is spelled MUTHERS, Mothers.

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And the name "Mothers" actually came from a term that was used at the time to describe a tough musician who was called a "motherfucker."

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This is where the term “Mothers” comes from.

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And in the end, that's why the invention was attached to it.

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So it was a big deal.

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Now they had become Mothers, and now came the part where they had to go beforehand.

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At this time, Frank was heading to the Hollywood area, as the freak scene was just beginning to blossom there.

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I mean, actually, a place called Cantor's Delly in Hollywood.

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And there were these two guys, a guy named Vito and another guy named Carl Franzoni.

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And they were real freaks.

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This probably doesn't get talked about enough when people try to understand the early history of Zappos.

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They boil it down to Frank Zappos, the genius, the loner.

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But his genius was to find things that were treated even worse.

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And as he makes clear in Free-Cout, the freak explosion was fueled by a few bohemians who presented a different way of life, a different idea of ​​how to live.

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Music

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Maybe Frank came up with this term, or they came up with this term, but it would mean throwing away all the restrictions that education and society placed on a person at this time, letting go of your inhibitions and giving free rein to your emotions.

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Be who you want to be.

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Grow your hair.

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Do what you want to do.

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Act the way you want.

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In fact, they became pagans.

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The freak scene was people who became freaks, but not really freaks, but eccentrics.

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In Vito's hands was a dance troupe of sculptors, nymphomaniacs, pensioners, rock 'n' roll idiots and dancers.

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I was part of this.

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And in 1963 and '64, we'd go to clubs and the girls wouldn't have any underwear on and they'd roll around on the floor and the guys would dance the "summer salt" and do something like that.

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And then the first part of the freaks appeared, the leaders were Carl Fanzoni, Vito, the gypsies and the jugglers from TNA.

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Modern research shows that Vito's ideas, especially the ideas of sexual liberation and communal fun, led to an army of dancers who stormed the show and just danced all over the place.

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In fact, his views stemmed enough from socialist politics that he was able to be on board a ship and participate in a strike organized by the French Communist Party.

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So Vito had this socialist, communist, collectivist idea of ​​behavior that was going to transform society.

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And I think it's fair to say, like, never stop thinking about this idea.

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Zappa's own methods were strictly commercial, private: he made sure that the money was invested, built his house on the hill, raised his family.

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He was not a communist socialist at all.

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But he always retained an interest in what this complete denial of the commercial world, starting with hysteria, could be.

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Before recording and releasing their debut album, the band met a friend of Zappa's old English teacher,

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club owner and businessman Herb Cohen, who became their manager.

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Herb was an outstanding businessman. He didn't just manage. He also had other business projects.

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True, he never really understood what Frank and his mothers were musically, and he was open about it.

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He didn't know how this type of music could make money, but he believed in it enough that Frank had something to stand for.

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He was there to help him. And frankly, without Herb Cohen's help, mothers probably wouldn't have been able to accomplish as much as they did.

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No doubt about it. The mothers, with a new manager, began recording demo tapes.

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Herb sold them some of these demos, he sold them the MGM verb, but they never heard back from him.

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But one of the places they sent it to was CBS or Columbia. At that time it was called Columbia.

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And the head of the department for working with artists and repertoire Clive Davis, very famous for the Columbia CBS recordings, responded to him with a letter saying that the “mothers of invention” had no commercial potential.

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And Frank knew about promotion and advertising, knew how to promote his band, knew that it was a good thing, without commercial potential,

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and this name was used as the name of the group for many subsequent years, his nickname for many subsequent years.

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Despite being rejected by Columbia Records, Zappo and his mothers continued to record demos and perform in new music clubs in Los Angeles at such popular venues as Trip and the Whiskey a Go-Go.

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it was there that their potential was finally revealed.

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Somehow Herb Cohen got mothers that no one really knew about, didn't have a single record out, nothing but a couple weeks of gigs at the Whiskey a Go-Go.

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Sonny and Cher came in one night and John Wayne came in one night very drunk and I think he hit on Frank in the bathroom that night or something weird like that.

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I don't know what happened there, it's in Zappo's book.

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Anyway, one of the songs the mothers sang, a composition Frank wrote that they called "Watts Riot Song", later became "Trouble Every Day".

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There is no way to delay this daily disaster.

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It was about the Watts riots, which happened not so long ago in California.

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And it was a very tough electric blues song, it wasn't typical of the other material that the mothers were doing.

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We were playing there and Tom Wilson came in and listened to us play a song.

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He heard us play Trouble Coming Every Day.

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He said we would sign the band because they thought they were signing a band that could compete with the Rolling Stones.

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That's what they were looking for - they were looking for new Rolling Stones in America.

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At that time, Tom Wilson had already signed contracts with the Animals and the Velvet Underground.

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People will say, I've heard various members of the band say, well, you know, he didn't really have a clue what mothers of innovation music was and was kind of confused or dumbfounded when they started the recording sessions for Freakout.

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But you have to think if he signed with the Velvet Underground, he'd have to experiment a bit with his choice of people.

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Since they were quite far from reality for that time, they also could not be called an average group.

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So I honestly think he probably realized there was more to blues material than just mothers.

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When the mothers went into the studio to record their debut album, the group's work was interrupted by the sudden departure of one of its members.

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A constantly changing cast of mothers became a hallmark of the group over the next four years.

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Everything was going great, from signing the contract to all this crap, until we got into the studio to record something crazy.

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And the first song we recorded was "Who Are the Brain Cops?"

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By the way, it was this song that Frank introduced to the group.

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At that time we were on a trip, rehearsing.

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And they also play at night.

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And when Frank performed that song, that's when Henry said, "That's it, man, that's it for me."

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I'm leaving and going to join a blues band.

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I can't handle this music.

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So we played the game "Who are the Brain Police?"

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And then Tom Wilson called New York and said: we are not signing a contract with a blues group.

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Well, what did we sign?

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I don't know what it is, but it's not a blues band.

277
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The Mothers of Invention released their first album, Free Count, on June 27, 1966.

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Recorded at TTG Studios in Hollywood.

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It was a debut album that arguably changed music and the recording industry forever.

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First of all, it was the first rock double album, with the possible exception of Bob Dylan's Blonde on Blonde.

281
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Even now it seems impossible to establish which of these two albums came first,

282
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but they came out around the same time, in mid-1966.

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This is truly the first recording where you can hear the musicians speaking sarcastically and humorously in the language of the street.

284
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and make fun of rock idioms, but not in the same way a comedian like Stan Freever would,

285
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where he did it in a way that showed his attitude,

286
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This music is all John's teenagers do, they are idiots for listening to it.

287
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actually with great respect and understanding of these idioms.

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So it was kind of a nod to those styles, but also an homage to them,

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which is very difficult to achieve.

290
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I think on a musical level and on a social level, you know, on the level of what was going on at the time,

291
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it was a groundbreaking record.

292
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And for those who were able to mentally understand what he was doing,

293
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yes, it was something fantastic.

294
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And I think that meant more to the musicians than anything else.

295
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Well, we had three days and three nights to record it, and we did it.

296
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We recorded everything, set two records, and no one did anything about it.

297
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We were the first to record a rock and roll album, so to speak - rock and roll.

298
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Frank hired a 17-piece orchestra to record the record,

299
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and this is after they made the records, they spent so much money,

300
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they discovered that they had recorded enough material for a double album,

301
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but to force them to do this and not release it as a separate album,

302
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Frank offered to reduce the royalty rate in order to save the orchestra,

303
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you know, putting an orchestra on a record and releasing it as a double LP for the price of a single record.

304
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And, surprisingly, MGM and Verve agreed to this deal.

305
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Well, I'll get up now and sing while watching TV,

306
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I'll watch the news until I can't see my balls anymore.

307
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I mean I say every day girls don't know what a mess is

308
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and when it changes my friend, there is any kiss.

309
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So I watch and feel weak, hoping for the best.

310
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You don't expect me to walk in the rain every time I hear them sing.

311
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There is no way to make troubles come every day.

312
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Some songs touched on rather controversial topics and had deep social implications.

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The most common example is the song Trouble Every Day, which was loosely inspired by the Watts riots.

314
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But I also think, who are the brain cops? I actually think this song is more innovative because it doesn't comment on a specific incident.

315
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This seems more like a reflection of the paranoia that many young people felt because they were expressing themselves

316
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and be harassed by authorities simply for wearing long hair or acting loose.

317
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Frank Zappa and his mother, although they were a little older than most of the other bands playing in Los Angeles at the time,

318
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they also suffered from this, because they not only had long hair.

319
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They looked very unkempt.

320
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The birds had very long hair, but you wouldn't say, "Oh, you know, they look like they haven't bathed in a long time."

321
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Mothers, whether they did it or not, often had this impression.

322
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It was clear that the mothers looked strange, but it was also believed that they made strange music.

323
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And that's thanks to the avant-garde tracks and influences featured on Free Count, especially at the end of side three and the entirety of side four.

324
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It was a groundbreaking record because there was nothing like it, not even close.

325
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Captain B. Fart released an album, Safe As Milk, I think in '66 or something like that, but again, that album was very bluesy.

326
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and maybe one or two offbeat songs, but nothing like Free Count, okay?

327
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And Free Count contained all the elements. There were Dew-Wap elements, there was a classic element.

328
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In November 1965, Frank's idol Edgard Varèse passed away, and it was reported that Son of the Monster Magnet, or the entire side 4, was a tribute to Edgard Varès.

329
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Susie?

330
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Yes.

331
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Susie's cream cheese?

332
00:36:05,000 --> 00:36:06,000
Yes.

333
00:36:06,000 --> 00:36:11,000
This is the voice of your conscience, baby. I just want to discuss one issue with you. Do you mind?

334
00:36:11,000 --> 00:36:12,000
What?

335
00:36:13,000 --> 00:36:14,000
Susie's cream cheese?

336
00:36:14,000 --> 00:36:15,000
Honey?

337
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Let's go to Antia.

338
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I think some listeners will disagree with me on this, but I never thought that the second half of the third side,

339
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and, of course, Side 4 - Return of the Monster Magnet, shelved along with the rest of Free Count.

340
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I think a lot of its influence came from the shock value of the time.

341
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When you listened to a rock album from that time, even if you heard something like Desolation Row or a little later the Beatles' "Tomorrow Never Knows"

342
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it wasn't nearly as weird as Return of the Son of the Magnet Monster.

343
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I can imagine that even hip teenagers played this track in 1966 and 1967 and laughed at the first three sides,

344
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I can imagine them turning it on and just asking, “What is this?” Or do they turn it off altogether?

345
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And I think a lot of this effect was due to the fact that nothing like this had been heard in any pop or rock recordings.

346
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When the album first came out, I didn't understand it.

347
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We will never be played on the radio, we will not be like the Beatles, with this kind of music.

348
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I didn't understand Free Count until I had an acid trip and listened to Free Count and said, "Oh, okay."

349
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So that's the thing, right?

350
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Despite the non-commercial nature of the album, MGM still tried to select the single for release.

351
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The single taken from the album was actually part of a very long track called Help on the Rock.

352
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which was actually based on an Indian raga, although the video actually sounded like some crazy barbershop quartet.

353
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They gave it that name, it can't happen here.

354
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This can't happen here.

355
00:38:56,000 --> 00:39:05,000
I'm telling you, honey, that can't happen here.

356
00:39:05,000 --> 00:39:09,000
Because I checked it out, baby.

357
00:39:09,000 --> 00:39:12,000
I've checked this a couple of times.

358
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And I'm telling you, this can't happen here.

359
00:39:17,000 --> 00:39:22,000
Oh darling, it's important that you believe me, bop, bop, bop, that this can't happen here.

360
00:39:22,000 --> 00:39:25,000
And it was played on the jury's jukebox.

361
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And by the way, I think one of the jurors found it a mistake.

362
00:39:29,000 --> 00:39:33,000
One of the jurors thought it was the worst record ever made.

363
00:39:33,000 --> 00:39:36,000
And I mean, of course, I mean, I really miss it.

364
00:39:36,000 --> 00:39:39,000
You know, some of you talked about this at school.

365
00:39:39,000 --> 00:39:41,000
And that's exactly what I wanted to hear.

366
00:39:42,000 --> 00:39:47,000
And this somehow attracted me in the first place; I wanted to listen and be nervous.

367
00:39:47,000 --> 00:39:52,000
I must say that, given how he said in an interview, what is his favorite music

368
00:39:52,000 --> 00:39:56,000
and talked about Anton Weber, or Edgar Varese, or Howlin' Wolf,

369
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you listen, lose your temper and think: well, where are they?

370
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It's not very obvious.

371
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What you're hearing is a very sassy RandB style pop band singing some pretty sarcastic lyrics.

372
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And then the so-called composition, which could easily be written off as a bunch of experimental garbage.

373
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This is what this freak sounds like. He wrote on the cover:

374
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if you let them into the studio at midnight, everyone will be banging drums.

375
00:40:26,000 --> 00:40:30,000
Is this really a record that can be compared to smoke?

376
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Fugues were a New York group of writers and poets who did not know how to play their instruments,

377
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screaming and blasphemy.

378
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Fugues are a new group of literary poets who did not really know how to play their instruments.

379
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And then, many other people who were in the studio,

380
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who was in the studio at midnight, who was in the studio at midnight,

381
00:40:53,000 --> 00:40:56,000
who was in the studio at midnight, who was in the studio at midnight.

382
00:40:56,000 --> 00:40:59,000
And then, many other people who were in the studio,

383
00:40:59,000 --> 00:41:02,000
who was in the studio at midnight, who was in the studio at midnight,

384
00:41:02,000 --> 00:41:05,000
who was in the studio at midnight, who was in the studio at midnight,

385
00:41:05,000 --> 00:41:08,000
who was in the studio at midnight, who was in the studio at midnight,

386
00:41:08,000 --> 00:41:14,000
who was in the studio at midnight, who was in the studio at midnight.

387
00:41:14,000 --> 00:41:21,000
Who was in the studio at midnight, who was in the studio at midnight, who was in the studio at midnight.

388
00:41:21,000 --> 00:41:25,000
I think this is really the first impression of the recording of the mother's invention of the house,

389
00:41:25,000 --> 00:41:28,000
that before you get to the heart of the design,

390
00:41:28,000 --> 00:41:31,000
which, if you look into it, is quite interesting,

391
00:41:31,000 --> 00:41:34,000
you will have to deal with all these relationships first.

392
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The album was neither a major critical nor commercial success.

393
00:41:37,000 --> 00:41:40,000
but it brought the group a loyal following

394
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and has been recognized as one of the most important albums in modern music.

395
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The movie got a lot of reviews, but, you know, no matter what the reviews were,

396
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most of them were sarcastic.

397
00:41:53,000 --> 00:42:01,000
This was a symptom of the old Adarsh, you know, old advertising is good advertising.

398
00:42:01,000 --> 00:42:08,000
You know, and again, if you read a review of a record that rips it to shreds,

399
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You want to listen to this record, see for yourself why this particular critic thinks it's so terrible.

400
00:42:16,000 --> 00:42:21,000
I think Frank Gats' influence may be more significant for other musicians.

401
00:42:21,000 --> 00:42:26,000
than on the commercial market for at least a year after release,

402
00:42:26,000 --> 00:42:32,000
because I think that musicians, even if they didn't play music that was so similar to their mothers' music,

403
00:42:32,000 --> 00:42:38,000
immediately jumped on it just as an example of how we could probably do a lot more

404
00:42:38,000 --> 00:42:43,000
than we thought we could do in the studio and achieve more.

405
00:42:43,000 --> 00:42:50,000
If a label like MGM, which isn't particularly hip, isn't Electric Records or Vanguard or Folkways,

406
00:42:50,000 --> 00:42:55,000
allows people to do things like this, then maybe we can do it at Columbia University

407
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or at EMI in the UK.

408
00:42:59,000 --> 00:43:04,000
And this has been reported often, and I think there is some truth to it,

409
00:43:04,000 --> 00:43:07,000
that Sergeant Pepper was to some extent under the influence of a mental disorder,

410
00:43:07,000 --> 00:43:13,000
not that the records were very similar musically, but that the Beatles saw that this was a West Coast band

411
00:43:13,000 --> 00:43:20,000
who put out this very strange double album and thought we could put out a record that was very strange.

412
00:43:20,000 --> 00:43:25,000
by standards, when compared to previous Beatles records,

413
00:43:25,000 --> 00:43:30,000
and we can spend a lot of time in the studio, in fact, much more time than Sepp and the mothers spent,

414
00:43:30,000 --> 00:43:36,000
but we do a lot of orchestration and we have enough influence to do what we want in this regard,

415
00:43:36,000 --> 00:43:38,000
even if EMI is starting to get nervous.

416
00:43:38,000 --> 00:43:41,000
I think the hysteria was definitely a sign of something to come.

417
00:43:41,000 --> 00:43:48,000
In some ways, for example, he just remade that record over and over throughout his life.

418
00:43:48,000 --> 00:43:52,000
If we take as a basis the history of the confrontation between

419
00:43:52,000 --> 00:44:00,000
apparently cheesy pop music and extremely mysterious classical avant-garde music,

420
00:44:00,000 --> 00:44:04,000
then that's exactly what every Frank Zappa record does.

421
00:44:04,000 --> 00:44:08,000
On the other hand, Frank Zappa himself rejected this recording, stating:

422
00:44:08,000 --> 00:44:10,000
Now it looks like just a bunch of demo tapes to me.

423
00:44:10,000 --> 00:44:16,000
From a technical point of view, Frank Zappa's entire life was dedicated to perfection and

424
00:44:16,000 --> 00:44:22,000
delving into what can be done with recording, it always sounded very rough to him.

425
00:44:22,000 --> 00:44:25,000
This was not a record he was proud of.

426
00:44:25,000 --> 00:44:30,000
Following the release of Freak Out, The Mothers went on tour and guitarist Elliot Inver left the band.

427
00:44:30,000 --> 00:44:33,000
and Zappa added second drummer Billy Mundy to the lineup.

428
00:44:33,000 --> 00:44:37,000
In November '66 they hired a new drummer, Billy Mundy,

429
00:44:37,000 --> 00:44:40,000
who originally played drums for the monkeys.

430
00:44:40,000 --> 00:44:42,000
He made many monkey tracks.

431
00:44:42,000 --> 00:44:45,000
I don't believe he received any recognition, his name was not listed on the records,

432
00:44:45,000 --> 00:44:47,000
but that's his claim to fame.

433
00:44:47,000 --> 00:44:52,000
He was hired as a second drummer, a role Jimmy eventually took over.

434
00:44:52,000 --> 00:44:54,000
played the trumpet and Billy just played the drums.

435
00:44:54,000 --> 00:44:58,000
I didn't know what would come of it because, first of all,

436
00:44:58,000 --> 00:45:06,000
I thought Frank made a mistake by doing it that way because, first of all,

437
00:45:06,000 --> 00:45:09,000
Billy and I were too similar as drummers.

438
00:45:10,000 --> 00:45:17,000
And so there was a competition between us.

439
00:45:17,000 --> 00:45:19,000
And I really didn't like it.

440
00:45:19,000 --> 00:45:22,000
I mean, why is there competition between us?

441
00:45:22,000 --> 00:45:25,000
Man, I mean we should be in the same group.

442
00:45:25,000 --> 00:45:29,000
I could never understand it, but that's how Billy was.

443
00:45:29,000 --> 00:45:32,000
And I never had a good relationship with Billy.

444
00:45:32,000 --> 00:45:36,000
Along with Billy Mundy, Zappa also invited keyboardist Don Preston,

445
00:45:36,000 --> 00:45:39,000
whom he met in the Los Angeles music scene many years ago,

446
00:45:39,000 --> 00:45:43,000
and conservatory-trained wind instrument specialist, Bank Gardener.

447
00:45:43,000 --> 00:45:47,000
Gardener recalls that Zappa's audition was not the easiest he had ever attended.

448
00:45:47,000 --> 00:45:50,000
Man, he just kept listening to the music.

449
00:45:50,000 --> 00:45:56,000
I had a soprano, I had a flute, I had a bass clarinet, I had a clarinet,

450
00:45:56,000 --> 00:46:02,000
I had a tenor saxophone, a bassoon, and he took out something and said:

451
00:46:02,000 --> 00:46:04,000
play it.

452
00:46:04,000 --> 00:46:08,000
And then, if I played, he asked: “How fast can you play this?”

453
00:46:08,000 --> 00:46:14,000
And you know, I played something on the piano, some of this,

454
00:46:14,000 --> 00:46:16,000
so it was just endless.

455
00:46:16,000 --> 00:46:23,000
And I think Frank really enjoyed the audition process,

456
00:46:23,000 --> 00:46:27,000
because it could show him where the person was.

457
00:46:27,000 --> 00:46:30,000
Or maybe it's because Frank was something of an autodidact.

458
00:46:30,000 --> 00:46:39,000
The way he recorded music was not normal, you know, not something you would see playing in class.

459
00:46:39,000 --> 00:46:44,000
in music at the conservatory or somewhere else, or even in jazz.

460
00:46:44,000 --> 00:46:48,000
And it's just, you know, one thing after another, you know, I mean,

461
00:46:48,000 --> 00:46:51,000
Frank was a workaholic.

462
00:46:51,000 --> 00:46:56,000
But then again it went on and on and on and on

463
00:46:56,000 --> 00:47:04,000
and then at some point later that day he said, well, do you think you'd like to join us?

464
00:47:04,000 --> 00:47:08,000
That's basically how it all started.

465
00:47:08,000 --> 00:47:13,000
I think if you look at the lineup changes of Mothers over the course of their first few albums,

466
00:47:13,000 --> 00:47:20,000
I think it's true that Frank Zapper probably wanted to expand the tonal colors

467
00:47:20,000 --> 00:47:23,000
or the orchestral possibilities of what he could do.

468
00:47:23,000 --> 00:47:28,000
That was probably the main motivation, but I think there are other factors.

469
00:47:28,000 --> 00:47:34,000
I think it's not easy being in a band led by Frank Zapper.

470
00:47:34,000 --> 00:47:37,000
This was probably true even before mothers were formed,

471
00:47:37,000 --> 00:47:42,000
because he had very specific ideas and was very perfectionist in executing them.

472
00:47:42,000 --> 00:47:45,000
And I think he was difficult to get along with in that regard.

473
00:47:45,000 --> 00:47:52,000
In fact, this was another reason for this kind of player change.

474
00:47:52,000 --> 00:47:57,000
from so many musicians. I think he was very lucky that some of them remained quite faithful to him,

475
00:47:57,000 --> 00:48:02,000
like Jimmy Carl Black and Roy Ostrada, who recorded multiple albums rather than just one or two.

476
00:48:02,000 --> 00:48:08,000
I think it also reflected that Frank Zapper was a very troubled musical personality.

477
00:48:08,000 --> 00:48:12,000
Like many great musicians of that time, he did not want to repeat himself,

478
00:48:12,000 --> 00:48:17,000
but he also had ideas that perhaps could not be realized by the same musicians.

479
00:48:17,000 --> 00:48:20,000
The Beatles were able to adapt and play different things as they progressed.

480
00:48:20,000 --> 00:48:22,000
They, tumbleweeds, could, they, who could.

481
00:48:22,000 --> 00:48:28,000
But with the orchestrations Zapper had in mind, you couldn't ask, say,

482
00:48:28,000 --> 00:48:34,000
a guy who was only in the band for one record or so and probably only played a regular instrument,

483
00:48:34,000 --> 00:48:40,000
Oh, I want you to play now this brass instrument or this thing that sounds like a movie soundtrack.

484
00:48:40,000 --> 00:48:42,000
Perhaps it truly was beyond their capabilities.

485
00:48:42,000 --> 00:48:48,000
So this was not one of the reasons for expanding the line-up, but also the reason for replacing some musicians.

486
00:48:48,000 --> 00:48:53,000
The Mothers of Invention now had seven members and played increasingly complex music.

487
00:48:53,000 --> 00:49:01,000
In November 1966, the band returned to TTG Studios, where they recorded Free-Cout, to begin work on their second album.

488
00:49:01,000 --> 00:49:02,000
Absolutely free.

489
00:49:02,000 --> 00:49:07,000
The album was compiled by Absolutely Free and Mothers of Invention American Pageant.

490
00:49:07,000 --> 00:49:10,000
which were the mainstay of their stage shows at the time.

491
00:49:10,000 --> 00:49:13,000
Recording began at TTG Studios in Hollywood.

492
00:49:13,000 --> 00:49:17,000
Now, due to Free-Cout's poor sales, their budget has been cut.

493
00:49:17,000 --> 00:49:21,000
I think they only got $11,000 out of that budget.

494
00:49:21,000 --> 00:49:28,000
And they only had four six-hour recording sessions in which to make the record.

495
00:49:28,000 --> 00:49:37,000
Yeah, I don't know how long we worked because essentially Dan and I joined shortly after Free-Cout.

496
00:49:38,000 --> 00:49:41,000
But as you know, brown shoes are not suitable.

497
00:49:41,000 --> 00:49:47,000
And, you know, just a lot of things, again, I asked: where did this guy get these things?

498
00:49:47,000 --> 00:49:51,000
There was one song called Call Any Vegetables.

499
00:49:51,000 --> 00:49:55,000
There was a very long solo section.

500
00:49:55,000 --> 00:50:01,000
The first take, you know, it just went on and on and I had a really long solo there.

501
00:50:01,000 --> 00:50:05,000
And I thought, “Yeah, I played really well.”

502
00:50:05,000 --> 00:50:08,000
I hope you understand, we don't have to go to another take.

503
00:50:08,000 --> 00:50:11,000
Either way, obviously we did it.

504
00:50:11,000 --> 00:50:15,000
And he finally did the second take.

505
00:50:15,000 --> 00:50:22,000
But, you know what, there were so many weirdos and people in the studio that, you know,

506
00:50:22,000 --> 00:50:30,000
It always amazed me how something could be done, because when we played in Los Angeles,

507
00:50:30,000 --> 00:50:35,000
there was a dance troupe, and all these weirdos and freaks came to the concerts all the time

508
00:50:35,000 --> 00:50:41,000
and it was a whole retinue of many, many, many people.

509
00:50:51,000 --> 00:50:55,000
The album Absolutely Free was released on May 26, 1967.

510
00:50:55,000 --> 00:51:00,000
Apple used new technologies and sounds in the albums that were not used in Free Cat.

511
00:51:02,000 --> 00:51:05,000
Interesting things that Frank used absolutely free.

512
00:51:05,000 --> 00:51:09,000
One of them was called Spreckesang, which means song-speech.

513
00:51:09,000 --> 00:51:14,000
And Brown's song "Hues Don't Make It" is one of those songs where they use string instruments.

514
00:51:14,000 --> 00:51:15,000
and horns.

515
00:51:15,000 --> 00:51:18,000
In fact, Don Ellis, the trumpet player, got it right.

516
00:51:18,000 --> 00:51:22,000
And John Balkan, a string player who later played in Lumpy Gravy.

517
00:51:22,000 --> 00:51:25,000
and later did something with Bunk Gardener.

518
00:51:25,000 --> 00:51:30,000
There are sections in Brown's book Hues Don't Make It where you will say,

519
00:51:30,000 --> 00:51:35,000
It will have a sort of tone, but you will speak in the rhythm of the piece.

520
00:51:35,000 --> 00:51:38,000
This will be a spoken part with a rhythm, not a song.

521
00:51:38,000 --> 00:51:45,000
Like TV, dinner, swimming pool, I'm so glad I finished school.

522
00:51:45,000 --> 00:51:51,000
Jimmy Carr Black voices his part, but does it in a melodic and rhythmic manner.

523
00:51:51,000 --> 00:51:54,000
And this is one of the first cases when this was recorded.

524
00:51:54,000 --> 00:51:56,000
Frank is one of the first to use this method.

525
00:52:22,000 --> 00:52:29,000
When we recorded "Brown's Shoes," I think that song stuck with me more than any other song.

526
00:52:29,000 --> 00:52:33,000
because it was probably the most difficult song on the album,

527
00:52:33,000 --> 00:52:38,000
but we had to record the song in eight-bar segments,

528
00:52:38,000 --> 00:52:43,000
mainly because the bassist and drummer couldn't read music at all,

529
00:52:43,000 --> 00:52:49,000
and I wasn't a big sight-reader, we had to learn that eight bars,

530
00:52:49,000 --> 00:52:53,000
and then Zappa recorded it about 20 times.

531
00:52:53,000 --> 00:52:58,000
Then we would learn the next eight bars, and then Zappa would record them 20 times.

532
00:52:58,000 --> 00:53:02,000
So this is a long song.

533
00:53:02,000 --> 00:53:07,000
I can't even imagine how much tape he used to record this one song.

534
00:53:07,000 --> 00:53:13,000
The latest article on Absolutely Free is called “America Drinks and Goes Home.”

535
00:53:13,000 --> 00:53:18,000
and it's kind of a parody of the club scene of that time with bar bands,

536
00:53:18,000 --> 00:53:23,000
doing some sort of dirty bar stuff and interacting with the audience,

537
00:53:23,000 --> 00:53:26,000
and it's kind of, you know, very similar to a lizard that likes to sit in an idle environment.

538
00:53:26,000 --> 00:53:31,000
And Ray Collins, again, his humor comes through in the improvised rap at the end,

539
00:53:31,000 --> 00:53:34,000
where he talks to the audience and it's very comical,

540
00:53:34,000 --> 00:53:37,000
and he did it in concert too, stretching it out a bit.

541
00:53:37,000 --> 00:53:43,000
But what made this work unique was that the recording session,

542
00:53:43,000 --> 00:53:45,000
they made it sound like they were in a real bar,

543
00:53:45,000 --> 00:53:48,000
and Herb Cohen played the cash register, you know

544
00:53:48,000 --> 00:53:51,000
and at the end they had a funny fight,

545
00:53:51,000 --> 00:53:55,000
and one of the spectators was Terry Gillum,

546
00:53:55,000 --> 00:53:58,000
who later became one of the members of Monty Python.

547
00:53:58,000 --> 00:54:03,000
In this book, Zappa writes a whole chain of references to all the music that he doesn't like.

548
00:54:03,000 --> 00:54:05,000
There was a lot of lounge music there.

549
00:54:05,000 --> 00:54:08,000
The last song is “America drinks and goes home”

550
00:54:08,000 --> 00:54:14,000
and this is a song about alcoholism and lounge culture,

551
00:54:14,000 --> 00:54:19,000
Zappa was very distrustful of parents who put their children to bed and then got drunk.

552
00:54:19,000 --> 00:54:25,000
He believed that this deprived children of the best part of their parents' lives.

553
00:54:25,000 --> 00:54:29,000
They went to work all day, then put the children to bed and got drunk alone.

554
00:54:29,000 --> 00:54:34,000
And for him it was part of how America was inoculating itself against the problems

555
00:54:34,000 --> 00:54:37,000
vaccinates himself against communication.

556
00:54:37,000 --> 00:54:43,000
So “America Drinks and Goes Home” is a song about the culture of just drinking in new ways.

557
00:54:43,000 --> 00:54:49,000
Just drinking to a new tune, listening to some mortal and singer cover a song in the style of Frank Sinatra.

558
00:54:49,000 --> 00:55:13,000
I don’t know how popular the phrase “absolutely free” is today.

559
00:55:13,000 --> 00:55:20,000
I know that when I bought it in the early 70's I almost took it back to the store,

560
00:55:20,000 --> 00:55:24,000
because it was not a recording, but the screams of a crowd of people.

561
00:55:24,000 --> 00:55:32,000
It has an extraordinary range of different voices, many of which sing in falsetto, silly and shrill,

562
00:55:32,000 --> 00:55:36,000
laying down what are in fact very elaborate compositions,

563
00:55:36,000 --> 00:55:39,000
but to understand this, you need to spend quite a lot of time.

564
00:55:39,000 --> 00:55:43,000
Did I already say, are the mothers of inventions bandits?

565
00:55:43,000 --> 00:55:47,000
Well, the fact is that they are not bandits, but at first glance it may seem that they are bandits.

566
00:55:47,000 --> 00:55:50,000
And “absolutely free” is a difficult record to listen to.

567
00:55:50,000 --> 00:55:56,000
Why do you think I have to put up with these people who yell and scream and joke?

568
00:55:56,000 --> 00:55:59,000
One of the objections many people have to Zappa is this:

569
00:55:59,000 --> 00:56:02,000
I don't want all these guys to make fun of me.

570
00:56:02,000 --> 00:56:06,000
And you get a lot of this absolutely free.

571
00:56:06,000 --> 00:56:12,000
It's those extreme vocals that color it all.

572
00:56:12,000 --> 00:56:16,000
But if you persevere, you will find that Zappa wrote two delights,

573
00:56:16,000 --> 00:56:19,000
again very focused on the vinyl format.

574
00:56:19,000 --> 00:56:24,000
There are two of them, about 22 minutes, sweet, one side and the other.

575
00:56:24,000 --> 00:56:28,000
This has obviously been changed on the CD as they come together.

576
00:56:28,000 --> 00:56:33,000
And Riker Disc decided to release a single there, two little pop songs,

577
00:56:33,000 --> 00:56:36,000
which turned out to be one big vole, and why don't you make me properly?

578
00:56:36,000 --> 00:56:40,000
In between, it's good formatting because it really makes a difference.

579
00:56:40,000 --> 00:56:44,000
So you feel like you're listening to a 20 minute tune and then you hear pop songs,

580
00:56:44,000 --> 00:56:46,000
and then you get 20 minutes of sweetness.

581
00:56:46,000 --> 00:56:51,000
Also, special attention was paid to instrumental skill.

582
00:56:51,000 --> 00:56:55,000
I think about the spell and Richard Dantz, the young pumpkin

583
00:56:55,000 --> 00:57:01,000
which I think is very reminiscent of jazz flautist Roland Kirk.

584
00:57:01,000 --> 00:57:05,000
But in the context of rock.

585
00:57:05,000 --> 00:57:11,000
And many more quotes from classical music, especially from Hals.

586
00:57:11,000 --> 00:57:20,000
And, uh, status back, baby, the instrumental ends with a Stravinsky quote.

587
00:57:20,000 --> 00:57:23,000
I think it's a soldier's tale.

588
00:57:23,000 --> 00:57:28,000
I think it was a much more erudite album.

589
00:57:28,000 --> 00:57:35,000
And I think that, you know, there was less focus on specific songs.

590
00:57:35,000 --> 00:57:38,000
than sound at any given time.

591
00:57:38,000 --> 00:57:44,000
I think "absolutely free" had better commercial reception than "Freak out".

592
00:57:44,000 --> 00:57:50,000
For several reasons, one of which was that the people who somehow caught Frank Zappa

593
00:57:50,000 --> 00:57:54,000
through live performance or hysteria became very devoted fans

594
00:57:54,000 --> 00:57:57,000
and very quickly spread this information to other people.

595
00:57:57,000 --> 00:58:04,000
But I also think that society in general, and the way rock music was marketed,

596
00:58:04,000 --> 00:58:09,000
was catching up with bands like Frank Zappa, and as much as Frank Zappa hated to admit it,

597
00:58:09,000 --> 00:58:13,000
Velvet Underground and other underground bands.

598
00:58:13,000 --> 00:58:16,000
In early 1967, the mothers moved to New York.

599
00:58:16,000 --> 00:58:19,000
to follow the rise of the freak scene on the East Coast.

600
00:58:19,000 --> 00:58:23,000
Heading to Greenwich Village, manager Herb Cohen managed to apprehend the mothers

601
00:58:23,000 --> 00:58:25,000
played several evenings at the Garrick Theater,

602
00:58:25,000 --> 00:58:28,000
which eventually turned into a six-month residency.

603
00:58:28,000 --> 00:58:36,000
The Garrick shows really cemented the band's reputation as the craziest band in the world.

604
00:58:36,000 --> 00:58:42,000
It cemented their fame more than any other album,

605
00:58:42,000 --> 00:58:46,000
as many people came to see him, Jimi Hendrix joined him one evening.

606
00:58:46,000 --> 00:58:48,000
Fortunately, there are no records.

607
00:58:48,000 --> 00:58:53,000
Frank actually filmed these shows, and in the movie he eventually released, Uncle Meat,

608
00:58:53,000 --> 00:58:59,000
there was footage where you see him and Ray on stage singing, and that's from Garrick's concerts.

609
00:58:59,000 --> 00:59:03,000
We played six nights a week, two shows, three shows a night.

610
00:59:03,000 --> 00:59:06,000
On weekends there were three performances per evening.

611
00:59:06,000 --> 00:59:12,000
Empty the house, refill it, play, empty the house, refill it, play three shows.

612
00:59:12,000 --> 00:59:15,000
Phew, a lot of work, man.

613
00:59:15,000 --> 00:59:19,000
But I'll tell you straight: I played in the best band in the world.

614
00:59:19,000 --> 00:59:23,000
Musically, they are the best band in the world.

615
00:59:23,000 --> 00:59:33,000
Of course, this is the most rehearsed band in the world, because at the Garrick Theater, after we finished the show,

616
00:59:33,000 --> 00:59:42,000
At 11 o'clock in the morning we were at the Garrick Theater and rehearsed for three hours, three and a half hours.

617
00:59:42,000 --> 00:59:46,000
Then we went home, had dinner and started all over again.

618
00:59:46,000 --> 00:59:51,000
You give Frank a pack of cigarettes and black coffee.

619
00:59:51,000 --> 00:59:57,000
That is, it was six, eight, ten, twelve hours - nothing.

620
00:59:57,000 --> 01:00:06,000
Everything I learned one day was different the next day because I always... you know, he would sit down and start playing something,

621
01:00:06,000 --> 01:00:13,000
and then he would say, “Play this line,” and then I would have to write it down and try to remember it.

622
01:00:13,000 --> 01:00:18,000
And the next day, you know, he changed and gave that voice to someone else.

623
01:00:18,000 --> 01:00:25,000
So the rehearsal schedule was long, to say the least.

624
01:00:25,000 --> 01:00:29,000
And it felt like complete dedication.

625
01:00:29,000 --> 01:00:37,000
Also, after rehearsal, coming home and trying to remember what I just learned,

626
01:00:37,000 --> 01:00:42,000
because there will be no music on stage.

627
01:00:42,000 --> 01:00:45,000
Before you die.

628
01:00:45,000 --> 01:00:51,000
Name any vegetable, any card by name.

629
01:00:51,000 --> 01:00:55,000
Call any vegetable, call today.

630
01:00:55,000 --> 01:00:58,000
Call when you get off the train.

631
01:00:58,000 --> 01:01:02,000
Name any vegetable, name any vegetable.

632
01:01:02,000 --> 01:01:06,000
And the chances of this are good.

633
01:01:06,000 --> 01:01:11,000
All vegetables will answer you.

634
01:01:11,000 --> 01:01:18,000
They had so many concerts and so much material that it was then that the group became truly theatrical.

635
01:01:18,000 --> 01:01:22,000
Okay, and this is really one of the first theatrical rock bands.

636
01:01:22,000 --> 01:01:28,000
And it really started with Ray, because as you have to remember, compositions are becoming more complex now.

637
01:01:28,000 --> 01:01:36,000
and they do a lot of improvisational sections and parts where they branch out, like Uncle King Kong.

638
01:01:36,000 --> 01:01:41,000
This was one of their main performances and could last up to 30–40 minutes.

639
01:01:41,000 --> 01:01:43,000
And everyone had solo performances.

640
01:01:43,000 --> 01:01:44,000
What will Ray do now?

641
01:01:44,000 --> 01:01:47,000
He stands there, he will sit there and beat the tambourine all the time.

642
01:01:47,000 --> 01:01:51,000
So, Ray began to study theater arts.

643
01:01:51,000 --> 01:01:54,000
Again, he's very funny.

644
01:01:54,000 --> 01:02:02,000
Again, he could compare himself to Jonathan Winters, who appeared in different characters and improvised.

645
01:02:02,000 --> 01:02:07,000
And Ray would start acting like he was having sex with a piano seat.

646
01:02:07,000 --> 01:02:15,000
He had a frog puppet that he used to sit and massage the microphone stand and do weird puppet shows.

647
01:02:15,000 --> 01:02:26,000
Jimmy and Motörhead noticed that dogs, you know, when they come to you, they sit on your leg and stuff.

648
01:02:26,000 --> 01:02:31,000
And they thought: “Why only dogs? Why don't people do the same?

649
01:02:31,000 --> 01:02:36,000
And so they started fucking each other, you know, and it was all in a playful way.

650
01:02:36,000 --> 01:02:41,000
I mean, I wondered why people didn't think it was gay, but it's not.

651
01:02:41,000 --> 01:02:44,000
It was just some kind of game thing.

652
01:02:44,000 --> 01:02:50,000
And then Bunk showed up and said, “Hey, man, I know something better than fucking, you know.”

653
01:02:50,000 --> 01:02:53,000
I'll show you this position that I developed.

654
01:02:53,000 --> 01:03:06,000
You take the belt, fasten it and throw it over your shoulder, and then put the girl’s leg through the hoop of the belt.

655
01:03:06,000 --> 01:03:10,000
And so they started doing it on stage.

656
01:03:10,000 --> 01:03:38,000
It just became almost a theater of the absurd where we, because it was a theater, had a rope, a wire running from the projection booth to the stage where the animals would come down and anyone who was in the first three or four rows would be abused by spraying water on them.

657
01:03:38,000 --> 01:03:44,000
with shaving foam or something else.

658
01:03:44,000 --> 01:03:56,000
And, you know, we went out into the hall and invited people on stage, and every night there were no locked doors.

659
01:03:56,000 --> 01:03:59,000
You never know what will happen.

660
01:03:59,000 --> 01:04:05,000
And I think that's largely why we liked that so many people came to hear our band.

661
01:04:05,000 --> 01:04:13,000
Later I met a lot of people who said, “I saw you with Gary, you guys were like, well, you know.”

662
01:04:13,000 --> 01:04:27,000
After the Garyk Show cemented Mother's status as the most eccentric and theatrical band around, they left New York to tour Europe, during which they played their first show in the United Kingdom at none other than the Royal Albert Hall.

663
01:04:27,000 --> 01:04:39,000
I still have a Schlingen six-many ticket stub from my mother's first UK concert of her works at the Royal Albert Hall.

664
01:04:39,000 --> 01:04:48,000
It was the first really big rock concert I'd ever attended, and it certainly made an impression on me.

665
01:04:48,000 --> 01:05:04,000
Not so much as a musician, but as someone who entertains security guards, I couldn't approach the performance that way because it seemed to break every rule I'd seen on TV about how, you know, pop stars should behave.

666
01:05:04,000 --> 01:05:17,000
That is, it all started with Frank Zappa coming out alone and doing something like a preliminary part, reciting the words from the song America drink and go home, and then the mothers came out and did the same.

667
01:05:17,000 --> 01:05:22,000
Oh, he was a wonderful man in England.

668
01:05:22,000 --> 01:05:34,000
It was the first time, man, you know, and no one really knew who the mothers of invention were, but here we are playing the Royal Albert Hall, and we sold out.

669
01:05:34,000 --> 01:05:38,000
Why the hell did we do this?

670
01:05:38,000 --> 01:05:58,000
I think it was a very finely balanced approach between sort of perfectionism in a studio setting and actually creating something out of completely random things.

671
01:05:58,000 --> 01:06:07,000
Summer is here, kids, and it's time to travel this world as soon as possible.

672
01:06:07,000 --> 01:06:19,000
While mothers of inventors were making a name for themselves throughout Europe, the hippie movement, which began in San Francisco, was spreading throughout the world, even infiltrating the work of British groups such as the Beatles and the Rolling Stones.

673
01:06:20,000 --> 01:06:23,000
Zappa and Mother's next album was a response to this phenomenon.

674
01:06:23,000 --> 01:06:36,000
Work on We're Only in it for the Money began at Mayfair Studios in New York, but soon moved to Apostolic Studios, where Frank was able to use their new 12-track recorder to enhance his work with overdubs and editing.

675
01:06:36,000 --> 01:06:48,000
The record was to feature another new lineup of the band, with Zappa serving as lead vocalist due to the departure of Ray Collins, Ian Underwood on keyboards, and Motorhead Sherwood on saxophone.

676
01:06:48,000 --> 01:06:51,000
The album was released in January 1968.

677
01:06:51,000 --> 01:07:07,000
When Frank Zappa conceived We're Only in it for the Money, I think he wanted to make a parody not only of Sarge and Pepper specifically (though, of course, elements of this can be seen in the cover and in the music), but also of hippie culture in general.

678
01:07:08,000 --> 01:07:21,000
And I think the genius of this record is that even though it's a little disgusting and vicious, and in some respects it has parity, intentionally or not, he understood the musical forms that he was repeating.

679
01:07:21,000 --> 01:07:26,000
This is not a parody of the Beatles' song Sarge and Pepper, which was, of course, an incredible record.

680
01:07:26,000 --> 01:07:30,000
Every hippie probably had one or lived with someone who did.

681
01:07:31,000 --> 01:07:40,000
There's no better imitation of the 1967 San Francisco rock scene musically, with its bittersweet melodies and captivating background harmonies.

682
01:07:40,000 --> 01:07:50,000
But again, the form is very accurate in some respects, but these bands would never sing lyrics like that.

683
01:07:51,000 --> 01:07:55,000
Well, Zappa was free to do his thing, and for money, didn't he let you know that?

684
01:07:55,000 --> 01:08:07,000
The record begins with a stoned conversation about the vision of God, which in every hippie squat and student apartment was immediately interpreted as a reference to drugs.

685
01:08:07,000 --> 01:08:19,000
Zappa always took an anti-drug stance, but he always gave people something to laugh about and something to pay attention to.

686
01:08:20,000 --> 01:08:30,000
So the song starts with the words “I see God, I see God,” and Eric Clapton says those words, which is quite funny considering his own godly status.

687
01:08:30,000 --> 01:08:38,000
So it starts with a chaos of electronic signals, black voices and people talking before you get to the music itself.

688
01:08:38,000 --> 01:09:08,000
I see God, I...

689
01:09:08,000 --> 01:09:18,000
in the world, the world, the world, the world, the world, the world, the world, the world, the world, the world, the world, the world, life, life, life, life, life, love, life, love, life, love, love, love men, life in faith and faith, love, life in faith and trust.

690
01:09:22,000 --> 01:09:25,000
I'm not sure if all the hippies who listen to it get it, but I think some of them do

691
01:09:25,000 --> 01:09:29,000
record and it's like, hey, he's one of us, I think that despite all the empty words that were

692
01:09:29,000 --> 01:09:33,000
paid for this record, like, he completely destroyed Flower Power, which is in Flower skforeign

693
01:09:33,000 --> 01:09:39,000
Of course yes. I think he's missing the fact that many of the people who bought these records were hippies, which he

694
01:09:39,000 --> 01:09:44,000
And when they played the tape, they said, “The manager is making fun of this and...”

695
01:09:44,000 --> 01:09:49,000
they wouldn't start crying, like, oh, you know, I thought he was a hippie, like Gus, and he was a mean person.

696
01:10:03,000 --> 01:10:11,000
I'll come on board and join us as a Dalek.

697
01:10:13,000 --> 01:10:17,000
Hey Pong, where are you going with that shirt button?

698
01:10:19,000 --> 01:10:23,000
Hey Pong, where are you going with that shirt button?

699
01:10:25,000 --> 01:10:29,000
I'm going to the garden where I can sit and play pongo in the dirt.

700
01:10:29,000 --> 01:10:43,000
The manager was reacting to specific events in San Francisco, and he felt that there was something very

701
01:10:43,000 --> 01:10:51,000
very different from what was happening in Los Angeles, where there was free sexuality, free talk about

702
01:10:51,000 --> 01:10:56,000
According to him, sex and not very frequent drug use. He said it wasn't about drugs. It was about

703
01:10:56,000 --> 01:11:07,000
dancing, music, talking and clashes with the police, but not because of drugs. And his answer

704
01:11:07,000 --> 01:11:15,000
in San Francisco the explosion was due to the fact that I was a fan of music and zappers, I guess

705
01:11:15,000 --> 01:11:20,000
It is quite predictable that I will agree with him. But this was one of my first experiences of verifying that Frank...

706
01:11:20,000 --> 01:11:26,000
spoke, and he said, when he listened to the great bands that were being sold to him from San Francisco,

707
01:11:26,000 --> 01:11:34,000
Jefferson Airplane and the Grateful Dead—he thought those bands were terrible and not even as cool as my little band from high school.

708
01:11:34,000 --> 01:11:46,000
And I think it's true that San Francisco music had very little to do with the power of black RandB that Zapper and Captain B Fart experienced.

709
01:11:46,000 --> 01:11:58,000
what they heard on the radio tended towards something much more concentrated, ringing and lacking rhythmic movement

710
01:11:58,000 --> 01:12:05,000
and the feeling of almost dread that you can get from a really heavy RandB. There's something very light about it.

711
01:12:16,000 --> 01:12:24,000
What do you want someone to love? Don't you think someone should love?

712
01:12:24,000 --> 01:12:31,000
Do you love someone who can be loved? Maybe it's better to find someone to love?

713
01:12:31,000 --> 01:12:44,000
The response from music lovers, which often comes from social judgment, is that the whole scene is a scam.

714
01:12:44,000 --> 01:12:52,000
It's a scene where people are famous and people become famous, but musically it doesn't mean anything,

715
01:12:52,000 --> 01:12:56,000
Politically this gives nothing. Everything is going to a dead end.

716
01:12:56,000 --> 01:13:08,000
Despite its attacks on the philosophy and music of the San Francisco hippie scene, the album was destined to become the most commercially successful Mothers of Innovations album to date, and even received a positive response from the very people it was aimed at.

717
01:13:08,000 --> 01:13:17,000
I think they laughed with her. Perhaps Zapper underestimated the hippies' sense of humor and their ability to make fun of themselves, because the album turned out to be quite successful.

718
01:13:17,000 --> 01:13:23,000
The song peaked at number 30 on the charts without being anything like a hit single and probably didn't get much airplay.

719
01:13:23,000 --> 01:13:28,000
So I think the audience was perhaps broader than Zapper realized.

720
01:13:28,000 --> 01:13:34,000
One of the unique compositions on the album We're Only in it for the Money was the chrome megaphone Destiny.

721
01:13:34,000 --> 01:13:45,000
This is a modern classic, heavily influenced by Edgar Verres, Stockhaus and Charles Ives, film manipulation, laughing, grunting, coughing.

722
01:13:45,000 --> 01:13:53,000
Many of the compositional techniques he would use later were used in this piece.

723
01:13:53,000 --> 01:14:00,000
It was a much more advanced piece than Return of the Son of the Magnet Monster because it was much more structured.

724
01:14:46,000 --> 01:14:55,000
As with Freakout, I'd say that the avant-garde part of the record isn't the most valuable part of it, or at least not what I value it most for.

725
01:14:55,000 --> 01:15:04,000
I think he at least saves it for the end, like in Freakout, but it demonstrates that I can be very, very far from reality.

726
01:15:04,000 --> 01:15:08,000
I may be a lot further off the mark than I was on the rest of this very strange album.

727
01:15:08,000 --> 01:15:13,000
This part of the record never really interested me, but it's a fairly small part of the record so it doesn't mean much to me.

728
01:15:13,000 --> 01:15:21,000
To complement We're Only In It For The Money's parody of the hippie scene, Zappa needed a cover that was both eye-catching and memorable.

729
01:15:21,000 --> 01:15:27,000
Frank Zappa always wanted a cover that everyone would talk about, but he didn't have one yet.

730
01:15:27,000 --> 01:15:38,000
That's exactly what he achieved with We're Only In It For The Money, where he met Cal Schenkel, who became his great graphic designer and production designer.

731
01:15:38,000 --> 01:15:47,000
He met with Cal Schenkel, who organized a photo shoot that was supposed to be a parody of the cover of The Beatles' Sergeant Pepper album.

732
01:15:47,000 --> 01:16:00,000
They were in New York and found a printer that was printing Sgt. Pepper in the States so they could get the colors absolutely right and so on.

733
01:16:01,000 --> 01:16:16,000
Originally, all the mothers were dressed as women, very nice dresses by the way, and Calvin had vegetables and stuff written into the mothers, just like Sergeant Pepper, but more like a twisted version.

734
01:16:17,000 --> 01:16:32,000
The people in the background looked like Bella Lagosi and the guy who shot Kennedy and just about every worst type of person there could be.

735
01:16:33,000 --> 01:16:49,000
If you look at this photo, you'll notice that most of us were pretty high, or we looked high because we were high from having to wear those stupid dresses on the cover of this album in the first place, man.

736
01:16:49,000 --> 01:16:52,000
To do this I had to be high.

737
01:16:53,000 --> 01:17:01,000
Apparently, when Capital Records found out they were going to release it, they emphatically said no.

738
01:17:01,000 --> 01:17:07,000
There was a moment when Zappa asked Paul McCartney: "Look, this is just a parody of your album, what's the problem?"

739
01:17:07,000 --> 01:17:14,000
McCartney said it seemed like a business issue and needed to be discussed with managers and business people.

740
01:17:14,000 --> 01:17:19,000
And, Frank, we are artists, and we have to be able to do this among ourselves.

741
01:17:19,000 --> 01:17:24,000
And I think at that moment Frank developed certain feelings towards the Beatles.

742
01:17:24,000 --> 01:17:27,000
When he was dealing with the Beatles, he never had a good relationship with them.

743
01:17:27,000 --> 01:17:39,000
I mean, there was always something that was going on, especially with the Sergeant Pepper cover, that he felt like if McCartney had said it was okay to release it as is, I'm sure Capital Records would have done whatever Paul McCartney said.

744
01:17:39,000 --> 01:17:44,000
But instead he just said, "Look, it looks like McCartney didn't want this to come out either."

745
01:17:45,000 --> 01:17:48,000
I don't know, maybe he didn't like that Zappa was parodying The Beatles.

746
01:17:48,000 --> 01:17:53,000
Not sure. But I know the Beatles were big Zappa fans at the time.

747
01:17:53,000 --> 01:17:54,000
No questions asked.

748
01:17:54,000 --> 01:17:59,000
A compromise was reached: the Sgt. Pepper parody cover was moved to the inside of the album cover.

749
01:17:59,000 --> 01:18:04,000
Although the image of the group in women's clothing was still bright and shocking enough to attract people's attention.

750
01:18:04,000 --> 01:18:10,000
Like Sergeant Pepper, you know, these were the days when album covers were 12 by 12 inches.

751
01:18:10,000 --> 01:18:14,000
And when the recording played back, it wasn't as if you were watching a computer doing something else.

752
01:18:14,000 --> 01:18:16,000
You actually sat and listened to the record.

753
01:18:16,000 --> 01:18:19,000
Many people have studied these sleeves very carefully.

754
01:18:19,000 --> 01:18:23,000
I liked Sergeant Pepper best because there were lyrics at the end of the song.

755
01:18:23,000 --> 01:18:39,000
And again, intentionally or not, it was a record that you could look at multiple times while playing and be entertained because on the cover the mothers were dressed in such outrageous costumes because it was a full house, which was still a rarity for rock records at the time.

756
01:18:40,000 --> 01:18:46,000
Both this recording and the recordings of other mothers of the time had a very distinct visual sensibility.

757
01:18:46,000 --> 01:18:56,000
It was like looking at the pages of a comic book, rather than regular record covers, which usually offer images of artists in pensive poses or a specific image.

758
01:18:56,000 --> 01:19:01,000
He represented a certain image, but it was almost an anti-image.

759
01:19:01,000 --> 01:19:08,000
It's like record companies don't want you to know what they say about artists, and mothers kind of brought it to the forefront, which was really cool.

760
01:19:08,000 --> 01:19:14,000
Following the album's release, the band went on tour again, bringing it to the forefront on stage.

761
01:19:14,000 --> 01:19:26,000
Now their reputation as an extensively touring live performer combining comedy, musical stagecraft and deft technical performances had preceded them, and they were attracting large audiences throughout the United States and Europe.

762
01:19:27,000 --> 01:19:30,000
How are you going to get laid if you don't play rock and roll with good beer?

763
01:19:30,000 --> 01:19:34,000
You give your all at a concert and play such cool rock and roll.

764
01:19:34,000 --> 01:19:36,000
You will never have sex with such a woman anywhere else.

765
01:19:36,000 --> 01:19:40,000
I'll tell you what I'm going to do. I'm going to play this game on the glove.

766
01:19:40,000 --> 01:19:46,000
I'm going to play this game equally.

767
01:19:46,000 --> 01:19:51,000
I'll drag you to the car for your own good.

768
01:19:51,000 --> 01:19:55,000
If you're in London, you won't get any girls unless you look like a pop star.

769
01:19:55,000 --> 01:19:57,000
Please, let's go.

770
01:19:58,000 --> 01:20:00,000
Jacket MOS.

771
01:20:05,000 --> 01:20:07,000
Really soft neckerchief.

772
01:20:09,000 --> 01:20:12,000
Jimi Hendrix wig.

773
01:20:13,000 --> 01:20:15,000
Convenient, handy, handy.

774
01:20:16,000 --> 01:20:18,000
Aaaaah!

775
01:20:19,000 --> 01:20:23,000
Jimmy said the phrase and excited the audience so much that the young ladies...

776
01:20:26,000 --> 01:20:29,000
And you really like it. You get something for robots.

777
01:20:30,000 --> 01:20:35,000
I remember they put a wig on me and a Jimi Hendrix jacket and everything.

778
01:20:35,000 --> 01:20:42,000
I ran out into the hall and started trying to get into one of the Usher Ritz restaurants.

779
01:20:43,000 --> 01:20:47,000
She told me that I was the most disgusting creature she had ever seen in her life.

780
01:20:48,000 --> 01:20:52,000
You are the most disgusting creature I have ever seen in my life.

781
01:20:53,000 --> 01:20:57,000
Thanks a lot. Do you want to have sex right now?

782
01:20:58,000 --> 01:21:00,000
I don't think I fit into the mother category.

783
01:21:00,000 --> 01:21:01,000
They build their lives.

784
01:21:01,000 --> 01:21:03,000
They walk together. Is this really good?

785
01:21:05,000 --> 01:21:08,000
I think I hold the group back because I'm Mexican.

786
01:21:09,000 --> 01:21:11,000
And I don't think I can play bass well.

787
01:21:11,000 --> 01:21:13,000
I don't care how you play bass, but we have no idea.

788
01:21:13,000 --> 01:21:15,000
I want to fall into you.

789
01:21:15,000 --> 01:21:16,000
No, actually I'm fine.

790
01:21:16,000 --> 01:21:19,000
I can sing opera. I really gave up on this. I cut my hair.

791
01:21:19,000 --> 01:21:21,000
I collected all my things here.

792
01:21:22,000 --> 01:21:23,000
I can do this.

793
01:21:23,000 --> 01:21:24,000
I don't care how you move.

794
01:21:24,000 --> 01:21:25,000
I can sing.

795
01:21:25,000 --> 01:21:27,000
Please, please.

796
01:21:27,000 --> 01:21:28,000
Give me this chance.

797
01:21:28,000 --> 01:21:29,000
I don't believe you can sing.

798
01:21:29,000 --> 01:21:30,000
Please!

799
01:21:31,000 --> 01:21:32,000
Please!

800
01:21:32,000 --> 01:21:33,000
Please!

801
01:21:33,000 --> 01:21:34,000
Please!

802
01:21:34,000 --> 01:21:35,000
Please!

803
01:21:35,000 --> 01:21:36,000
Please!

804
01:21:36,000 --> 01:21:37,000
Please!

805
01:21:37,000 --> 01:21:38,000
Please!

806
01:21:38,000 --> 01:21:39,000
Please!

807
01:21:39,000 --> 01:21:40,000
Please!

808
01:21:40,000 --> 01:21:41,000
Please!

809
01:21:42,000 --> 01:21:47,000
You take whatever is good!

810
01:21:48,000 --> 01:21:54,000
Being a mother was truly an exciting experience.

811
01:21:54,000 --> 01:21:57,000
This was completely unprecedented.

812
01:21:57,000 --> 01:22:04,000
It was something like a pop sculpture assembled from trash.

813
01:22:04,000 --> 01:22:09,000
It became a soundscape, if you will.

814
01:22:09,000 --> 01:22:14,000
There was no fixed repertoire.

815
01:22:14,000 --> 01:22:20,000
We have to show these numbers every night because the fans expect it.

816
01:22:20,000 --> 01:22:23,000
Fans expected the unexpected.

817
01:22:34,000 --> 01:22:37,000
Music is very important.

818
01:22:37,000 --> 01:22:40,000
Music is very important.

819
01:22:40,000 --> 01:22:43,000
Music is very important.

820
01:22:43,000 --> 01:22:47,000
Music is very important.

821
01:22:47,000 --> 01:22:51,000
Music is very important.

822
01:22:51,000 --> 01:22:53,000
Music is very important.

823
01:22:53,000 --> 01:22:56,000
Music is very important.

824
01:22:56,000 --> 01:22:59,000
Music is very important.

825
01:22:59,000 --> 01:23:02,000
Music is very important.

826
01:23:02,000 --> 01:23:05,000
Music is very important.

827
01:23:05,000 --> 01:23:08,000
Music is very important.

828
01:23:08,000 --> 01:23:11,000
Music is very important.

829
01:23:11,000 --> 01:23:14,000
Music is very important.

830
01:23:14,000 --> 01:23:17,000
Music is very important.

831
01:23:17,000 --> 01:23:20,000
Music is very important.

832
01:23:20,000 --> 01:23:23,000
Music is very important.

833
01:23:23,000 --> 01:23:26,000
Music is very important.

834
01:23:26,000 --> 01:23:29,000
Music is very important.

835
01:23:30,000 --> 01:23:40,000
The original "Mothers of Invention" were Vaudeville and Wally Bully.

836
01:23:40,000 --> 01:23:42,000
Stupidity.

837
01:23:42,000 --> 01:23:45,000
Everything good about Dew-Wap and early rock 'n' roll.

838
01:23:45,000 --> 01:23:51,000
Everything that's good about jazz and the blues, and everything that's good about humor and madness and protest.

839
01:23:51,000 --> 01:23:55,000
During these concerts, Zappa began conducting other band members

840
01:23:56,000 --> 01:24:01,000
using a series of gestures he developed to keep their performances fresh and spontaneous.

841
01:24:01,000 --> 01:24:08,000
Classical composers, modern classical composers for the most part follow a strict conducting pattern.

842
01:24:08,000 --> 01:24:13,000
There is a strict rule on how to behave if you are playing four quarters: one-two-three-four.

843
01:24:13,000 --> 01:24:16,000
If you do three quarters, then one-two-three.

844
01:24:16,000 --> 01:24:19,000
In general, everyone follows the same methods of implementation.

845
01:24:19,000 --> 01:24:22,000
You don't sit there and do it all.

846
01:24:23,000 --> 01:24:27,000
You might see this in cartoons, but this is not how conductors actually behave.

847
01:24:27,000 --> 01:24:33,000
Frank, on the other hand, acted as usual, but he also added different types of hand signals.

848
01:24:33,000 --> 01:24:38,000
They developed every day, some of them succeeded and some of them did not.

849
01:24:38,000 --> 01:24:46,000
What they did next I don’t know, but this was the generally accepted signal, and when he did it,

850
01:24:46,000 --> 01:24:48,000
he had to go peep.

851
01:24:55,000 --> 01:25:00,000
There was one who had to say something like "bur-ya", you know, and he did this,

852
01:25:00,000 --> 01:25:03,000
and when he did something like that, it meant solo.

853
01:25:03,000 --> 01:25:12,000
He would clench his fist like this, and when he did this, it meant that he had to play the lowest group of notes that he could,

854
01:25:13,000 --> 01:25:16,000
Unless, of course, you play a one-note instrument.

855
01:25:19,000 --> 01:25:23,000
It's like the conductor of a symphony or chamber orchestra.

856
01:25:23,000 --> 01:25:30,000
It was easy to specify what size you were going to use, or the timing of what strokes you were going to use.

857
01:25:30,000 --> 01:25:35,000
For example, if he wanted us to go ahead and play something in five notes,

858
01:25:35,000 --> 01:25:39,000
He simply showed five fingers, and this indicated tempo.

859
01:25:39,000 --> 01:25:47,000
So he just had to go, and we knew what it was, so we just started playing it like that, or like a 7-11, whatever it was.

860
01:25:47,000 --> 01:25:55,000
Sometimes I would play 5-8 and then I would continue to play 5-8, he would do it with RD.

861
01:25:55,000 --> 01:26:03,000
Art would play in size 7-8, bunk, 2-3, 1-2-3, bunk would play in size 3-4,

862
01:26:03,000 --> 01:26:08,000
Roy played 4-4, at the same time.

863
01:26:08,000 --> 01:26:12,000
In the end, they started with one thing, something mathematical.

864
01:26:12,000 --> 01:26:22,000
Eventually they will all end up on the same board again, once everyone has played the certain number of pieces needed to get back to the same board they will all end up on the same board again.

865
01:26:22,000 --> 01:26:36,000
He also had verbal commands, but the hand signals and commands sometimes took up as much concert time as the musical portion.

866
01:26:36,000 --> 01:26:49,000
After all these rehearsals and performances, we never played the same show twice.

867
01:26:49,000 --> 01:27:01,000
Never played the same show twice, never had a playlist, no one had any idea what was going to be played, it didn't really matter to me what the hell we were playing.

868
01:27:01,000 --> 01:27:07,000
We had 300 songs in our repertoire that we could perform at any time, it was not a problem.

869
01:27:07,000 --> 01:27:18,000
Then he would jump into the air and come back down, and we would start playing another song, as scheduled, as is usually the case in a band, and we would think: where did this come from? What was that?

870
01:27:18,000 --> 01:27:41,000
It really amazed the audience that we could play Stravinsky for a couple of minutes and then do some outrageously ridiculous antics on stage where the guys would squeeze each other and follow Frank's hand and do certain things.

871
01:27:42,000 --> 01:27:48,000
And then he would ask you to step up to the microphone and do whatever you wanted, you know, something like that.

872
01:27:48,000 --> 01:28:01,000
There was a lot of freedom in that regard that I had never seen in any band before, and I wondered why people liked such weirdness, but apparently they did.

873
01:28:02,000 --> 01:28:08,000
While the mothers were making a name for themselves among friends with their stage antics, Zappa continued to work on a new album.

874
01:28:08,000 --> 01:28:22,000
Recorded before the We're Only In It For The Money sessions, Lumpy Gravy was Zappa's first solo album, and upon release in May 1968, it featured a much more sophisticated and avant-garde aesthetic than his previous work with Mother's Hat.

875
01:28:23,000 --> 01:28:41,000
Frank was approached by a representative from Capital Records who had heard that Frank was doing orchestral music and suggested that Frank record an orchestral record for Capital Records, but they felt he would not participate in the recording.

876
01:28:42,000 --> 01:28:47,000
This is not a record invented by mothers. He was just conducting, so they didn't think there would be any problems.

877
01:28:47,000 --> 01:28:59,000
The strange thing is that they never contacted MGM Verve to see if this would conflict with the contract he had with MGM Verve.

878
01:28:59,000 --> 01:29:01,000
They just assumed everything would be fine.

879
01:29:01,000 --> 01:29:11,000
So they went and financed it. They invested $40,000, which again was a huge amount, and hired a 50-piece orchestra.

880
01:29:11,000 --> 01:29:16,000
It was spring, early spring, in February 1967.

881
01:29:16,000 --> 01:29:26,000
So, they booked some sessions for orchestral work, and on top of that, a lot of these guys were old school studio musicians and orchestral players.

882
01:29:26,000 --> 01:29:29,000
Some probably came from the Los Angeles Philharmonic.

883
01:29:29,000 --> 01:29:35,000
When they saw this weird looking guy with the mustache, goatee and long hair, many of them thought, “Oh, this is going to be funny.”

884
01:29:35,000 --> 01:29:38,000
Well, Frank fooled them all.

885
01:29:38,000 --> 01:29:50,000
Suddenly Verve MGM finds out about this. They're getting ready to release Frank Zapper's album and they say, "No, we own the rights to it," and they start a 13-month lawsuit.

886
01:29:50,000 --> 01:29:58,000
Okay, in the end I didn’t come out until the beginning of 1968, if my memory serves me correctly, then until the end of 1967, if I remember correctly.

887
01:29:58,000 --> 01:30:08,000
Anyway, um, they ended up doing the deal because Capita had already put $40,000 into the thing and had already printed the records and the cover.

888
01:30:08,000 --> 01:30:14,000
So MGM Verve made a deal to buy back the master tapes and eventually released it.

889
01:30:20,000 --> 01:30:25,000
So, yeah, that's it.

890
01:30:25,000 --> 01:30:30,000
So, yeah, that's it.

891
01:30:30,000 --> 01:30:35,000
So, yeah, that's it.

892
01:30:35,000 --> 01:30:40,000
So, yeah, that's it.

893
01:30:40,000 --> 01:30:45,000
So, yeah, that's it.

894
01:30:45,000 --> 01:30:50,000
So, yeah, that's it.

895
01:30:50,000 --> 01:30:55,000
So, yeah, that's it.

896
01:30:55,000 --> 01:30:58,000
So, yeah, that's it.

897
01:30:58,000 --> 01:31:10,000
Lumpy Grady was positioned as the next phase of We're Owning It for the Money.

898
01:31:10,000 --> 01:31:19,000
And I think a lot of people bought it expecting a continuation of all the fun and games that were on the previous album, but that wasn't the case at all.

899
01:31:19,000 --> 01:31:28,000
From a listener's perspective, it was probably the most complex album ever made in a pop context.

900
01:31:28,000 --> 01:31:33,000
I mean, you know, there were orchestral sections, there were long talking sections.

901
01:31:33,000 --> 01:31:39,000
And it was all one long track, almost like a classic record.

902
01:31:39,000 --> 01:31:48,000
But again, because people paid for it, because they put their hard-earned money into it from their youth, they thought they could get a little more money.

903
01:31:48,000 --> 01:31:53,000
And they will certainly like it.

904
01:32:19,000 --> 01:32:24,000
Very good. Very good.

905
01:32:24,000 --> 01:32:42,000
I think it was due to Frank Zappa's tenacity and drive, and probably his position in the recording industry, that in a very short period of time he was able to create Lumpy Grady very early in his career, because even though his psyche had come out and he was well known and respected

906
01:32:43,000 --> 01:32:48,000
people in the business, the records were not in great demand, mother's early records.

907
01:32:48,000 --> 01:32:58,000
Both he and, I think, the record companies must have realized that creating an orchestral work that did not involve the inventor's mothers as a group was going to be much less commercially viable.

908
01:32:58,000 --> 01:33:11,000
But I think it was very important for Frank Zappa to have an outlet for this kind of music, because in terms of his avant-garde and composing work, he was able to use a lot of it in the mothers of innovation records, but it usually had to happen over a period of time.

909
01:33:11,000 --> 01:33:18,000
And it was a very important role in the music industry within a song-oriented structure with lyrics.

910
01:33:18,000 --> 01:33:27,000
He could do this without compromising himself, but I think perhaps his deepest desire was to create modern music like Edgar Wres.

911
01:33:27,000 --> 01:33:34,000
Zappa's obvious maturity as a composer was evident in the album's inclusion of material he wrote and recorded while in his early twenties.

912
01:33:34,000 --> 01:33:43,000
In fact, this recording was not made in 1967, but in 1961 in Paul Buff's studio.

913
01:33:43,000 --> 01:33:47,000
Although the names of the musicians are unknown, this is not a new recording.

914
01:33:47,000 --> 01:33:50,000
Many people think that this happened during those sessions, but this is not so.

915
01:33:50,000 --> 01:34:01,000
In 1968, the band's lineup changed again: vocalist Ray Collins returned, and with the departure of drummer Billy Mundy, a vacancy appeared for a percussionist who was supposed to work with Jimmy Carl Black.

916
01:34:01,000 --> 01:34:11,000
The classically trained Arthur Dyer Tripp III met Zappa through his mother's sound engineer, Dick Kunk, and like all newcomers, Tripp was invited to audition at the studio.

917
01:34:11,000 --> 01:34:23,000
In the studio was Frank Gerbe Cohen, his manager, and this girl named Pamela Zirubika, better known as Sizzy Creamfield, although I didn't know that at the time.

918
01:34:24,000 --> 01:34:33,000
So we started talking and Frank asked me what I do and I told him about some of my compositions and stuff like that.

919
01:34:33,000 --> 01:34:37,000
He said, well, hey, come here, and added, could you play a little?

920
01:34:37,000 --> 01:34:41,000
I say: “No, well, of course, but what do you want? What do you want to play?”

921
01:34:41,000 --> 01:34:46,000
He said, “Well, just come out,” and we went back to the studio and I had two sets of drums.

922
01:34:46,000 --> 01:34:50,000
And to be honest, I haven't played the drums in years.

923
01:34:51,000 --> 01:34:57,000
So I said, “Yeah, I'll play,” but I thought about it a lot.

924
01:34:57,000 --> 01:35:12,000
I loved modern jazz, and I had all these pictures and colors and thoughts about the drum kit going around in my head without actually sitting down and working through them.

925
01:35:12,000 --> 01:35:15,000
Plus, I like to play freely.

926
01:35:16,000 --> 01:35:18,000
And so I asked: is there anything specific you want me to play?

927
01:35:18,000 --> 01:35:20,000
And he said: no, just play.

928
01:35:20,000 --> 01:35:22,000
I said, "Okay."

929
01:35:22,000 --> 01:35:24,000
I sat down, took the sticks in my hands and just cried.

930
01:35:24,000 --> 01:35:27,000
I went through it all and played all these things.

931
01:35:27,000 --> 01:35:32,000
So I couldn't play. It seemed like about half an hour had passed, but I'm sure it was about three or four minutes.

932
01:35:32,000 --> 01:35:35,000
And so I finally stopped, sat down and looked up.

933
01:35:35,000 --> 01:35:43,000
And I remember, Frank, there was a partition around the drum kit, and he was sitting like this with his hands on the partition.

934
01:35:43,000 --> 01:35:47,000
And he looked down, his mouth was wide open, and his eyes were open like this.

935
01:35:47,000 --> 01:35:50,000
And he says, "Dude, you're a monster."

936
01:35:50,000 --> 01:35:52,000
And I've never heard this term before.

937
01:35:52,000 --> 01:35:54,000
But I understood what he meant.

938
01:35:54,000 --> 01:35:59,000
He had never played rock 'n' roll in his life.

939
01:35:59,000 --> 01:36:09,000
He was a classical musician and a graduate of the Juilliard School of Music.

940
01:36:10,000 --> 01:36:16,000
So what I did was I played the beat and everything else was already played.

941
01:36:16,000 --> 01:36:22,000
Frank had the freedom to write all this stuff, man, drum stuff, that kind of thing.

942
01:36:22,000 --> 01:36:25,000
He was, you know, like Edgar Wresse.

943
01:36:25,000 --> 01:36:32,000
And I was there, keeping everything under control, watching the passage of time.

944
01:36:32,000 --> 01:36:38,000
And it was already like this: I will pass by the moon.

945
01:36:39,000 --> 01:36:43,000
The love of my life.

946
01:36:43,000 --> 01:36:49,000
One of Art Tripp's first jobs was recording his future mother's album Cruising with Ruben and the Jets.

947
01:36:49,000 --> 01:36:52,000
In memory of the West Coast doo-wop music of the 1950s.

948
01:36:52,000 --> 01:36:57,000
Released in November 1968, it was the most atypical release for mothers at that time.

949
01:36:57,000 --> 01:37:04,000
Cruising with Ruben and the Jets was the same love, but it was a very tender love, I think.

950
01:37:05,000 --> 01:37:13,000
You know, I mean, Frank truly loved this music throughout his life, to the point that he actually revived many of these numbers,

951
01:37:13,000 --> 01:37:18,000
like “The Closer You Are” by Chanels, which he did late in his career.

952
01:37:18,000 --> 01:37:28,000
On the Ruben and the Jets album, he actually included pieces of Stravinsky, and, you know, it's within this kind of vocal group.

953
01:37:29,000 --> 01:37:38,000
And I mean, a lot of the vocal groups of that time, although they were formed essentially by non-classical musicians,

954
01:37:38,000 --> 01:37:44,000
you know, we weren't some conservatives or outsiders, like guys who talk on street corners for their own amusement,

955
01:37:44,000 --> 01:37:47,000
I think they were actually quite complex.

956
01:37:47,000 --> 01:37:56,000
And Frank, of course, liked it as much as, you know, the works of Verres, Stravinsky, Milhaud or someone like that.

957
01:37:56,000 --> 01:38:14,000
The closer you are, the brighter the resorts are in the sky.

958
01:38:14,000 --> 01:38:18,000
Ruben and the Jets is Ray Collins' best vocal album.

959
01:38:19,000 --> 01:38:26,000
This is where Ray Shine, A - the type of music he loved, and B - where he was given complete freedom and opportunity to sing.

960
01:38:26,000 --> 01:38:33,000
And it has some of the most amazing songs that Ray sings, and there's actually a song that Ray wrote called Anything.

961
01:38:49,000 --> 01:38:54,000
My heart is crying.

962
01:38:54,000 --> 01:39:03,000
It was a real tribute to Ray Collins, because it's all Ray Collins' journey, man.

963
01:39:03,000 --> 01:39:08,000
He performed almost all the vocals. Frank performed vocals. I performed vocals on this song.

964
01:39:08,000 --> 01:39:17,000
And Roy Estrada, you know, this guy, the soprano, sang a lot of the high parts, but mostly it was Ray Collins.

965
01:39:17,000 --> 01:39:32,000
I can do anything for you.

966
01:39:32,000 --> 01:39:38,000
My heart is crying.

967
01:39:39,000 --> 01:39:49,000
The Ruben and the Jets album was one of the simplest and at the same time complex records Frank ever created.

968
01:39:49,000 --> 01:40:01,000
I mean, these sort of layers of what's been sort of condensed into some of the tracks are very thin.

969
01:40:01,000 --> 01:40:09,000
For example, at the end of "Fountain of Love" they actually say: uh, uh, uh, uh.

970
01:40:09,000 --> 01:40:16,000
And this is actually the beginning of Stravinsky's "Right of Spring."

971
01:40:17,000 --> 01:40:35,000
Frank Zappa once released a CD called "Does Humor Belong in Music?"

972
01:40:35,000 --> 01:40:40,000
And this question occupied him throughout his life.

973
01:40:41,000 --> 01:40:47,000
And perhaps one of the records that is most interesting to consider in this light is Cruising with Ruben and the Jets.

974
01:40:47,000 --> 01:40:54,000
because it is often perceived as a parody of Sweet Rock and Roll or Dew Up,

975
01:40:54,000 --> 01:41:01,000
with the idea that if you parody something, then you hate what you're parodying and are only doing it to ruin it.

976
01:41:01,000 --> 01:41:04,000
But Ruben and the Jets can be heard in a completely different way.

977
01:41:04,000 --> 01:41:09,000
My friend Danny Huston told me that he had an affair that ended in failure.

978
01:41:09,000 --> 01:41:15,000
and he went home and prayed for Ruben and the Jets and cried the whole time until he completely, literally died.

979
01:41:15,000 --> 01:41:20,000
To maintain the parody of Dew Up, the Mothers of Invention were not directly credited as the album's credits.

980
01:41:20,000 --> 01:41:23,000
and it was released by the fictional Ruben and the Jets,

981
01:41:23,000 --> 01:41:28,000
complete with a high school photo of Frank Zappa with neatly trimmed hair and a thin mustache.

982
01:41:28,000 --> 01:41:32,000
The alternative identity used by the group was distracting to listeners.

983
01:41:32,000 --> 01:41:35,000
on the fact that it was actually a Frank Zappa album.

984
01:41:35,000 --> 01:41:38,000
Many did not realize that these were the mothers of invention.

985
01:41:38,000 --> 01:41:43,000
Some thought they had discovered some obscure album from the 1950s.

986
01:41:43,000 --> 01:41:48,000
The songs were so close to the original Dew Up songs from the 50s,

987
01:41:48,000 --> 01:41:53,000
everything except the very last song on the record called Stuff Up the Cracks.

988
01:41:53,000 --> 01:41:58,000
It was there that they added a guitar solo, which was performed during the only session of "It for the Money".

989
01:42:02,000 --> 01:42:13,000
Music

990
01:42:13,000 --> 01:42:17,000
At the end, Zappa allows himself a short guitar solo.

991
01:42:17,000 --> 01:42:24,000
It's not a completely crazy post-Hendrix style electronic thing on guitar.

992
01:42:24,000 --> 01:42:30,000
The sound is quite acoustic, but there is a small sign that, having considered this music,

993
01:42:30,000 --> 01:42:34,000
there's a little room for freedom and there's a little guitar solo at the end.

994
01:42:34,000 --> 01:42:40,000
It's a kind of relief from the pent-up feelings associated with living in a world where everyone does things their own way.

995
01:42:40,000 --> 01:42:47,000
At the end of 1968, a year after their first European tour, the mothers returned to perform actively in Germany.

996
01:42:47,000 --> 01:42:50,000
One remarkable concert at the Berlin Sports Palace,

997
01:42:50,000 --> 01:42:53,000
Fam Zappa and his band found themselves in a very difficult situation.

998
01:42:54,000 --> 01:43:03,000
We play in the hall where Hitler gave many of his speeches, at sports competitions in Berlin, in West Berlin.

999
01:43:03,000 --> 01:43:13,000
But SDS reached out to Frank and told him, “Yeah man, we want you to excite people tonight, Frank.”

1000
01:43:13,000 --> 01:43:22,000
Someone approached the orchestra. I don’t know how it was conveyed, but, apparently, there were weather forecasters in the hall.

1001
01:43:23,000 --> 01:43:29,000
And the "weather forecasters", for those of you who don't know, were a radical political group,

1002
01:43:29,000 --> 01:43:34,000
On the verge of terrorists, but no. At least they weren't called that.

1003
01:43:34,000 --> 01:43:48,000
They wanted Zappa to announce to the audience that after the concert the audience should leave and head to the Allied supply building,

1004
01:43:48,000 --> 01:43:53,000
which I believe was British, and burn it to the ground.

1005
01:43:53,000 --> 01:43:57,000
Of course, Zappa had no intention of saying anything like that.

1006
01:43:57,000 --> 01:44:02,000
And they said, "Okay, then we'll destroy your concert."

1007
01:44:02,000 --> 01:44:07,000
And they did a great job with it. First came the eggs.

1008
01:44:07,000 --> 01:44:15,000
They started throwing vegetables and eggs, and a whole barricade of these iron things formed.

1009
01:44:15,000 --> 01:44:21,000
and they started throwing them and jumping on stage, causing a real riot.

1010
01:44:21,000 --> 01:44:26,000
And then they started throwing these hard green pears.

1011
01:44:26,000 --> 01:44:32,000
I mean, it was like being hit by a baseball player.

1012
01:44:32,000 --> 01:44:35,000
Almost got hit in the shoulder, knocking me down, man.

1013
01:44:35,000 --> 01:44:38,000
It really hit me hard, man.

1014
01:44:38,000 --> 01:44:47,000
And then they went on stage, and after a couple of liters of green paint on the stage,

1015
01:44:47,000 --> 01:44:53,000
Port Roy was wearing white trousers, which immediately turned green.

1016
01:44:53,000 --> 01:44:57,000
There's some green paint left on my reels.

1017
01:44:57,000 --> 01:44:59,000
Artie's drummers did the same.

1018
01:44:59,000 --> 01:45:02,000
Then they came and tore down the railings.

1019
01:45:02,000 --> 01:45:06,000
They tore the railings off the stage.

1020
01:45:06,000 --> 01:45:12,000
It looked like an iron pipe in which bicycles were parked.

1021
01:45:12,000 --> 01:45:16,000
And about 25 of them lifted him into the air like this,

1022
01:45:16,000 --> 01:45:19,000
where we could throw it at ourselves, on stage.

1023
01:45:19,000 --> 01:45:25,000
And the promoters were Herb Cohen and Fritz Rau.

1024
01:45:25,000 --> 01:45:27,000
They caught the thing before they could throw it.

1025
01:45:27,000 --> 01:45:30,000
They secured it like that and just pushed it back.

1026
01:45:30,000 --> 01:45:38,000
And he destroyed three or four rows of people sitting here, and on top of them lay this big iron thing.

1027
01:45:38,000 --> 01:45:41,000
And that was the end of the first show.

1028
01:45:41,000 --> 01:45:47,000
So we left the stage pretty quickly, man, and went straight to the dressing room.

1029
01:45:47,000 --> 01:45:49,000
Where were all the cops?

1030
01:45:49,000 --> 01:45:51,000
In the locker room.

1031
01:45:51,000 --> 01:45:54,000
So things could get really ugly.

1032
01:45:55,000 --> 01:46:05,000
I remember when we left the stage, Herb Cohen was standing on the edge of the stage,

1033
01:46:05,000 --> 01:46:15,000
and he was like kicking that guy, pushing that guy and attacking all these Germans,

1034
01:46:15,000 --> 01:46:18,000
which I thought was very funny.

1035
01:46:19,000 --> 01:46:25,000
About 20 minutes later we receive a note upstairs that says:

1036
01:46:25,000 --> 01:46:30,000
If you don't come down and finish the concert, we'll come up and get you.

1037
01:46:30,000 --> 01:46:34,000
When everyone calmed down a little, we went back out.

1038
01:46:34,000 --> 01:46:39,000
And Zabba said, “Okay, we want to have a discussion here.”

1039
01:46:39,000 --> 01:46:47,000
And so he says, like, the leader of the weather forecast comes here and holds a debate.

1040
01:46:47,000 --> 01:46:51,000
We have another guy, you know, I don't know where he was from.

1041
01:46:51,000 --> 01:46:55,000
He looked like a reporter or something from a German newspaper.

1042
01:46:55,000 --> 01:47:00,000
And this guy, we're going to have a debate between you two and we're going to play it.

1043
01:47:00,000 --> 01:47:07,000
And so they came up and started talking to each other, as if they were arguing,

1044
01:47:07,000 --> 01:47:10,000
and we started playing together at the debates.

1045
01:47:10,000 --> 01:47:14,000
Some guy crawled through that egg on the bunk and hit him in the chest,

1046
01:47:14,000 --> 01:47:17,000
and he came over and said, “Man, I’m one of your biggest fans.”

1047
01:47:17,000 --> 01:47:19,000
And the Bank wanted to kill him.

1048
01:47:19,000 --> 01:47:23,000
And then they started to remove the equipment little by little, you know?

1049
01:47:23,000 --> 01:47:29,000
and in the end Roy, Frank and I were the last three left on stage.

1050
01:47:29,000 --> 01:47:32,000
They finally filmed everything.

1051
01:47:32,000 --> 01:47:34,000
We left the stage.

1052
01:47:34,000 --> 01:47:38,000
They've already opened the windshield on the first floor,

1053
01:47:38,000 --> 01:47:41,000
and they would send the equipment down to the truck.

1054
01:47:41,000 --> 01:47:46,000
We got off the stage and we were out of there, man.

1055
01:47:46,000 --> 01:47:54,000
It was a terrible, terrible situation, and I think at some point Frank handed out the medals later.

1056
01:47:54,000 --> 01:48:00,000
just to, you know, show that we survived that particular incident.

1057
01:48:00,000 --> 01:48:05,000
You.

1058
01:48:05,000 --> 01:48:09,000
While the group was recovering from German tests in the USA,

1059
01:48:09,000 --> 01:48:12,000
the new album was released in February 1969,

1060
01:48:12,000 --> 01:48:16,000
which was recorded simultaneously with the help of Ruben and the Jets.

1061
01:48:16,000 --> 01:48:21,000
In Uncle Meat, Zappa and the Mothers of Invention took jazz and modern classical music even further,

1062
01:48:21,000 --> 01:48:27,000
at the same time, Zappa delved deeper into experimentation with overdubbing and multi-track recording.

1063
01:48:27,000 --> 01:48:30,000
Zappa was very precise in his releases.

1064
01:48:30,000 --> 01:48:36,000
He liked to put out records that reflected each other.

1065
01:48:36,000 --> 01:48:40,000
or make each other look weird.

1066
01:48:40,000 --> 01:48:43,000
There is a small famous note about

1067
01:48:43,000 --> 01:48:44,000
We are “Own it for the money” and say:

1068
01:48:44,000 --> 01:48:46,000
Is this the first phase of Lumpy Gravy?

1069
01:48:46,000 --> 01:48:49,000
And Lumpy Gravy says this is the second phase of We Own It for the Money?

1070
01:48:49,000 --> 01:48:51,000
Partially a marketing ploy.

1071
01:48:51,000 --> 01:48:54,000
If you like one record, then you'll go and listen to another.

1072
01:48:54,000 --> 01:48:59,000
This is part of his conceptual continuity, which is an imaginary connection

1073
01:48:59,000 --> 01:49:04,000
all his recordings from all time and space and all his interviews,

1074
01:49:04,000 --> 01:49:08,000
and even me, speaking here about Frank Zappa.

1075
01:49:08,000 --> 01:49:12,000
And Uncle Meat is no exception,

1076
01:49:12,000 --> 01:49:18,000
that the cruise with Ruben and the Jets is a full-fledged part of the Uncle Meath concept,

1077
01:49:18,000 --> 01:49:21,000
because Uncle Meat is a mad professor,

1078
01:49:21,000 --> 01:49:24,000
and there is a story in the Uncle Meath booklet

1079
01:49:24,000 --> 01:49:29,000
in which he kidnaps a group of rock 'n' roll musicians

1080
01:49:29,000 --> 01:49:35,000
and cause brain mutations in them that cause them to grow noses.

1081
01:49:35,000 --> 01:49:38,000
And this is actually a Ruben and the Jets cover.

1082
01:49:38,000 --> 01:49:42,000
So you can't really understand the Ruben and the Jets cover without reading the article on Uncle Meat.

1083
01:49:42,000 --> 01:49:46,000
So these two records are related, but there's more to them than that.

1084
01:49:46,000 --> 01:49:51,000
because they are produced in exactly the same way using multi-track recording,

1085
01:49:51,000 --> 01:49:56,000
about the use of tape, multi-track recording, in such an explicit manner

1086
01:49:56,000 --> 01:50:00,000
you can hear it as music made for multi-track recording,

1087
01:50:00,000 --> 01:50:02,000
that multi-track recording is part of the aesthetic.

1088
01:50:02,000 --> 01:50:06,000
And don’t forget that the equipment of that time was not the same as it is today, it was even a shadow of it.

1089
01:50:06,000 --> 01:50:13,000
I think they had, I don’t remember exactly, 12 or 16 tracks, which was incredibly difficult back then.

1090
01:50:13,000 --> 01:50:17,000
Nobody had this kind of equipment, and that's one of the reasons Frank liked the studio.

1091
01:50:17,000 --> 01:50:23,000
Frank would often experiment: "Let's use ten horns here or something like that."

1092
01:50:24,000 --> 01:50:29,000
Once again, I got the opportunity to play all my instruments,

1093
01:50:29,000 --> 01:50:35,000
but I think this album is more than that

1094
01:50:37,000 --> 01:50:41,000
and I don't want to use the word improvisation,

1095
01:50:41,000 --> 01:50:47,000
but of course there are also variations, you know, gardener's variations, one, two, whatever.

1096
01:50:47,000 --> 01:50:49,000
But it was endless.

1097
01:51:23,000 --> 01:51:32,000
The sound was much more classical than the others, less vocals.

1098
01:51:32,000 --> 01:51:37,000
I don't think Zappa had a singer at the time, you know?

1099
01:51:37,000 --> 01:51:41,000
and he wasn't such a good vocalist himself, you know,

1100
01:51:41,000 --> 01:51:46,000
other than really tweaking things, changing the speed and the singing, you know,

1101
01:51:46,000 --> 01:51:49,000
three-part or six-part harmony.

1102
01:51:49,000 --> 01:51:56,000
So he had to do a lot of work on the tracks to make his voice sound, you know,

1103
01:51:56,000 --> 01:51:57,000
half decent.

1104
01:51:57,000 --> 01:52:01,000
For me, Uncle Meat is, without a doubt, a role model in the field of invention.

1105
01:52:01,000 --> 01:52:05,000
It has everything you could want from mothers.

1106
01:52:05,000 --> 01:52:10,000
There's surreal comedy stuff and social commentary in there.

1107
01:52:10,000 --> 01:52:13,000
For example, Jimmy Carl Black complains when we get paid.

1108
01:52:13,000 --> 01:52:15,000
We'll get paid.

1109
01:52:15,000 --> 01:52:16,000
We're starving, man.

1110
01:52:16,000 --> 01:52:18,000
This fucking group is starving.

1111
01:52:18,000 --> 01:52:20,000
We have been starving for three years now.

1112
01:52:20,000 --> 01:52:22,000
I know this takes a long time, but damn...

1113
01:52:22,000 --> 01:52:25,000
will it take another five, ten years?

1114
01:52:25,000 --> 01:52:28,000
Some months you won't work as hard as other months.

1115
01:52:28,000 --> 01:52:30,000
or some months when you earn a lot of money,

1116
01:52:30,000 --> 01:52:34,000
and if your average is outside the range, you're making over $200 a month.

1117
01:52:34,000 --> 01:52:37,000
You're exhausted, so you know what to do.

1118
01:52:37,000 --> 01:52:40,000
If we all lived in California, things would be different.

1119
01:52:40,000 --> 01:52:43,000
Up to this point in history there is no record.

1120
01:52:43,000 --> 01:52:47,000
We had people, band meetings that were recorded and then put on a record.

1121
01:52:47,000 --> 01:52:49,000
You know, it just wasn't done.

1122
01:52:49,000 --> 01:52:52,000
Then you had specific pieces of music.

1123
01:52:52,000 --> 01:53:00,000
You had jazz bebop, you know, jazz pieces like "King Kong"

1124
01:53:00,000 --> 01:53:03,000
which stretched out for a solo in the middle.

1125
01:53:03,000 --> 01:53:06,000
You had modern classics like Uncle Meat.

1126
01:53:06,000 --> 01:53:09,000
and variations in dog breathing and the like.

1127
01:53:09,000 --> 01:53:13,000
You had doo-wop songs like The Air, Electric Ancha Maima,

1128
01:53:13,000 --> 01:53:15,000
and in search of burgers.

1129
01:53:15,000 --> 01:53:17,000
Everything you wanted from mothers, you got there.

1130
01:54:10,000 --> 01:54:15,000
I think it's true that "Uncle Meat" ends with the most avant-garde part,

1131
01:54:15,000 --> 01:54:20,000
just like his previous records are going crazy and we're just doing this for the money.

1132
01:54:20,000 --> 01:54:25,000
But I think maybe by this point fans have become more tolerant of it.

1133
01:54:25,000 --> 01:54:29,000
because they both had more time to get used to Frank's app and music in general.

1134
01:54:29,000 --> 01:54:34,000
But also with Uncle Meat, which preceded it on this particular album

1135
01:54:35,000 --> 01:54:39,000
was much less pop than even us, who only do this for money or panic.

1136
01:54:39,000 --> 01:54:42,000
So it was like when it came to King Kong,

1137
01:54:42,000 --> 01:54:45,000
It's kind of... well, maybe it's a little different than before,

1138
01:54:45,000 --> 01:54:49,000
but it's more of a continuum.

1139
01:54:49,000 --> 01:54:53,000
Politics may not be as obvious, but it is almost more powerful.

1140
01:54:53,000 --> 01:54:57,000
for becoming part of the formal structure of the music and the album itself.

1141
01:54:57,000 --> 01:55:04,000
The cover features a skull paired with photographs of a face.

1142
01:55:04,000 --> 01:55:09,000
and the fingers part the lips, and one can see the gold teeth.

1143
01:55:09,000 --> 01:55:14,000
And there is a recording that came out much later called

1144
01:55:14,000 --> 01:55:17,000
"You Can't Do That on Stage Anymore" with Lyle George

1145
01:55:17,000 --> 01:55:22,000
playing a German customs officer interrogating mothers of inventors.

1146
01:55:22,000 --> 01:55:26,000
And one of the issues that worries them is the condition of their teeth.

1147
01:55:26,000 --> 01:55:32,000
And I'm absolutely sure that this is a reference to the famous piles of gold mined

1148
01:55:32,000 --> 01:55:38,000
Gestapo of Jewish victims before they were burned at Auschwitz

1149
01:55:38,000 --> 01:55:40,000
and in other concentration camps.

1150
01:55:40,000 --> 01:55:45,000
So this is an ominous look at what the establishment is up to.

1151
01:55:45,000 --> 01:55:50,000
if there is a social or economic crisis, it is a reminder of the atrocities of the past,

1152
01:55:50,000 --> 01:55:54,000
which can be repeated, looms over the recording, it is still there.

1153
01:55:54,000 --> 01:56:00,000
Uncle Meat, released in June 1969, was the mother's fifth album in three years.

1154
01:56:00,000 --> 01:56:02,000
and was also their second double album.

1155
01:56:02,000 --> 01:56:05,000
Continuing the theme of lack of commercial potential,

1156
01:56:05,000 --> 01:56:10,000
The album Uncle Meat failed to chart, but has since received critical acclaim.

1157
01:56:10,000 --> 01:56:14,000
Despite the group's constant musical activity,

1158
01:56:14,000 --> 01:56:19,000
Zappa also took the time to distance himself from record company control.

1159
01:56:19,000 --> 01:56:23,000
In 1967, Zappa and his manager Herb Cohen took advantage of the opportunity

1160
01:56:23,000 --> 01:56:27,000
create his own production company, Bizarre Records.

1161
01:56:27,000 --> 01:56:30,000
Wanting more creative control over your music,

1162
01:56:30,000 --> 01:56:33,000
and less interference from record company executives,

1163
01:56:33,000 --> 01:56:38,000
In 1969, Bizarre Productions became its own label along with Sister Label Straight.

1164
01:56:38,000 --> 01:56:41,000
Not only would it be a platform on which Zappa could act,

1165
01:56:41,000 --> 01:56:44,000
but also gave him the opportunity to release works by artists

1166
01:56:44,000 --> 01:56:47,000
may not be suitable for the mainstream music industry.

1167
01:56:47,000 --> 01:56:53,000
In 1969, Zappa was in a powerful position due to his media credibility,

1168
01:56:53,000 --> 01:56:57,000
with his concerts and record sales everything was going very well.

1169
01:56:57,000 --> 01:57:03,000
So he wanted to expand his free cosmetics

1170
01:57:03,000 --> 01:57:05,000
and get a lot more people on board.

1171
01:57:05,000 --> 01:57:10,000
And so he created two labels: Bizarre and Straight.

1172
01:57:10,000 --> 01:57:15,000
and released a whole bunch of records

1173
01:57:15,000 --> 01:57:20,000
which expressed his particular opinion about what the recording medium was capable of.

1174
01:57:20,000 --> 01:57:24,000
And he wanted to get away from the idea that all we were doing was playing pop songs.

1175
01:57:24,000 --> 01:57:27,000
Records can do so much more.

1176
01:57:27,000 --> 01:57:30,000
For example, he released a double album by Lenny Bruce,

1177
01:57:30,000 --> 01:57:36,000
stand-up comedian persecuted by authorities

1178
01:57:36,000 --> 01:57:40,000
for his outspoken statements on issues of sex, politics and race.

1179
01:57:40,000 --> 01:57:45,000
There was a group of self-proclaimed groupies who hung around Zappa,

1180
01:57:45,000 --> 01:57:48,000
girls together outrageous, GTO,

1181
01:57:48,000 --> 01:57:53,000
and he documented them and their songs and had important guests like Rob Stewart

1182
01:57:53,000 --> 01:57:57,000
and Jeff Beck and Lyle George came to help them write songs and play them.

1183
01:57:57,000 --> 01:58:02,000
He managed to release several projects that, of course, would never have been released on other labels.

1184
01:58:02,000 --> 01:58:05,000
like the GTO and, wow, man, Fisher.

1185
01:58:05,000 --> 01:58:07,000
I don't think it was a really good album.

1186
01:58:07,000 --> 01:58:10,000
Is there anything fun about at least the GTO?

1187
01:58:10,000 --> 01:58:12,000
I'm thinking, "Wow, man, Fischer is terrible."

1188
01:58:12,000 --> 01:58:18,000
Well, man, Fischer, first and foremost, was a street man who, for a dollar or a dime,

1189
01:58:18,000 --> 01:58:22,000
I think he would sing songs for a penny if they gave him a penny or a dollar or something like that.

1190
01:58:22,000 --> 01:58:25,000
he came up with his own strange compositions.

1191
01:58:25,000 --> 01:58:28,000
Again, he was so extraordinary that Frank found it very funny,

1192
01:58:28,000 --> 01:58:32,000
and it also gave insight into what was going on in Los Angeles at the time.

1193
01:58:32,000 --> 01:58:35,000
I mean there were just weird people on the street singing, you know,

1194
01:58:35,000 --> 01:58:40,000
and there was a lot of the freak scene in Los Angeles at the time, okay?

1195
01:58:40,000 --> 01:58:45,000
Frank was happy that the savage and Fisher had invented themselves.

1196
01:58:45,000 --> 01:58:51,000
He edited Savage and Fisher here and there, but let it run wild.

1197
01:58:51,000 --> 01:58:55,000
He gave one of the slime balls a chance at immortality,

1198
01:58:55,000 --> 01:59:01,000
so perhaps he was kinder to the savage and Fisher than to any of us.

1199
01:59:01,000 --> 01:59:04,000
And sighs too.

1200
01:59:04,000 --> 01:59:06,000
Mm-mm-mm.

1201
01:59:06,000 --> 01:59:09,000
Mm-mm-mm.

1202
01:59:09,000 --> 01:59:11,000
Mm-mm-mm.

1203
01:59:11,000 --> 01:59:14,000
This is maryada and parlame.

1204
01:59:14,000 --> 01:59:16,000
Hmm-hmm.

1205
01:59:16,000 --> 01:59:18,000
Mm-hmm-hmm.

1206
01:59:18,000 --> 01:59:20,000
Hmm-hmm.

1207
01:59:20,000 --> 01:59:21,000
Hmm-hmm.

1208
01:59:21,000 --> 01:59:22,000
Mm-hmm.

1209
01:59:22,000 --> 01:59:23,000
Hooray!

1210
01:59:23,000 --> 01:59:24,000
Mm-hmm.

1211
01:59:24,000 --> 01:59:25,000
Hmm-hmm.

1212
01:59:25,000 --> 01:59:26,000
Mm-hmm-hmm.

1213
01:59:26,000 --> 01:59:27,000
Mm-hmm.

1214
01:59:27,000 --> 01:59:28,000
Mm-hmm-hmm.

1215
01:59:28,000 --> 01:59:29,000
Mm-hmm-hmm.

1216
01:59:29,000 --> 01:59:37,000
The main number that he signed, which was really the only number that took off and became very popular

1217
01:59:37,000 --> 01:59:41,000
In the USA, the Alice Cooper group enjoyed success.

1218
01:59:41,000 --> 01:59:45,000
And Alice Cooper's band was called NAS at the time, and they just changed their name

1219
01:59:45,000 --> 01:59:51,000
Alice Cooper's name due to Todd Rungren's NAS erupting and just

1220
01:59:51,000 --> 01:59:53,000
released a couple of albums in New York.

1221
01:59:53,000 --> 01:59:57,000
Since at that time the Alice Cooper group had not released a single record, it had to change its name.

1222
01:59:57,000 --> 02:00:02,000
And it's interesting that Alice Cooper got this deal because Frank came to see them in

1223
02:00:02,000 --> 02:00:07,000
club called "Cheetah", and about 10 minutes after the start of the performance they

1224
02:00:07,000 --> 02:00:09,000
empty the place.

1225
02:00:09,000 --> 02:00:15,000
Frank thought there must be something in a group with so much negative energy.

1226
02:00:15,000 --> 02:00:21,000
Frank Zappa deserves a lot of credit for launching Alice Cooper's career as a musician.

1227
02:00:21,000 --> 02:00:26,000
artist, but the records he released on Bazaar are directly related to Alice Cooper.

1228
02:00:26,000 --> 02:00:31,000
First of all, they weren't as commercial as Alice Cooper's later recordings, but neither was Alice.

1229
02:00:31,000 --> 02:00:36,000
Cooper really needed a different business mechanism than Frank Zappa or Bazaar to become

1230
02:00:36,000 --> 02:00:39,000
as popular as they are.

1231
02:00:39,000 --> 02:00:45,000
I don't think Bazaar really had a business opportunity or traditional

1232
02:00:45,000 --> 02:00:50,000
ways to do things to get Alice Cooper to where they ended up, which was very important

1233
02:00:50,000 --> 02:00:53,000
the group became far more popular in terms of record sales than its mothers ever were.

1234
02:00:53,000 --> 02:00:58,000
Zappa also signed his old school friend Captain Beefheart and subsequently continued

1235
02:00:58,000 --> 02:01:04,000
to create an innovative replica of the Trout mask released in 1969.

1236
02:01:04,000 --> 02:01:09,000
The Trout Mask Replica is Captain Beefheart's definitive record, probably the most avant-garde

1237
02:01:09,000 --> 02:01:14,000
record in the world, of course, at that time much more avant-garde than anything Frank had

1238
02:01:14,000 --> 02:01:16,000
done at this moment.

1239
02:01:16,000 --> 02:01:25,000
I think Frank was quite willing to write Captain Beefheart this way as Captain

1240
02:01:25,000 --> 02:01:31,000
Beefheart himself dictated when the original idea was to do something like a field recording

1241
02:01:31,000 --> 02:01:36,000
in the house where they rehearsed, where Captain Beefheart and his magic orchestra rehearsed, but

1242
02:01:36,000 --> 02:01:43,000
Ultimately, I think Beefheart wanted to do it in a real studio, and when that happened,

1243
02:01:43,000 --> 02:01:50,000
I mean, Frank Zappa had to put up with all sorts of oddities, like Beefheart not wearing

1244
02:01:50,000 --> 02:01:58,000
recording jars and simply sing acapella accompanied by a faint sound through

1245
02:01:58,000 --> 02:02:05,000
glass from the console, so most of the time on the Trout Mask replica it seemed

1246
02:02:05,000 --> 02:02:07,000
so special.

1247
02:02:07,000 --> 02:02:13,000
He was willing to do it because, based on his own difficulties, he realized it.

1248
02:02:13,000 --> 02:02:16,000
that the need for artistic control.

1249
02:02:37,000 --> 02:02:55,000
Almost all the songs on the Trout Mask cue were rehearsed to death, so when they arrived,

1250
02:02:55,000 --> 02:03:01,000
at Whitney Studios, which is where I believe the recording of all these songs began.

1251
02:03:01,000 --> 02:03:06,000
The Alice Cooper Band, I think some of the Hot Rats material was recorded there. Replica Trout mask.

1252
02:03:06,000 --> 02:03:12,000
half of the Trout Mask cue recording, so the songs were already rehearsed, so the band

1253
02:03:12,000 --> 02:03:18,000
set up and went through all the songs one by one note for note

1254
02:03:18,000 --> 02:03:23,000
Frank recorded it on tape and then said, "Let's do this again to make sure we have..."

1255
02:03:23,000 --> 02:03:28,000
You know, I have another mix just in case, and again, surprisingly, the band

1256
02:03:28,000 --> 02:03:32,000
did exactly the same thing as in the first take.

1257
02:03:32,000 --> 02:03:36,000
Beefheart had a gift for calling Frank no matter what if he had an idea or something.

1258
02:03:36,000 --> 02:03:40,000
and I called him and said, “Hey Frank, listen to this and one of the tracks called The Blimp.”

1259
02:03:40,000 --> 02:03:44,000
mothers worked on a piece called "Charles Ives", which actually ended up in

1260
02:03:44,000 --> 02:03:49,000
later compilation, but while they were working on it, and that was it, the records were actually in the queue

1261
02:03:49,000 --> 02:03:53,000
Beefheart called and told Frank, “You should listen to this poem I just wrote to Jeff.”

1262
02:03:53,000 --> 02:04:01,000
Cotton and Tene Jimmy Siemens, that's his name, wants to read this for you.

1263
02:04:01,000 --> 02:04:04,000
and then Frank says, "It's a blimp, it's a blimp," you know when he goes through it

1264
02:04:04,000 --> 02:04:12,000
big show you know about the airship, okay, and how Frank recorded the phone conversation

1265
02:04:12,000 --> 02:04:15,000
and while he was recording, he was actually recording onto Charles' master tape

1266
02:04:15,000 --> 02:04:16,000
Part of Ives.

1267
02:04:16,000 --> 02:04:17,000
Like this.

1268
02:04:17,000 --> 02:04:18,000
Master Master this is written through the circle here.

1269
02:04:18,000 --> 02:04:19,000
You have to eat the pie to see it.

1270
02:04:19,000 --> 02:04:20,000
These three are going to make Captain Beefheart into a magical band.

1271
02:04:20,000 --> 02:04:21,000
Frank, this is a great success.

1272
02:04:21,000 --> 02:04:22,000
This is the most fiery.

1273
02:04:22,000 --> 02:04:23,000
This is the most fiery.

1274
02:04:23,000 --> 02:04:24,000
This is the most fiery.

1275
02:04:24,000 --> 02:04:31,000
Frank, this is the hottest thing.

1276
02:04:31,000 --> 02:04:34,000
Frank, this is the hottest thing.

1277
02:04:34,000 --> 02:04:40,000
When it came out on the record, it's actually the mother of one of the members of Beefheart

1278
02:04:40,000 --> 02:04:43,000
saying your rap right there so the blimp is actually mother with one of the members

1279
02:04:43,000 --> 02:04:45,000
by Beefheart.

1280
02:04:45,000 --> 02:04:50,000
Although Zappa invested a lot of time into his new projects with Bazaar Records,

1281
02:04:50,000 --> 02:04:54,000
The Mothers continued in 1969, touring the United States, Great Britain and Northern Ireland.

1282
02:04:54,000 --> 02:04:57,000
UK and Canada.

1283
02:04:57,000 --> 02:05:00,000
The mothers of invention truly achieved the glory that was promised to the original

1284
02:05:00,000 --> 02:05:05,000
members of Soul Giant a few years ago, but they still didn't achieve anything as a group

1285
02:05:05,000 --> 02:05:09,000
in terms of real money, and Zappa decided time was up.

1286
02:05:09,000 --> 02:05:13,000
First I heard that Frank and I were having breakfast and playing at a jazz festival, and I

1287
02:05:13,000 --> 02:05:20,000
I think it was Charlotte, North Carolina, we were having breakfast and just talking.

1288
02:05:20,000 --> 02:05:23,000
Bullshit and nonsense about certain things.

1289
02:05:23,000 --> 02:05:32,000
Suddenly he said: “You know, I’m thinking about disbanding the group,” to which I refused.

1290
02:05:32,000 --> 02:05:34,000
I said, really?

1291
02:05:34,000 --> 02:05:43,000
He said, “Yeah, he said, I just want to go in a different direction,” and I said, “Oh, man, I said I found it.”

1292
02:05:43,000 --> 02:05:44,000
our endurance.

1293
02:05:44,000 --> 02:05:53,000
Well, we're back from a very successful tour and I called Frank to ask him about when

1294
02:05:53,000 --> 02:05:57,000
Do you know when we'll rehearse next and what's going on, where's the next tour?

1295
02:05:57,000 --> 02:05:58,000
going.

1296
02:05:58,000 --> 02:06:03,000
He said, “By the way, I’ve decided to disband the group and you won’t be paid any more.”

1297
02:06:03,000 --> 02:06:07,000
last week.

1298
02:06:07,000 --> 02:06:14,000
That's what he said.

1299
02:06:14,000 --> 02:06:18,000
It was pretty hard and pretty cold, man.

1300
02:06:18,000 --> 02:06:32,000
We all went to his house and the meeting continued. They handed out these sheets of paper

1301
02:06:32,000 --> 02:06:39,000
numbers and everything, and basically it said that over the last six months we've been losing

1302
02:06:39,000 --> 02:06:49,000
money to the point where the band owes Frank and Herbie, I don't know, twenty thousand

1303
02:06:49,000 --> 02:06:59,000
dollars, and we all went there expecting to be able to split some money, and

1304
02:06:59,000 --> 02:07:02,000
again the same result.

1305
02:07:02,000 --> 02:07:10,000
So Frank said, "You know what I'll call it, and you can get amps that..."

1306
02:07:10,000 --> 02:07:17,000
that you played with, and that's basically how the band broke up.

1307
02:07:17,000 --> 02:07:22,000
I don't see how you can lose money when you're filling seats and you're the headliner, right?

1308
02:07:22,000 --> 02:07:26,000
you get paid a lot of money to do this shit.

1309
02:07:27,000 --> 02:07:34,000
You know, it didn't cost him a lot of money for the band - two hundred and fifty dollars.

1310
02:07:34,000 --> 02:07:42,000
per week was our salary before taxes.

1311
02:07:42,000 --> 02:07:50,000
I think I would say everyone was in complete shock.

1312
02:07:50,000 --> 02:08:00,000
It's like you've been married to this woman for ten years and you...

1313
02:08:00,000 --> 02:08:05,000
in love with her, and she says: “I’m leaving you.”

1314
02:08:05,000 --> 02:08:08,000
I mean that was the feeling.

1315
02:08:08,000 --> 02:08:15,000
The big disappointment was that I probably thought we were very successful last year.

1316
02:08:15,000 --> 02:08:21,000
You know, we played in big venues a lot, you know, I mean it just defies some logic.

1317
02:08:21,000 --> 02:08:29,000
but I knew that we would really miss playing music and

1318
02:08:29,000 --> 02:08:35,000
many other things and the camaraderie we had within the group.

1319
02:08:35,000 --> 02:08:45,000
I just think it was wrong to break up the band financially, it was wrong.

1320
02:08:45,000 --> 02:08:57,000
It was wrong for many reasons, and it was wrong for us to admit that we shouldn't have done it because

1321
02:08:57,000 --> 02:09:01,000
we were all equal partners, but we considered it necessary to do it and therefore we did it.

1322
02:09:27,000 --> 02:09:36,000
Yes, it's a positive invention that fans regret to this day.

1323
02:09:36,000 --> 02:09:43,000
Zappa dissolved mother's invention Jimmy Carl Black drummer his line in it if

1324
02:09:43,000 --> 02:09:49,000
we'd stick together, look how big we could be, look at the Grateful Dead, maybe they

1325
02:09:49,000 --> 02:09:51,000
could have become the Grateful Dead.

1326
02:09:51,000 --> 02:09:56,000
Zappa was the boss, and bosses have a habit of when things don't go well.

1327
02:09:56,000 --> 02:10:02,000
looking at the bills and deciding that they would let some people go, and that was indeed the case

1328
02:10:02,000 --> 02:10:05,000
The mother of invention received it and he said that he feels sick when he hears

1329
02:10:05,000 --> 02:10:12,000
news because they thought they had a stable income, they were safe, they were doing something

1330
02:10:12,000 --> 02:10:17,000
they liked it, everything was working, and suddenly Zappa says there are no more salaries, that's all

1331
02:10:17,000 --> 02:10:19,000
I'll go alone.

1332
02:10:19,000 --> 02:10:28,000
Frank Zappa was only interested in one artist, Frank Zappa broke up the early band the Mothers.

1333
02:10:28,000 --> 02:10:34,000
invention, he left Frank Zappa as a permanent element in the next version of Mothers

1334
02:10:34,000 --> 02:10:41,000
invention in the end there were no more mothers of inventions left, only Frank Zappa Frank remained

1335
02:10:41,000 --> 02:10:47,000
Zappa was the act that interested him most, the mothers of invention were the walkers

1336
02:10:47,000 --> 02:10:48,000
stone.

1337
02:10:48,000 --> 02:10:52,000
These were the best musicians he played with, although there weren't many of them.

1338
02:10:52,000 --> 02:10:58,000
I know how many line outputs between 65 and 68 were taken in total, these were the best musicians

1339
02:10:58,000 --> 02:11:02,000
with whom he has ever played, and although Frank Zappa is much more than any of these musicians

1340
02:11:02,000 --> 02:11:07,000
was responsible for the mothers' success musically, artistically and commercially

1341
02:11:07,000 --> 02:11:14,000
and everything else that mothers needed, these specific incarnations of mothers

1342
02:11:14,000 --> 02:11:18,000
were necessary to make the music as good as it was. I don't think he ever returned

1343
02:11:18,000 --> 02:11:24,000
that I think he should have at least tried to keep the core together with Bank Gardner

1344
02:11:24,000 --> 02:11:33,000
Don Preston, Jimmy Carl, Black, Roya Strada, Ray Collins, if possible, we will probably add them as needed.

1345
02:11:33,000 --> 02:11:40,000
but there is a synergy in these recordings that neither Frank nor

1346
02:11:40,000 --> 02:11:49,000
Subsequent recordings by Zappa or other groups who tried to unify avant-garde rock

1347
02:11:49,000 --> 02:11:52,000
comedy and social commentary.

1348
02:11:52,000 --> 02:11:56,000
Despite the band's breakup, Zappa released two more albums of his work.

1349
02:11:56,000 --> 02:12:01,000
a sandwich with burnt sausage and caresses tore my flesh.

1350
02:12:01,000 --> 02:12:04,000
In subsequent years, all original members worked with Frank again on various projects.

1351
02:12:04,000 --> 02:12:09,000
projects and Zappa continued to reform the Mothers with other musicians.

1352
02:12:09,000 --> 02:12:15,000
John, however, was an influential pioneer, creative or naturally comical, like the original mothers

1353
02:12:15,000 --> 02:12:20,000
inventions.

1354
02:12:20,000 --> 02:12:26,000
I had a good time with these guys. It was a pleasure to play in the best band in

1355
02:12:26,000 --> 02:12:34,000
world in the 60s and I will always think we were the best band in the world, no one

1356
02:12:34,000 --> 02:12:36,000
the lever convinced me otherwise.

1357
02:13:04,000 --> 02:13:11,000
.

1358
02:13:34,000 --> 02:13:41,000
.