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1
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It works Iike this.
If you take any kind of a meIody,
2
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I don't care if it's Hawaiian music,
or whatever it is,
3
00:00:37,897 --> 00:00:40,866
and you pIay it with a Fuzztone guitar
and a certain kind of a drum beat,
4
00:00:40,967 --> 00:00:42,366
peopIe wiII caII it rock 'n' roII.
5
00:00:42,469 --> 00:00:45,996
But what you got is a Hawaiian song,
so how are you going to categorise it?
6
00:00:56,850 --> 00:00:59,785
He took different styles of music,
put them together,
7
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and pointed out that
8
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there aren't really rules about them,
you know.
9
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They've been set up,
but we don't have to abide by them.
10
00:01:33,920 --> 00:01:36,388
He established a category of his own.
11
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You know, ''Zappa''.
12
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That's the way l saw him, as a composer.
13
00:01:42,262 --> 00:01:45,527
Not necessarily
of one or another kind of music,
14
00:01:45,632 --> 00:01:47,327
but he wrote all the time.
15
00:02:16,763 --> 00:02:20,164
lt was the harmony, the instrumentation,
16
00:02:20,266 --> 00:02:24,726
the sheer force of the personalities
of the people who played it,
17
00:02:24,837 --> 00:02:27,067
including humour, a lot of humour.
18
00:02:45,024 --> 00:02:48,425
He was completely ahead of his time.
19
00:02:48,528 --> 00:02:50,962
Years, decades ahead of his time.
l think his...
20
00:02:51,064 --> 00:02:53,897
Even now, l think his music
is still ahead of its time.
21
00:02:54,000 --> 00:02:58,835
Frank Zappa was the
mad scientist of music, period.
22
00:02:58,972 --> 00:03:01,440
He was the Mozart of the 20th century.
23
00:03:02,909 --> 00:03:04,672
He was a free thinker,
24
00:03:05,044 --> 00:03:07,604
and he was... He had an incredible intellect.
25
00:03:07,880 --> 00:03:11,213
He was a very quiet person
26
00:03:12,185 --> 00:03:14,016
who really put everything into his work.
27
00:03:14,120 --> 00:03:19,251
So in that way it was almost like
having a monk for a father.
28
00:03:19,659 --> 00:03:22,560
A monk with a lust for groupies.
29
00:03:49,889 --> 00:03:52,915
The pairing of Over-Nite Sensation
and Apostrophe,
30
00:03:53,026 --> 00:03:56,860
which is inevitable, because they were
essentially made at the same time
31
00:03:56,963 --> 00:03:58,954
with most of the same musicians,
32
00:03:59,299 --> 00:04:02,063
it's really a turning point for him,
because at that point,
33
00:04:02,168 --> 00:04:06,537
he really connected with an audience
that stayed with him for the rest of his life.
34
00:04:06,639 --> 00:04:09,699
He was playing the guitar amazingly,
35
00:04:10,076 --> 00:04:12,476
he was singing, he was funny,
36
00:04:12,979 --> 00:04:15,914
he was sarcastic, he was right-on,
37
00:04:16,182 --> 00:04:19,845
the music was, you know, unique.
38
00:04:39,105 --> 00:04:43,508
When you listen to his music,
and you listen to the way it's produced,
39
00:04:43,609 --> 00:04:47,443
and the things that are being done,
you realise, there are no boundaries for him.
40
00:04:47,547 --> 00:04:50,107
He just completely
wanted to do nothing more
41
00:04:50,216 --> 00:04:53,117
than to just engulf himself in his art.
42
00:04:53,720 --> 00:04:56,154
He made the music for himself,
43
00:04:56,823 --> 00:04:58,916
and if everybody else liked it,
that was great.
44
00:04:59,025 --> 00:05:02,426
l played those songs over and over,
45
00:05:02,695 --> 00:05:06,324
and it was like discovering,
46
00:05:07,233 --> 00:05:10,828
in a different way, that your father
was the coolest person on the planet.
47
00:05:10,937 --> 00:05:14,373
My first recommendation to anybody,
who hasn't heard Frank's music is,
48
00:05:14,474 --> 00:05:16,908
listen to Apostrophe and
Over-Nite Sensation,
49
00:05:17,009 --> 00:05:19,409
because it has everything
you could ever want.
50
00:05:19,512 --> 00:05:24,449
lt's got the rock, jazz, funk,
the attitude and the humour, all at once.
51
00:05:31,524 --> 00:05:32,855
l started writing
52
00:05:34,026 --> 00:05:37,052
so called ''serious music'',
or non-rock 'n' roll music,
53
00:05:37,930 --> 00:05:39,659
about the time l was 1 4,
54
00:05:39,766 --> 00:05:42,166
and l didn't write anything
that even resembled rock 'n' roll,
55
00:05:42,268 --> 00:05:44,099
or rhythm and blues until l was 20.
56
00:05:44,203 --> 00:05:46,569
l liked Var�se's music
from the minute that l heard it,
57
00:05:46,672 --> 00:05:50,938
and l just thought
that it was beautiful, you know.
58
00:05:51,043 --> 00:05:53,910
And l couldn't understand it when
my mother would start screaming at me
59
00:05:54,013 --> 00:05:56,709
to take it in the other room, because
it bothered her while she was ironing,
60
00:05:56,816 --> 00:05:58,477
and l always said, ''But listen to the siren.''
61
00:06:09,095 --> 00:06:13,122
He just comes from so many different areas
and mixes it aII together.
62
00:06:13,232 --> 00:06:17,032
You've got the Var�se influence
and the Stravinsky influence,
63
00:06:17,136 --> 00:06:20,037
and you've got the old R&B
and the doo-wop influence.
64
00:06:20,139 --> 00:06:23,905
Anybody whose influences are
Johnny 'Guitar' Watson and Edgar Var�se,
65
00:06:24,944 --> 00:06:25,933
l'll sign up.
66
00:06:26,279 --> 00:06:28,406
From the first time l met him,
all the way through,
67
00:06:28,514 --> 00:06:32,644
he was always writing music
or drawing music,
68
00:06:33,219 --> 00:06:34,618
or playing music.
69
00:06:34,987 --> 00:06:37,455
When you start to
look at his career in perspective,
70
00:06:37,557 --> 00:06:40,526
you get this incredible sense of...
71
00:06:40,626 --> 00:06:43,026
He was way beyond a man on a mission.
72
00:06:43,329 --> 00:06:44,387
l don't know how he did it,
73
00:06:44,497 --> 00:06:48,228
he wrote so much music and he got
so many great musicians to play on it
74
00:06:48,334 --> 00:06:51,929
and he somehow found a way to pay for it,
75
00:06:52,038 --> 00:06:54,734
and owned all of his master tapes.
76
00:06:54,841 --> 00:06:58,140
You know, I aIways knew that I Iived
with a composer, who IuckiIy
77
00:06:58,511 --> 00:07:00,604
was abIe, through rock 'n' roII,
78
00:07:01,047 --> 00:07:02,571
to be abIe to afford his habit,
79
00:07:02,682 --> 00:07:05,879
which was writing music,
writing dots on paper.
80
00:07:06,352 --> 00:07:09,515
The facility to write these charts,
81
00:07:09,622 --> 00:07:13,217
and to conduct like he did...
82
00:07:13,960 --> 00:07:16,952
When we recorded Freak Out!,
when I got to the session,
83
00:07:17,129 --> 00:07:20,565
there were aII these, you know,
first-caII studio musicians.
84
00:07:21,400 --> 00:07:25,200
There was some extra percussion, and there
was a French horn, and who knows what.
85
00:07:25,304 --> 00:07:29,240
Comes time to record
and Frank steps on a podium, of aII things,
86
00:07:29,342 --> 00:07:32,038
and he conducts these guys,
with the certainty of...
87
00:07:32,144 --> 00:07:33,941
I mean, this guy couId reaIIy do it.
88
00:07:34,046 --> 00:07:36,844
So l said, ''Where'd you
learn all this stuff, man?''
89
00:07:37,583 --> 00:07:39,813
He says, ''Oh, l went to the library.''
90
00:08:10,550 --> 00:08:13,678
He grew up as a teenager
seeing things like McCarthyism
91
00:08:14,020 --> 00:08:18,514
and, you know, seeing the civil rights
disputes all over the country.
92
00:08:18,991 --> 00:08:21,357
And, you know, the somewhat
United States of America
93
00:08:21,460 --> 00:08:23,018
was not what they were telling you.
94
00:08:56,195 --> 00:08:57,685
The guy was so on it.
95
00:08:58,164 --> 00:08:59,961
For me it had reaI purchase.
96
00:09:00,199 --> 00:09:03,134
And you know, he was right at the time,
I mean, that's for darn sure,
97
00:09:03,235 --> 00:09:06,727
I mean, Iike, what he was putting down,
that was part of the deaI.
98
00:09:07,506 --> 00:09:11,442
lt wasn't just getting up there and playing,
you know, guitar instrumentals.
99
00:09:11,711 --> 00:09:14,646
That's why he called himself,
an American composer,
100
00:09:14,780 --> 00:09:16,941
because his work as a composer,
101
00:09:17,049 --> 00:09:20,109
his work as a performer,
guitarist and band leader,
102
00:09:20,219 --> 00:09:22,517
it was all based on this notion
103
00:09:22,622 --> 00:09:24,783
that he had the right to say what he wanted,
104
00:09:24,890 --> 00:09:26,915
when he wanted and how he wanted.
105
00:09:27,026 --> 00:09:30,894
He didn't just slap down the establishment,
he slapped down the hippies.
106
00:09:30,997 --> 00:09:35,127
He slapped down the phoney hippies...
Everybody was fair game.
107
00:09:35,701 --> 00:09:39,159
That's what l liked,
was the fact that l was fair game.
108
00:09:39,839 --> 00:09:41,807
You know, he never really chose a side.
109
00:09:41,907 --> 00:09:46,207
The residency at the Garrick in 1967
was crucial,
110
00:09:46,345 --> 00:09:49,678
because it gave him a laboratory
111
00:09:49,782 --> 00:09:53,445
to work on not just the music itself,
112
00:09:53,552 --> 00:09:56,646
but the notion of performance,
and interacting with the crowd.
113
00:09:56,956 --> 00:10:00,619
l was stunned to see a couple of kettledrum
on stage for a rock concert.
114
00:10:00,726 --> 00:10:03,695
You just never saw that. And a vibraphone,
115
00:10:03,996 --> 00:10:07,227
and just again,
the strangest-looking people l'd ever seen,
116
00:10:07,933 --> 00:10:09,628
making beautiful music.
117
00:10:41,167 --> 00:10:44,694
The way that Frank had
put the show together and the way...
118
00:10:45,204 --> 00:10:48,503
lt had the different elements,
but it was just a feel about the show.
119
00:10:48,607 --> 00:10:49,596
lt was extremely creative,
120
00:10:49,709 --> 00:10:52,803
it wasn't a rock 'n' roll show,
it wasn't a pop show, it wasn't...
121
00:10:52,912 --> 00:10:54,402
lt was just music.
122
00:11:24,677 --> 00:11:27,043
Frank's soIos were Iike sonic scuIptures.
123
00:11:27,146 --> 00:11:28,636
He never did the same thing twice,
124
00:11:28,748 --> 00:11:32,206
unless it was a particular melody line
that was integral to the song.
125
00:12:04,784 --> 00:12:08,015
The one thing that's been consistent
about the aIbums that I've put out
126
00:12:08,120 --> 00:12:11,055
is that each one
appears to go in a different direction.
127
00:12:11,157 --> 00:12:15,184
But if you look a little bit closer,
it's all part of one continuous whole,
128
00:12:15,528 --> 00:12:17,689
and that's the way it's designed.
129
00:12:17,797 --> 00:12:20,265
People don't
130
00:12:22,168 --> 00:12:25,160
always concentrate on his musicianship.
131
00:12:26,372 --> 00:12:30,672
There's a lot of talk about his bands,
you know, over the years.
132
00:12:30,810 --> 00:12:34,177
What great musicians he had in his bands.
133
00:12:34,680 --> 00:12:37,376
But a lot of times he's overlooked
as the sort of centre of that.
134
00:12:37,483 --> 00:12:40,850
First of all, you don't have great musicians
like that if they don't respect you.
135
00:12:41,287 --> 00:12:44,745
The band for Over-Nite Sensation
was put together,
136
00:12:45,991 --> 00:12:48,926
and they were touring in the early part of '73
137
00:12:49,028 --> 00:12:51,519
and then they went into the studio
and recorded those records.
138
00:12:51,630 --> 00:12:54,064
We'd worked stuff on the road
and we worked stuff in rehearsal.
139
00:12:54,166 --> 00:12:56,430
l mean, rehearsals were intense and,
140
00:12:56,869 --> 00:12:59,429
you know, five days a week,
you know, six hours a day,
141
00:12:59,538 --> 00:13:02,871
and so when the band went on the road,
we were ready to go.
142
00:13:05,110 --> 00:13:07,738
Probably some of the most fun
l've ever had in my life
143
00:13:07,847 --> 00:13:09,747
was being on the road with Frank.
144
00:13:42,815 --> 00:13:44,510
We had aIready become a band.
145
00:13:44,617 --> 00:13:47,245
l mean, we had been on the road playing,
and so all of a sudden
146
00:13:47,353 --> 00:13:49,981
we knew instinctively what Frank wanted.
147
00:13:50,089 --> 00:13:53,115
All the stuff we did for Over-Nite Sensation,
148
00:13:53,225 --> 00:13:54,988
l think we knew everything.
149
00:13:55,394 --> 00:13:56,520
l don't think we worked anything out
150
00:13:56,629 --> 00:13:58,221
in the studio at the time.
151
00:13:58,631 --> 00:14:01,759
lt's kind of funny, 'cause l hear it now,
and it reminds me, almost,
152
00:14:01,867 --> 00:14:08,272
of some of the guitar stylings
of Mark Knopfler, on SuItans of Swing.
153
00:14:14,246 --> 00:14:17,010
These kind of little licks,
and it's a little unusual for Frank,
154
00:14:17,116 --> 00:14:18,515
those little phrases.
155
00:14:33,832 --> 00:14:37,928
Over-Nite Sensation was
musically very appealing to me.
156
00:14:38,037 --> 00:14:39,902
l mean, it was like... lt was like, you know,
157
00:14:40,005 --> 00:14:43,805
Frank was a little jazz-oriented,
but it was also rock and roll,
158
00:14:43,909 --> 00:14:46,742
and it, like, blended that really nice.
l always liked that about that.
159
00:14:46,845 --> 00:14:49,040
He had an abiIity to
160
00:14:50,015 --> 00:14:53,883
write a song
fiIIed with so much information.
161
00:14:53,986 --> 00:14:56,045
You know, he really looked at
using a rock band
162
00:14:56,155 --> 00:14:57,884
in the same way that
he would use an orchestra.
163
00:15:09,468 --> 00:15:12,528
See, in there,
you can hear a little bit of violin,
164
00:15:12,638 --> 00:15:14,697
which you wouldn't normally hear.
165
00:15:14,807 --> 00:15:17,571
lt's melted together within the horns.
166
00:15:19,378 --> 00:15:20,936
Another great texture idea
167
00:15:21,046 --> 00:15:24,846
that Frank was so brilliant at
with his arrangements.
168
00:15:32,725 --> 00:15:34,784
There's a little violin again.
169
00:15:35,294 --> 00:15:38,559
He got the most action
out of the least number of guys,
170
00:15:38,664 --> 00:15:41,132
and he's got George there
with the synthesizer,
171
00:15:41,734 --> 00:15:44,225
who can sort of fill a million roles.
172
00:15:44,403 --> 00:15:47,964
lt was a young instrument then,
but still it would blend with brass.
173
00:15:58,751 --> 00:16:00,719
When you sit down to learn this stuff,
174
00:16:00,819 --> 00:16:03,185
you just are constantly amazed, thinking,
175
00:16:03,722 --> 00:16:05,087
''Wow, l didn't even know that was in there.''
176
00:16:05,190 --> 00:16:07,852
And if you take it out,
that's the thing that really made it
177
00:16:07,960 --> 00:16:11,225
have that special thing,
that he would call, ''the eyebrows''.
178
00:16:13,699 --> 00:16:17,567
So, this is a great sort
of counterpoint-type thing,
179
00:16:17,669 --> 00:16:20,832
where you have a call-and-response answer,
180
00:16:21,740 --> 00:16:25,608
and this special
181
00:16:26,678 --> 00:16:29,704
vibraphone mysterioso chord
182
00:16:30,449 --> 00:16:32,679
is so brilliant in there.
183
00:16:33,218 --> 00:16:34,845
lf you go back, Joe,
184
00:16:35,521 --> 00:16:38,786
and l pull that out,
it'll have a completely different feel.
185
00:16:38,891 --> 00:16:40,586
lt'll still sound good,
186
00:16:40,692 --> 00:16:43,786
but when l add it back in, the texture...
187
00:16:55,741 --> 00:16:59,074
lt's very science fiction,
188
00:16:59,812 --> 00:17:01,473
TwiIight Zone,
189
00:17:04,083 --> 00:17:08,679
but, you know, you really can't point
to too many other songs
190
00:17:09,822 --> 00:17:14,486
or too many other musicians
who had the ability to write that way
191
00:17:14,593 --> 00:17:16,686
and include those things in their songs.
192
00:17:16,829 --> 00:17:23,132
Frank had this very exquisitely delicate
193
00:17:23,602 --> 00:17:27,003
approach at times to orchestration.
194
00:17:27,806 --> 00:17:30,297
You know,
whether it was with the rock band,
195
00:17:30,409 --> 00:17:33,776
or with an orchestra,
he can be very delicate.
196
00:17:35,280 --> 00:17:36,747
And the same thing with his guitar playing.
197
00:17:36,849 --> 00:17:40,341
But at the same time,
he can be tremendously visceral.
198
00:17:42,354 --> 00:17:47,223
So what we're hearing now
is Frank's solo all by itself.
199
00:17:47,326 --> 00:17:50,818
And you can hear
the little wah-wah action going on, but it's...
200
00:17:51,964 --> 00:17:54,558
lt's not the kind that you would hear like on
201
00:17:54,766 --> 00:17:58,133
you know, Super FIy or Shaft.
202
00:17:58,237 --> 00:18:00,569
You know, he's using it as a really...
203
00:18:00,672 --> 00:18:03,368
Just a notch filter to give it some character.
204
00:18:04,276 --> 00:18:05,368
Real honky.
205
00:18:08,847 --> 00:18:11,975
He did that a lot. He used to like to have
that real mid-rangy sound.
206
00:18:12,084 --> 00:18:15,485
He had specific EQs built into his guitar,
207
00:18:15,587 --> 00:18:20,024
that allowed him to get exactly
the right mid-range frequencies
208
00:18:20,125 --> 00:18:22,685
to cut through the particular arrangement.
209
00:18:23,028 --> 00:18:27,226
His guitar playing, a lot of the times,
sounded like razor blades,
210
00:18:28,066 --> 00:18:30,261
you know, especially when he played an SG.
211
00:19:03,068 --> 00:19:06,834
Coming up, we're gonna hear
the crazy vocal of Ricky Lancelotti.
212
00:19:07,206 --> 00:19:09,231
Really an interesting guy.
213
00:19:09,675 --> 00:19:12,235
Ricky was reaIIy crazy.
214
00:19:12,344 --> 00:19:15,973
And Frank found these characters
I don't know where,
215
00:19:16,081 --> 00:19:17,480
but he wouId find these peopIe
216
00:19:17,583 --> 00:19:20,347
and bring them in and they wouId
do just the most incredibIe thing.
217
00:19:46,345 --> 00:19:48,472
lt's just funny to hear the lkettes
218
00:19:48,714 --> 00:19:50,409
under these circumstances.
219
00:19:55,254 --> 00:19:59,020
Well, you know what's so great though, is...
220
00:19:59,124 --> 00:20:01,820
Just what Frank makes them sing,
you know.
221
00:20:02,227 --> 00:20:06,561
Just the words on this one
and other songs they ended up singing on,
222
00:20:06,665 --> 00:20:08,462
you know, on other records.
223
00:20:08,600 --> 00:20:09,828
It's just...
224
00:20:10,035 --> 00:20:15,473
lt's just so funny to hear
what is the ''soul sister'',
225
00:20:15,574 --> 00:20:18,202
like the epitome of that sound,
226
00:20:18,310 --> 00:20:22,713
but singing about this monster,
this Zomby Woof.
227
00:20:22,814 --> 00:20:25,339
And the whole part that didn't get used.
228
00:20:25,450 --> 00:20:27,714
''Don't bite me! Don't kick me!''
229
00:20:28,587 --> 00:20:29,849
lt's just funny.
230
00:20:29,955 --> 00:20:31,479
Well, l was quite surprised, you know,
231
00:20:31,590 --> 00:20:33,455
when l went to the studio
232
00:20:33,659 --> 00:20:36,025
and he says,
''Napoleon, this is Tina Turner.''
233
00:20:36,128 --> 00:20:38,187
And l said, ''Oh, great. How're you doing?''
234
00:20:38,297 --> 00:20:40,993
''You know, and she's gonna be singing
with you.'' And l went, ''Oh, really?''
235
00:20:41,099 --> 00:20:44,830
Bolic Sound is where we did those tracks
and you know,
236
00:20:45,537 --> 00:20:48,529
that was lke Turner's studio, and...
237
00:20:49,107 --> 00:20:51,371
Yeah, l remember it kind of being funky.
238
00:20:53,879 --> 00:20:55,676
Yeah, l remember that place.
239
00:20:57,082 --> 00:20:59,175
l almost don't know
what to say about that, you know.
240
00:20:59,284 --> 00:21:01,650
That's 30 years ago. That's like a haze.
241
00:21:01,753 --> 00:21:04,847
But overall, l can remember spending hours.
242
00:21:05,190 --> 00:21:09,058
The main thing is
we not only rehearsed for hours,
243
00:21:09,261 --> 00:21:10,922
but we recorded for hours.
244
00:21:11,029 --> 00:21:13,896
There were no limits
and there were no restrictions.
245
00:21:14,266 --> 00:21:17,963
He was willing to try whatever
was necessary to get the sound.
246
00:21:18,203 --> 00:21:21,764
And that's kind of the way it worked,
every day around the cIock.
247
00:21:21,973 --> 00:21:24,134
And rehearsaIs were pretty much
the same way.
248
00:21:24,242 --> 00:21:27,939
I mean, this was a commitment.
This was not, Iike, you just joined a band
249
00:21:28,046 --> 00:21:30,480
and, ''I'II see you guys next week
when we're on tour. ''
250
00:21:30,582 --> 00:21:32,277
You joined a band and you...
251
00:21:32,384 --> 00:21:36,218
This was a serious commitment,
a commitment to excellence.
252
00:22:10,922 --> 00:22:14,858
lf you try and sing a complicated text...
253
00:22:14,960 --> 00:22:16,291
l mean, a complicated text
254
00:22:16,395 --> 00:22:20,195
is not a collection of words
that are readily apparent, you know.
255
00:22:20,298 --> 00:22:23,597
lf you start talking about ''the leaves'',
''the love'', ''baby'', those things,
256
00:22:23,702 --> 00:22:25,670
words you've already heard a million times,
257
00:22:25,771 --> 00:22:27,466
the text doesn't matter,
258
00:22:27,572 --> 00:22:31,474
because you can take those words
and sing them melismatically.
259
00:22:31,576 --> 00:22:32,873
You know, turn them all over the place
260
00:22:32,978 --> 00:22:35,538
and people can still follow
the contour of the idea.
261
00:22:35,647 --> 00:22:37,410
But if you're talking about
262
00:22:39,251 --> 00:22:42,812
concepts, or using phrases
which are unfamiliar,
263
00:22:43,955 --> 00:22:46,890
it's hard to get that information across
264
00:22:47,025 --> 00:22:49,721
if you're singing elaborate musical lines
at the same time.
265
00:22:49,828 --> 00:22:52,296
I do that every once in a whiIe
just to be nasty,
266
00:22:52,397 --> 00:22:57,596
but most of the time, if the idea
is out there somepIace, I try and taIk it.
267
00:23:35,307 --> 00:23:40,074
You have to think about what's going on
sociaIIy at the time, you know, in the worId.
268
00:23:40,178 --> 00:23:41,736
And l think that's why
269
00:23:41,847 --> 00:23:46,147
a lot of focus and interest
in transcendental meditation,
270
00:23:46,251 --> 00:23:47,513
maybe Maharishi.
271
00:23:47,619 --> 00:23:49,678
Don't trust anybody who's that short,
272
00:23:49,788 --> 00:23:53,781
and who tries to go through customs
with $80,000 worth of wristwatches.
273
00:24:31,663 --> 00:24:35,326
You know, maybe that's why people think
that there's a lot of affection,
274
00:24:35,433 --> 00:24:37,264
and that's Frank, that's him.
275
00:24:37,369 --> 00:24:41,635
You know, it's nothing cute about it.
He'd... He changes his character to do that.
276
00:24:42,574 --> 00:24:44,701
Frank's voice is excellent on that.
277
00:24:45,243 --> 00:24:47,040
l just love his tone.
278
00:24:47,279 --> 00:24:49,144
If you're gonna have to write words
to a song
279
00:24:49,247 --> 00:24:51,647
and you don't identify
with most of the rest of the Iyrics
280
00:24:51,750 --> 00:24:53,274
that are coming out, you know...
281
00:24:53,385 --> 00:24:57,583
Writing songs about how the Ieaves
feII down so niceIy on that October day,
282
00:24:57,689 --> 00:24:59,384
and then the wind bIew them and then the...
283
00:24:59,491 --> 00:25:02,824
lt rained and then you fell in love,
your heart broke and then
284
00:25:02,928 --> 00:25:04,418
stuff came out the side of your mouth,
285
00:25:04,529 --> 00:25:07,191
because you were lonely
and that kind of stuff.
286
00:25:07,832 --> 00:25:09,390
That's not my idea of a good time.
287
00:25:09,501 --> 00:25:10,695
So, if l have to write lyrics
288
00:25:10,802 --> 00:25:14,033
because people like to hear
the human voice attached to instruments,
289
00:25:14,139 --> 00:25:15,868
l'll write about things that interest me
290
00:25:15,974 --> 00:25:18,875
and have an honest reflection
of my point of view.
291
00:25:19,044 --> 00:25:23,811
So, l'll tell them the same way l feel.
l think gurus bite it.
292
00:25:33,091 --> 00:25:34,490
These vocals didn't make the record.
293
00:25:38,930 --> 00:25:42,696
Frank could play the blues with the best.
His technique was excellent.
294
00:25:42,901 --> 00:25:47,031
And he was very creative as a guitarist.
I mean, I Ioved pIaying behind Frank.
295
00:26:23,008 --> 00:26:24,339
We'd come back from dinner or something
296
00:26:24,442 --> 00:26:27,468
and he'd sit down
and just blow you away with
297
00:26:28,413 --> 00:26:30,938
you know, riffs, or something, or a concept.
298
00:26:31,483 --> 00:26:35,249
And you'd stand back and go,
''How does that guy think of all of that?''
299
00:26:35,420 --> 00:26:39,720
Frank just had an ear for writing
a really hooky, great riff.
300
00:26:39,824 --> 00:26:42,190
l mean, take a song like
301
00:26:42,894 --> 00:26:46,921
one of his more simplified songs,
like I am the SIime.
302
00:27:30,842 --> 00:27:32,434
It's about teIevision.
303
00:27:33,044 --> 00:27:35,376
But it's about teIevision in a specific way.
304
00:27:35,480 --> 00:27:39,075
It's about how you are being manipuIated.
305
00:27:39,184 --> 00:27:42,415
And you are just so wantonly open
306
00:27:42,520 --> 00:27:44,545
for any suggestion
307
00:27:44,956 --> 00:27:47,322
that's coming off of that television.
308
00:27:47,559 --> 00:27:49,584
And people view TV
309
00:27:49,694 --> 00:27:52,595
the way they view print material,
like newspapers.
310
00:27:52,897 --> 00:27:55,127
lf you read it, it must be real,
311
00:27:55,366 --> 00:27:58,631
and if they tell it to you on TV,
it must be real.
312
00:28:45,083 --> 00:28:48,985
It seemed Iike he was aIways at work,
you know, even when we were, you know,
313
00:28:49,087 --> 00:28:52,784
on the aeropIane or on a bus
or waiting at the airport or whatever.
314
00:28:52,891 --> 00:28:56,486
I mean, he was... There was aIways
something going on in his mind
315
00:28:56,761 --> 00:29:00,424
as to what is the next thing going to be,
you know, and...
316
00:29:00,799 --> 00:29:04,166
And he did like to document things.
317
00:29:04,602 --> 00:29:08,732
So, just about everything that l think we did
was recorded in some fashion or another.
318
00:29:08,940 --> 00:29:12,205
I try and remember which concerts
I Iiked out of the tour.
319
00:29:12,710 --> 00:29:13,972
And I Iisten to those first
320
00:29:14,078 --> 00:29:16,945
and then I find the parts of the concerts
that I think are exceptionaI
321
00:29:17,048 --> 00:29:19,414
and I cut those out, and make a buiId reeI
322
00:29:19,517 --> 00:29:23,977
and then I go back
and Iisten to parts of other concerts
323
00:29:24,088 --> 00:29:28,422
that I think might have contained
individuaI, wonderfuI events.
324
00:29:28,626 --> 00:29:29,991
And then l keep collating this
325
00:29:30,094 --> 00:29:34,428
and l have one section of tapes,
that are just accumulation reels.
326
00:29:34,866 --> 00:29:37,061
So he always lived in, sort of,
327
00:29:37,168 --> 00:29:41,161
an ocean of projects
that were in a circle around him,
328
00:29:41,406 --> 00:29:43,840
you know, that he could just pick up
that tape over there
329
00:29:43,942 --> 00:29:47,537
and when he was, you know,
not interested in this thing any more,
330
00:29:47,645 --> 00:29:51,012
he just couldn't think about it any more, and
then he'd start working on something else.
331
00:29:51,115 --> 00:29:52,776
So, lot of things got...
332
00:29:52,884 --> 00:29:55,682
Well, it was a winnowing process
in many ways,
333
00:29:55,954 --> 00:29:59,151
but a lot of things got moved
from one project to another.
334
00:29:59,858 --> 00:30:03,294
There was always so much, always.
He was never at rest.
335
00:30:03,394 --> 00:30:05,692
There was always more and more
and more music.
336
00:30:05,797 --> 00:30:09,665
And once the music was done,
it didn't stop there.
337
00:30:09,968 --> 00:30:11,959
For another tour,
he wouId take that same piece
338
00:30:12,070 --> 00:30:13,367
and pIay it compIeteIy differentIy.
339
00:30:13,471 --> 00:30:17,771
Like St Alfonzo's Pancake Breakfast
got more and more and more eIaborate,
340
00:30:17,909 --> 00:30:21,640
as we did more and more shows
and he added more and more parts to it.
341
00:30:21,880 --> 00:30:23,404
So it was over a period of time.
342
00:30:23,514 --> 00:30:26,449
lt wasn't written just
the way it appeared on the album.
343
00:30:29,687 --> 00:30:32,383
This is just such a classic Frank line
344
00:30:32,924 --> 00:30:34,516
written for percussion.
345
00:30:35,526 --> 00:30:37,790
Let's bring in some other instruments.
346
00:30:42,233 --> 00:30:45,498
Some nice Who Are The Brain PoIice?
bass parts,
347
00:30:45,603 --> 00:30:48,595
that really didn't make it to the record
at that level.
348
00:30:59,150 --> 00:31:01,948
See, stuff like that,
if you stop it and go back,
349
00:31:02,253 --> 00:31:04,881
those are the really cool elements that...
350
00:31:04,989 --> 00:31:08,220
lt's almost, like, cartoon-esque,
351
00:31:08,326 --> 00:31:11,386
the way he'll create one phrase,
352
00:31:11,496 --> 00:31:13,828
and talk about it and sing about it in a voice
353
00:31:13,932 --> 00:31:17,698
and then answer it
with this filigree with the musicians.
354
00:31:18,736 --> 00:31:22,672
But it's got a personality and a sense
of humour. lt just brings it to life.
355
00:32:08,586 --> 00:32:12,852
Many of the parts that Frank wrote for me
just suited me perfectIy.
356
00:32:13,257 --> 00:32:17,421
It's the music that I wouId have written
for myseIf, if I had that taIent.
357
00:32:17,528 --> 00:32:19,723
Frank knew how to do that for me.
358
00:32:19,831 --> 00:32:22,231
l think he knew how to do that
for, really, everybody.
359
00:32:22,333 --> 00:32:26,667
There's a piece that was inserted
into the Apostrophe album
360
00:32:26,838 --> 00:32:29,306
as part of St AIfonzo's Pancake Breakfast.
361
00:32:29,407 --> 00:32:33,366
lt's called RoIIo Interior,
and this was the lead sheet that l was given.
362
00:32:33,478 --> 00:32:37,437
And if you can see
that every single chord that's in here
363
00:32:37,548 --> 00:32:42,485
is marked B flat 2, C2, F sharp 2, D flat 2...
Everything is a two-chord.
364
00:32:43,087 --> 00:32:46,648
And what that means to Frank is,
365
00:32:48,026 --> 00:32:51,518
he would take a triad. This is a triad.
366
00:32:51,896 --> 00:32:55,730
A three-part chord
consisting of one, three and five.
367
00:32:55,867 --> 00:32:58,358
The first, third and fifth degree of the scale.
368
00:32:58,469 --> 00:33:00,937
One, two, three, four, five, six, seven, eight.
369
00:33:01,039 --> 00:33:02,734
There's your tonic triad.
370
00:33:03,041 --> 00:33:07,068
He would lose the third
and move it down to the second.
371
00:33:07,412 --> 00:33:09,846
And there is the definitive Zappa sound.
372
00:33:09,947 --> 00:33:11,505
As in, for instance...
373
00:33:15,520 --> 00:33:17,112
All two-chords.
374
00:33:17,488 --> 00:33:21,948
RoIIo does not have one triad in it.
lt's all two chords.
375
00:33:22,493 --> 00:33:27,453
So, that's an example of that, and notice
the absolutely gorgeous manuscript.
376
00:33:28,066 --> 00:33:30,660
l mean, and this was Frank writing it down
as fast as he could.
377
00:34:07,472 --> 00:34:09,064
WeII, three mistakes.
378
00:34:09,307 --> 00:34:11,775
One for each decade
that l've been away from the music
379
00:34:11,876 --> 00:34:13,241
and the instrument.
380
00:34:13,344 --> 00:34:17,474
lt's something that l felt compelled
to learn on guitar, just because
381
00:34:18,616 --> 00:34:21,915
it's so much a part of
Frank's compositional style.
382
00:34:22,019 --> 00:34:26,979
The rhythms, the melody of it,
the way it all comes together
383
00:34:27,091 --> 00:34:31,551
with a sense of humour.
But it's graceful and
384
00:34:31,796 --> 00:34:35,288
it's just difficult as all hell.
385
00:35:17,408 --> 00:35:19,035
l can only say that he was very funny.
386
00:35:19,143 --> 00:35:22,670
My impressions of him, obviously,
were from the point of view of a kid.
387
00:35:22,780 --> 00:35:27,547
So, l found his lyrics to be
very embarrassing.
388
00:35:29,520 --> 00:35:31,886
And the subject matter seemed
to ruffle a lot of feathers.
389
00:35:31,989 --> 00:35:36,983
So, l didn't enjoy the nervous tension
in my stomach if we were in public places.
390
00:35:38,262 --> 00:35:44,326
But he had fans
that were so enthusiastic about him.
391
00:35:44,435 --> 00:35:46,494
And very emotionally so.
392
00:35:47,638 --> 00:35:51,734
And, so l know that was
very important to them and very impactful.
393
00:35:52,076 --> 00:35:57,946
l discovered Frank's music in the middle
of discovering a lot of other things in life.
394
00:35:58,683 --> 00:36:01,083
And it's quite an assault.
395
00:36:01,652 --> 00:36:06,487
l learned about what l would expect to get
396
00:36:06,591 --> 00:36:09,424
if l ever got on the road in a rock band.
397
00:36:09,694 --> 00:36:13,130
lf there's one thing l like, it's erotic activity.
398
00:36:13,698 --> 00:36:15,791
This being the best of all possible worlds,
399
00:36:15,900 --> 00:36:17,629
the rock 'n' roll industry,
ladies and gentlemen,
400
00:36:17,735 --> 00:36:20,568
it affords opportunities for things like that.
401
00:36:20,671 --> 00:36:23,697
Well, my basement may be great
for working on tapes
402
00:36:23,808 --> 00:36:28,404
and cutting film, and sitting there
and planning arcane procedures
403
00:36:28,512 --> 00:36:31,811
over vast 10-year periods and so forth.
404
00:36:33,484 --> 00:36:36,248
lt's not quite the same as going on the road,
you know what l mean?
405
00:36:36,487 --> 00:36:38,614
l think it's fair to say
that everything that Frank wrote
406
00:36:38,723 --> 00:36:43,353
was about his own personal experience
and then some calculated guesswork.
407
00:36:43,628 --> 00:36:46,756
Dinah-Moe Humm is close to my heart
simply because...
408
00:36:49,800 --> 00:36:54,430
l mean, a song about trying
to make a girl come is...
409
00:36:55,006 --> 00:36:58,965
Who wouldn't like that?
And who would write one? You know.
410
00:36:59,243 --> 00:37:01,939
Makes a guy wanna stiffen up his thumb
and use it.
411
00:37:50,161 --> 00:37:55,121
As far as Iyrics go, he knew that
they were something that peopIe Iiked.
412
00:37:56,067 --> 00:37:59,935
It wasn't his favourite.
He Iiked music without Iyrics.
413
00:38:00,037 --> 00:38:01,368
You know, on the one hand you end up
414
00:38:01,472 --> 00:38:03,269
doing a song
Iike Dinah-Moe Humm for instance.
415
00:38:03,374 --> 00:38:09,108
And, that... The horror is that you...
That's, like, the most madly requested one.
416
00:38:09,213 --> 00:38:11,443
And you have to do that
for the rest of your life, you know.
417
00:38:11,549 --> 00:38:13,107
Big mistake.
418
00:38:13,217 --> 00:38:16,186
Oh, be careful about the songs
that become the classics.
419
00:38:16,287 --> 00:38:17,982
He was like, ''Oh my God!''
420
00:38:18,089 --> 00:38:21,684
And then it's too bad it was so long.
lt could've been a shorter one.
421
00:38:21,792 --> 00:38:24,727
And then it would be less painful
to have to do so often.
422
00:38:25,930 --> 00:38:27,989
Okay, here she comes, right here.
423
00:38:47,785 --> 00:38:49,912
This is such a funny concept.
424
00:38:52,022 --> 00:38:55,116
lt's so perfect for the times.
425
00:38:55,292 --> 00:38:59,058
The fact that you gotta get out of it
to get yourself into it.
426
00:38:59,163 --> 00:39:05,295
And, clearly, people have confused that
as a sentiment coming from Frank,
427
00:39:05,403 --> 00:39:07,837
'cause he never was involved
in taking drugs.
428
00:39:07,938 --> 00:39:09,701
He always told people not to take drugs.
429
00:39:10,141 --> 00:39:12,006
Sex and rock 'n' roll.
430
00:39:12,543 --> 00:39:16,912
What was that other word? Drugs? Well,
there was no drugs in Frank Zappa's band.
431
00:39:17,548 --> 00:39:21,416
Over-Nite Sensation
is much more focused on,
432
00:39:24,522 --> 00:39:25,887
well, in many ways, sex.
433
00:39:35,933 --> 00:39:38,527
Lead vocals by Lurch, ladies and gentlemen.
434
00:39:44,942 --> 00:39:48,503
That's still an effect
that can't be created in the digital world.
435
00:39:48,612 --> 00:39:53,777
You can't take a vocal and...
Or an instrument
436
00:39:53,884 --> 00:39:57,752
and record it at a slow speed,
and then pitch it back up,
437
00:39:57,855 --> 00:39:59,982
the way you can with an analogue machine.
438
00:40:31,889 --> 00:40:33,413
Frank caIIed one night and said,
439
00:40:33,524 --> 00:40:35,617
''Do you wanna paint
an aIbum cover for me?''
440
00:40:35,726 --> 00:40:40,493
And then he expIained to me what
the concept was to Over-Nite Sensation.
441
00:40:40,865 --> 00:40:42,924
'Cause he wanted to do a, you know,
442
00:40:43,033 --> 00:40:48,300
a Dutch master painting
with all the symbols being of rock 'n' roll,
443
00:40:48,405 --> 00:40:51,374
and being on the road,
and the two-headed roadie,
444
00:40:51,475 --> 00:40:54,638
you know, and what his
sexual frustrations were.
445
00:40:54,745 --> 00:40:58,306
And the grapefruit was his sexuaI object.
446
00:40:58,549 --> 00:41:03,543
Frank was, you know,
very gifted visuaIIy, artisticaIIy, musicaIIy.
447
00:41:03,687 --> 00:41:07,282
I mean, he was the kind of person
that you couId, you know, bring an idea to,
448
00:41:07,391 --> 00:41:11,384
and, who just jumped on it.
You know, had the gift for doing art.
449
00:41:11,729 --> 00:41:14,391
And had the gift for expanding on the idea.
450
00:41:16,500 --> 00:41:20,061
Frank Zappa's newest LP, Apostrophe!
451
00:41:22,139 --> 00:41:26,508
That's right, you heard right.
With Nanook Rubs lt.
452
00:41:27,411 --> 00:41:30,676
Don't Eat The Yellow Snow,
453
00:41:30,781 --> 00:41:34,376
Cosmik Debris and many more.
454
00:41:34,718 --> 00:41:38,119
Frank Z. and Apostrophe!
455
00:42:14,425 --> 00:42:17,223
You know,
Zappa was such an amazing musician
456
00:42:17,861 --> 00:42:23,697
that he was abIe to bring
aII these amazing musicians around him,
457
00:42:23,801 --> 00:42:26,634
and have a reaI musicaI thing.
458
00:42:27,104 --> 00:42:30,835
Yet, stiII, sort of, you know,
take the piss out of things, or be funny.
459
00:42:30,941 --> 00:42:34,570
Somehow, he managed
with all the intelligence, all the humour,
460
00:42:34,678 --> 00:42:37,340
all the irony,
all the amazing musicianship...
461
00:42:37,448 --> 00:42:39,279
Always managed to not be pretentious.
462
00:42:39,516 --> 00:42:43,282
lt almost gets to this point
where you start saying,
463
00:42:43,387 --> 00:42:46,185
''Exactly what couldn't he do?''
l mean, you look at video.
464
00:42:46,290 --> 00:42:50,590
He was just as innovative in the video area
as he was in the audio area.
465
00:42:50,694 --> 00:42:55,427
There's that... The video, Sledgehammer,
that was so-caIIed innovative.
466
00:42:55,933 --> 00:42:59,096
You know, Peter GabrieI sang
back in '87 or...
467
00:42:59,203 --> 00:43:02,036
Frank did this back 10 years earIier.
468
00:43:41,612 --> 00:43:45,070
The tunes on Over-Nite Sensation
are some of my favourite, they really are.
469
00:43:45,182 --> 00:43:48,777
The introduction to Montana, l mean...
lt was... Ruth and l had this sort of
470
00:43:48,886 --> 00:43:52,219
introduction that we did,
that was always fun to do with her.
471
00:43:52,356 --> 00:43:55,553
And then, dropping
into the groove at the vocal.
472
00:43:55,659 --> 00:44:00,653
You know, just this
contrast of tempo and whatnot.
473
00:44:01,098 --> 00:44:04,534
And then, just the whole lyric of Montana
is just hysterical.
474
00:44:04,635 --> 00:44:06,262
lt's... Nothing like it in the world.
475
00:44:06,370 --> 00:44:08,497
That's one of the all time classics
476
00:44:08,605 --> 00:44:11,768
because that was
like a perfect piece of music.
477
00:45:10,701 --> 00:45:15,195
You know, back in the day,
you know, with jazz, and with this,
478
00:45:15,305 --> 00:45:20,436
this type of rock music that Frank invented,
there was extended soloing.
479
00:45:20,677 --> 00:45:26,172
So artists can get into a space,
where you never get into, in a studio.
480
00:45:26,283 --> 00:45:29,946
You never get into anywhere, except when
you're doing these extended improvisations.
481
00:45:30,053 --> 00:45:32,385
And it's a fugue-like state.
482
00:45:32,890 --> 00:45:36,223
And stuff starts happening.
You're creating in the moment.
483
00:45:36,326 --> 00:45:40,262
His favourite way to compose
was in the moment, with a guitar.
484
00:45:40,464 --> 00:45:44,366
So, you know, you set it up,
you have a really well-rehearsed band.
485
00:45:44,668 --> 00:45:48,604
And the band is happening, and everybody
does what they're supposed to do.
486
00:45:48,705 --> 00:45:51,970
Then you have this moment
which beIongs to you,
487
00:45:52,075 --> 00:45:54,566
and you go
for what they used to joke about.
488
00:45:54,678 --> 00:45:59,672
I remember a conversation
with Frank and Beefheart
489
00:45:59,783 --> 00:46:02,684
where they were
taIking about the perfect note.
490
00:46:02,820 --> 00:46:07,416
And the perfect note is reaIIy the onIy one
491
00:46:07,624 --> 00:46:11,424
that is possibIe to pIay,
that is absoIuteIy correct.
492
00:46:50,500 --> 00:46:56,530
l've always loved artists
who had their own space in this life.
493
00:46:56,773 --> 00:46:59,674
He really embodied
something unique in music.
494
00:46:59,776 --> 00:47:04,008
And l think, in today's world,
495
00:47:04,114 --> 00:47:07,413
which seems to be
musically so homogenised,
496
00:47:08,685 --> 00:47:11,017
almost no chances are ever taken.
497
00:47:11,922 --> 00:47:15,323
Things are based
on the least common denominator.
498
00:47:15,626 --> 00:47:18,720
This guy was way over on the other side.
499
00:47:19,396 --> 00:47:23,765
And l remember one time, he says,
''Alice, either you get it, or you don't get it.''
500
00:47:23,867 --> 00:47:26,665
And the people that got it,
they got it, and they loved it.
501
00:47:26,770 --> 00:47:30,001
And the people that didn't get it,
that's okay, they weren't supposed to.
502
00:47:30,107 --> 00:47:33,099
l don't think that you'd be able to look back,
503
00:47:34,244 --> 00:47:38,078
and lump him in with anybody else.
504
00:47:39,116 --> 00:47:41,084
l think he created a genre.
505
00:47:41,184 --> 00:47:45,848
He just really was very creative and
he enjoyed the process of being creative.
506
00:47:45,956 --> 00:47:48,390
And he didn't feel like
there were any boundaries
507
00:47:48,492 --> 00:47:52,861
that should constrict
what he was able to do.
508
00:48:08,645 --> 00:48:12,979
Almost every person within those bands,
whatever generation you choose,
509
00:48:13,350 --> 00:48:17,980
they were characters in a story
that Frank was orchestrating and writing.
510
00:48:18,255 --> 00:48:22,919
Far in the future,
the music will still be there.
511
00:48:23,026 --> 00:48:26,962
And people will wanna play it.
lt's just so much fun.
512
00:48:27,197 --> 00:48:32,726
He really brought it down to a level
that made it truly accessible to anyone
513
00:48:32,869 --> 00:48:36,327
who took the time to pay attention.
You know?
514
00:48:37,307 --> 00:48:38,331
And it was funny.
515
00:48:38,442 --> 00:48:41,468
To me, absurdity is the only reality.
516
00:50:05,156 --> 00:50:08,057
Basically, it looks like they ran tape
517
00:50:08,693 --> 00:50:12,390
and ran it until they got
their master take of Dirty Love,
518
00:50:12,497 --> 00:50:15,955
which happened about
maybe 1 2 minutes into the reel.
519
00:50:16,067 --> 00:50:19,366
So they rewound the tape
to record Dinah-Moe Humm.
520
00:50:19,470 --> 00:50:22,667
So when Dinah-Moe Humm ends,
this is what happens.
521
00:50:32,083 --> 00:50:36,179
This sounds like
it's a live in-studio band take.
522
00:50:37,054 --> 00:50:40,546
Yeah, you've got the bleed.
Frank singing live in the room.
523
00:51:18,596 --> 00:51:22,896
There's a certain point when he says
that he wants them to play it faster.
524
00:51:23,000 --> 00:51:26,128
Yeah, it's coming up,
because this take is going to end,
525
00:51:27,405 --> 00:51:29,771
and then we'll hear some studio chatter.
526
00:51:39,951 --> 00:51:44,752
-Here it comes, the end.
-Almost sounds like that little keyboard part.
527
00:51:49,760 --> 00:51:53,287
That little keyboard part
almost sounds like Staying AIive.
528
00:52:02,306 --> 00:52:05,503
Okay, here we go, here comes the master.
529
00:52:15,853 --> 00:52:17,582
Nice special effect.
530
00:52:29,133 --> 00:52:30,395
Eight and nine.
531
00:52:35,973 --> 00:52:38,567
Lead vocals by Lurch, ladies and gentlemen.
532
00:52:45,683 --> 00:52:48,151
Yeah, you know what's funny?
533
00:52:48,252 --> 00:52:51,619
ls that's still an effect
that can't be created in the digital world.
534
00:52:51,722 --> 00:52:56,682
You can't take a vocal or an instrument
535
00:52:57,328 --> 00:53:01,128
and record it at a slow speed
and then pitch it back up
536
00:53:01,232 --> 00:53:05,259
the way you can with an analogue machine.
There's a certain quality to that
537
00:53:06,137 --> 00:53:07,798
that just can't be achieved
in the digital world.
538
00:53:07,905 --> 00:53:10,533
There's always some sort of artefact
in the digital world
539
00:53:10,641 --> 00:53:12,040
with a harmoniser or something
540
00:53:12,143 --> 00:53:15,010
when you try to
change the register of the instrument.
541
00:53:15,112 --> 00:53:18,206
And so Frank was always doing stuff
542
00:53:18,316 --> 00:53:21,774
in changing the pitch of vocals
and other instruments,
543
00:53:21,886 --> 00:53:24,684
and it's just so funny to... To hear it.
544
00:53:24,789 --> 00:53:28,623
l mean, people on other records did it,
the Beatles did it on a lot of stuff,
545
00:53:28,726 --> 00:53:32,856
but it's funny to hear Frank
with that super-low Lurch voice.
546
00:54:12,603 --> 00:54:13,570
Tina.
547
00:54:20,811 --> 00:54:23,211
They'll come in
on these little answers, yeah?
548
00:54:23,314 --> 00:54:25,077
No, we're in solo land now.
549
00:54:26,717 --> 00:54:29,481
-Solo land.
-l'll go back to the top of the solo.
550
00:54:29,720 --> 00:54:34,657
Where... What tracks is he on for his solo?
On seven and eight?
551
00:54:34,892 --> 00:54:39,727
-Eight and nine.
-Fuzz guitar is five, wah-fuzz guitar is seven.
552
00:54:41,999 --> 00:54:43,057
That's it.
553
00:54:56,614 --> 00:54:59,208
That's a mike
that's further back in the room.
554
00:55:07,091 --> 00:55:08,149
They both are.
555
00:55:23,908 --> 00:55:25,933
That could be the Pignose.
556
00:55:43,961 --> 00:55:48,091
There's this weird sound in there
somewhere, that sounds like a chain.
557
00:55:51,736 --> 00:55:52,896
Roll it back.
558
00:55:54,438 --> 00:55:58,738
lt sounds like
there's some weird percussion thing,
559
00:55:58,843 --> 00:56:03,678
like some dragging of a chain or something.
560
00:56:03,781 --> 00:56:05,715
-That's right, that's right.
-There?
561
00:56:05,816 --> 00:56:07,545
-Right there, yeah.
-l don't know where that is.
562
00:56:07,651 --> 00:56:09,482
l want to hear what that is.
563
00:56:09,587 --> 00:56:12,283
Yeah. l remember hearing that
on the record, too.
564
00:56:15,159 --> 00:56:16,285
-There it is.
-Right there.
565
00:56:18,462 --> 00:56:21,863
-lt's probably their jewellery.
-lt's on the girls' track.
566
00:56:27,238 --> 00:56:28,500
Who knows what.
567
00:56:30,040 --> 00:56:33,066
lt's probably jewellery
and them doing something like this
568
00:56:33,177 --> 00:56:35,645
and it's just being picked up on the mike.
569
00:56:36,647 --> 00:56:39,411
-Well, it made the record, that's for sure.
-Yeah.
570
00:56:44,822 --> 00:56:46,722
Then you hear Frank...
571
00:56:56,934 --> 00:57:00,097
You can hear him in there with his vocal
572
00:57:00,204 --> 00:57:03,230
that's been sped up, with the ladies.
573
00:57:20,758 --> 00:57:21,725
That's it.
574
00:57:32,482 --> 00:57:33,449
Hello.
575
00:57:46,329 --> 00:57:48,126
All right, we're still fixing things here,
576
00:57:48,231 --> 00:57:51,894
and you know, when it's ready to go,
it's ready to go.
577
00:57:52,402 --> 00:57:56,600
ln case you didn't notice, ladies and gents,
we're making a movie here tonight
578
00:57:57,640 --> 00:58:00,200
and it's possible that
later on in the programme,
579
00:58:00,309 --> 00:58:03,039
if we have something like
audience participation,
580
00:58:03,146 --> 00:58:05,239
you'll be illuminated and...
581
00:58:25,301 --> 00:58:28,964
You know, it's really nice
to work in a nightclub, you know.
582
00:58:32,442 --> 00:58:35,741
lt's been so long since l've actually
seen anybody in the audience.
583
00:58:35,845 --> 00:58:40,339
You know, when you play a concert, there's
about 20 yards and it's all black, you know.
584
00:58:40,450 --> 00:58:42,645
But you guys look pretty good.
585
00:58:43,653 --> 00:58:45,120
l'll introduce the members of the group now.
586
00:58:45,221 --> 00:58:47,280
This is Bruce Fowler on trombone.
587
00:58:51,427 --> 00:58:54,021
Napoleon Murphy Brock on tenor sax
588
00:58:56,799 --> 00:58:57,891
and vocals.
589
00:59:00,236 --> 00:59:02,101
Ruth Underwood on percussion.
590
00:59:06,542 --> 00:59:08,134
Ralph Humphry on drums.
591
00:59:11,714 --> 00:59:13,409
Chester Thompson on drums.
592
00:59:16,052 --> 00:59:17,451
Tom Fowler on bass.
593
00:59:19,622 --> 00:59:21,317
George Duke on keyboards.
594
00:59:27,296 --> 00:59:29,059
And l'm Zach Glickman.
595
01:00:28,057 --> 01:00:31,049
We're going to open up
with a song about dental floss.
596
01:00:34,964 --> 01:00:38,365
The name of this song is Montana.
597
01:00:38,901 --> 01:00:41,631
lt tells the poignant tale
598
01:00:42,738 --> 01:00:46,139
of one man's quest
for a horse about this big,
599
01:00:46,475 --> 01:00:48,033
a bush of floss,
600
01:00:48,611 --> 01:00:50,272
the wide open prairie,
601
01:00:50,379 --> 01:00:54,748
and the sincere hope that the
background vocals will be in tune.
602
01:00:58,921 --> 01:00:59,945
All right.
603
01:08:08,755 --> 01:08:10,347
Now there's this one section here
604
01:08:10,456 --> 01:08:13,186
that basically what happens is
it turns into a...
605
01:08:14,027 --> 01:08:17,793
The rest of the reel is blank,
but at the very end of the reel
606
01:08:17,897 --> 01:08:21,333
we find a section of Nanook Rubs It
607
01:08:21,434 --> 01:08:25,029
that was razor-bladed out
and put at the end of the reel.
608
01:08:25,138 --> 01:08:29,871
So this is a section of Nanook Rubs It
that no one's ever heard,
609
01:08:31,044 --> 01:08:32,102
coming up.
610
01:09:25,243 --> 01:09:26,574
One, two, three.
611
01:13:23,436 --> 01:13:27,736
We had no instruments that
could compete with electric instruments.
612
01:13:27,840 --> 01:13:30,400
There were no such things
as electric marimbas.
613
01:13:30,509 --> 01:13:34,878
And so l was able to get
tremendous satisfaction
614
01:13:35,781 --> 01:13:38,181
from doing some recording with him,
615
01:13:38,284 --> 01:13:40,946
but the idea of travelling,
of being a member of the band,
616
01:13:41,053 --> 01:13:44,454
was something that seemed
completely out of reach,
617
01:13:44,557 --> 01:13:47,355
for so many reasons,
and not the least of which was
618
01:13:47,460 --> 01:13:50,054
that we didn't have the technology for it.
619
01:13:50,162 --> 01:13:52,596
And then one day, he said to me,
620
01:13:53,132 --> 01:13:56,295
''You know,
you could make your marimba electric,''
621
01:13:56,402 --> 01:14:00,202
and described to me about
Barcus Barry and transducers,
622
01:14:00,373 --> 01:14:01,601
and l thought,
''Well, this sounds just wonderful.''
623
01:14:01,707 --> 01:14:04,699
And then when he said, ''What they do is
they drill into each bar.''
624
01:14:04,810 --> 01:14:06,209
As soon as he said drill,
625
01:14:06,312 --> 01:14:07,939
you know, you'd be drilling into my body
626
01:14:08,047 --> 01:14:10,538
because l owned at that time one marimba,
627
01:14:10,816 --> 01:14:13,683
the one that l had since l was 16 years old.
628
01:14:13,853 --> 01:14:16,651
And to drill into that,
that was just not going to happen.
629
01:14:16,756 --> 01:14:18,815
But Frank was so clever, he said,
630
01:14:18,924 --> 01:14:22,587
''l'll get my vibraphone done
if you get your marimba done,''
631
01:14:22,828 --> 01:14:25,524
and l thought, ''You know, if he's going to
take a chance with his vibraphone'',
632
01:14:25,631 --> 01:14:29,727
and l know he'd had that
for a very long time, ''l'll do it.''
633
01:14:30,036 --> 01:14:31,025
And so we travelled.
634
01:14:31,137 --> 01:14:33,799
We were able to travel
with those instruments.
635
01:14:33,906 --> 01:14:35,430
lt was extraordinary.
636
01:14:35,541 --> 01:14:38,305
l'll never forget the day
that we plugged it in for the first time.
637
01:14:38,411 --> 01:14:39,776
l'm technically very challenged.
638
01:14:39,879 --> 01:14:43,110
l don't know, l still don't understand, really,
how it worked
639
01:14:43,315 --> 01:14:45,249
and, thank God, he had very...
640
01:14:45,351 --> 01:14:47,785
You know, we had a lot of people
that were good at that stuff.
641
01:14:47,887 --> 01:14:51,948
But they got it ready and Frank handed me
a mallet and said, ''Okay.''
642
01:14:52,058 --> 01:14:56,961
And l just went like that
and it was deafeningly loud
643
01:14:57,163 --> 01:14:59,097
and he looked positively gleeful.
644
01:14:59,198 --> 01:15:01,564
He looked almost maniacal, like, you know,
645
01:15:01,667 --> 01:15:06,366
''Now l can rule the world. l've got
all the percussion at my disposal.''
646
01:15:06,472 --> 01:15:08,963
Because Frank was a percussionist,
did you know that?
647
01:15:09,075 --> 01:15:11,669
He was a percussionist.
648
01:15:11,777 --> 01:15:14,541
And now finally he had mallets
that could travel, too.
649
01:15:15,548 --> 01:15:17,846
So it was an extraordinary thing.
650
01:15:18,050 --> 01:15:21,281
And then, of course,
he insisted that it would become,
651
01:15:21,387 --> 01:15:23,685
that it would be made
in quadraphonic sound,
652
01:15:23,789 --> 01:15:27,384
which in those days was state of the art,
you know, inconceivable.
653
01:15:27,560 --> 01:15:31,724
So, he had me play scales or arpeggios
up and down the keyboard
654
01:15:31,831 --> 01:15:34,527
and sure enough it travelled around you.
655
01:15:34,934 --> 01:15:36,868
lt was just, it was incredible.
656
01:15:36,969 --> 01:15:40,234
l've seen him happy
on a number of occasions,
657
01:15:40,339 --> 01:15:41,601
but that day was special.
658
01:15:41,707 --> 01:15:45,609
That was, you know,
almost like Dr Frankenstein
659
01:15:45,711 --> 01:15:47,975
in the 1931 James Whale picture.
660
01:15:48,814 --> 01:15:53,513
You know, ''lt's alive, it's alive.'' And it was.
661
01:16:05,614 --> 01:16:07,377
Welcome to the vault.
662
01:16:13,989 --> 01:16:17,356
Many different types of media in this vault.
663
01:16:17,459 --> 01:16:20,223
Stuff from 1955
664
01:16:21,163 --> 01:16:26,032
to the current types
of storage media and audio types.
665
01:16:26,768 --> 01:16:32,035
This is the earliest digital tapes
from the '80s.
666
01:16:33,241 --> 01:16:36,404
And up here we have lots of
667
01:16:36,511 --> 01:16:41,380
16 and 35 millimetre film and audio mag.
668
01:16:43,285 --> 01:16:46,277
And against this section here,
669
01:16:46,988 --> 01:16:49,513
we have lots and lots of
one-inch video tapes.
670
01:16:49,624 --> 01:16:51,785
This is what Frank archived
671
01:16:52,394 --> 01:16:57,627
a lot of stuff to
and mastered a lot of his projects on.
672
01:16:58,100 --> 01:17:02,127
Nowadays it's Digibeta or HD technology,
673
01:17:03,105 --> 01:17:05,335
but then it was one-inch analogue.
674
01:17:08,443 --> 01:17:12,038
Here we have the original Freak Out! reels,
675
01:17:13,515 --> 01:17:16,814
dated March 8th, 1966,
676
01:17:17,753 --> 01:17:19,152
about 40 years ago.
677
01:17:20,188 --> 01:17:25,820
And they're half-inch four-track.
678
01:17:28,663 --> 01:17:31,359
And they play great and they sound great.
679
01:17:36,404 --> 01:17:39,965
And this is just a digitised backup,
just in case,
680
01:17:41,143 --> 01:17:43,111
kind of stick in there with it.
681
01:17:45,046 --> 01:17:47,014
These are the original
682
01:17:48,150 --> 01:17:52,280
two-inch 16-track masters
683
01:17:52,387 --> 01:17:55,914
for Hot Rats, Peaches En RegaIia, part three.
684
01:17:58,493 --> 01:18:02,224
And these tapes are also in great condition.
685
01:18:02,330 --> 01:18:07,131
Here are the original track sheets
recorded on Scotch.
686
01:18:07,235 --> 01:18:12,172
We love Scotch because Scotch,
over time, will continue to play.
687
01:18:12,974 --> 01:18:14,999
We do not need to bake it.
688
01:18:18,580 --> 01:18:19,672
Good stuff.
689
01:18:20,949 --> 01:18:24,578
And for the purposes of this special,
690
01:18:24,920 --> 01:18:26,717
these are the main mamas.
691
01:18:27,556 --> 01:18:31,253
These right here would be the 16-track
692
01:18:31,760 --> 01:18:36,459
original two-inch masters
for Over-Nite Sensation.
693
01:18:36,598 --> 01:18:41,126
This is the original for
Dirty Love, Dinah-Moe Humm,
694
01:18:42,103 --> 01:18:45,800
recorded March 19th and 20th, 1973,
695
01:18:46,308 --> 01:18:49,744
and this is Barry Keane's
handwriting at Bolic Sound.
696
01:18:50,979 --> 01:18:52,640
And this particular reel
697
01:18:52,914 --> 01:18:58,750
is marked ''YeIIow Snow, build reel 1 .''
698
01:19:00,055 --> 01:19:01,886
For side one of Apostrophe,
699
01:19:04,759 --> 01:19:10,425
basically what Frank did is,
he made razor-blade edits
700
01:19:11,833 --> 01:19:15,769
on the original two-inch as opposed to
making edits on a mixed down tape.
701
01:19:19,241 --> 01:19:21,709
So unfortunately what happened was,
702
01:19:22,010 --> 01:19:27,380
there were two types of tape formulations
used to make this master tape.
703
01:19:27,782 --> 01:19:30,546
And this section here,
you're going to have to come in real close,
704
01:19:30,652 --> 01:19:31,880
l don't know if the lighting's good,
705
01:19:31,987 --> 01:19:36,720
but this section here is of a darker colour
and this section is a different type of tape.
706
01:19:36,825 --> 01:19:39,521
And this type of tape would not play.
707
01:19:39,728 --> 01:19:44,722
So we had to take this off,
bake this, splice it back together
708
01:19:45,567 --> 01:19:46,966
and et voiI�,
709
01:19:47,068 --> 01:19:50,595
we have a clean transfer of this master tape.
710
01:19:53,475 --> 01:19:54,999
Don't Eat The YeIIow Snow.
711
01:19:55,110 --> 01:19:58,341
Tapes like this, right here,
712
01:19:59,114 --> 01:20:04,279
are some of the Studio Z tapes
from the early '60s.
713
01:20:04,819 --> 01:20:07,617
This one containing
I Was A Teenage MaIt Shop.
714
01:20:09,024 --> 01:20:12,585
Let me give you an example
of what these little suckers look like.
715
01:20:14,663 --> 01:20:16,927
Frank's original, Frank's handwriting.
716
01:20:27,542 --> 01:20:28,975
These were intriguing to me.
717
01:20:29,077 --> 01:20:33,639
l think that the older the tapes are,
the more intrigued l am by them.
718
01:20:34,482 --> 01:20:36,279
l just find that
719
01:20:36,851 --> 01:20:40,753
going back to their early days
is such a discovery,
720
01:20:41,489 --> 01:20:43,787
a lot of discoveries to be made.
721
01:20:44,693 --> 01:20:48,561
l mean, all the show tapes
from the '70s and the '80s,
722
01:20:48,863 --> 01:20:52,128
they'll always be there
and they are always going to be good,
723
01:20:52,734 --> 01:20:55,328
but this stuff is the most obscure
724
01:20:55,837 --> 01:21:00,672
and it's always an adventure to find out
what really does lie on all these tapes.
725
01:21:03,845 --> 01:21:08,214
ln the back here is the original film reels
to Baby Snakes.
726
01:21:10,452 --> 01:21:13,717
And a little bit down the way
is all the Roxy stuff,
727
01:21:14,255 --> 01:21:16,780
Roxy performances, original negatives.
728
01:21:16,891 --> 01:21:18,381
These are the original Beefheart reels
729
01:21:18,493 --> 01:21:22,190
to Trout Mask RepIica, eight-track one-inch.
730
01:21:27,602 --> 01:21:29,968
Recorded at Whitney Recording Studios.
731
01:21:30,739 --> 01:21:32,331
Dick Kunc's handwriting
732
01:21:33,641 --> 01:21:37,372
who was a long time engineer for Frank
in the '60s.
733
01:21:38,279 --> 01:21:42,045
What else is great, actually, are these tapes
right here which l'm real excited about,
734
01:21:42,150 --> 01:21:45,017
even though it really has nothing to do
with what we are talking about,
735
01:21:45,120 --> 01:21:50,422
but these are Live at the Whisky, 1968,
one-inch eight track.
736
01:21:51,526 --> 01:21:55,223
And there was a supposed record
that Frank put together from these tapes,
737
01:21:55,330 --> 01:21:56,888
but it never came out.
738
01:21:58,700 --> 01:22:03,262
But there are many things like this
in this room
739
01:22:03,371 --> 01:22:06,670
that is just waiting to be preserved,
740
01:22:07,575 --> 01:22:11,443
documented and, hopefully,
released some day, if it's good enough.
741
01:22:14,482 --> 01:22:15,676
Lots of stuff here.
742
01:22:22,238 --> 01:22:25,833
You know what's cool
about a lot of older recordings
743
01:22:25,942 --> 01:22:28,911
and especially Frank's
when we put these tapes up?
744
01:22:29,012 --> 01:22:33,540
You can basically put the faders
at a relative position, you know,
745
01:22:33,816 --> 01:22:37,308
''zero'', in the business, would be,
you know, at unity gain,
746
01:22:37,420 --> 01:22:39,513
but l'm going to put them just below that
747
01:22:39,622 --> 01:22:43,786
and you can see that the song
basically mixes itself
748
01:22:43,893 --> 01:22:46,657
because they put so much attention to detail
749
01:22:46,763 --> 01:22:49,857
on keeping just the right parts in the song,
750
01:22:50,200 --> 01:22:52,168
and it's already blended.
751
01:22:52,268 --> 01:22:55,135
So let's start it
and let's see what it sounds like.
752
01:22:55,872 --> 01:22:57,100
Here it comes.
753
01:23:41,985 --> 01:23:45,682
l like the really skanky little guitar sound
he's got,
754
01:23:45,788 --> 01:23:49,155
that's got a little phaser on it.
755
01:24:14,484 --> 01:24:17,453
Here's a good place
to hear that guitar again.
756
01:24:20,823 --> 01:24:23,257
That's very groovy right there, you know.
757
01:24:24,861 --> 01:24:29,798
Reminds me of Pat Harrington's
Schneider character on One Day At A Time.
758
01:24:36,706 --> 01:24:39,539
There, you can definitely hear
Tina Turner on this.
759
01:25:05,201 --> 01:25:09,501
Sounds like a U47 and 1 1 76 compressor.
760
01:25:47,243 --> 01:25:48,574
lt's funny.
761
01:25:51,981 --> 01:25:55,041
''She was buns up, kneeling
l was wheeling and dealing''
762
01:25:55,151 --> 01:25:56,948
Go back to that, Joe.
763
01:26:02,525 --> 01:26:04,254
-You want to go back to that?
-lt's coming right now.
764
01:26:04,360 --> 01:26:05,418
Okay.
765
01:26:14,737 --> 01:26:16,864
That phrase, you want to stop it real quick?
766
01:26:16,973 --> 01:26:22,275
That phrase was lifted by Steven Tyler
in an Aerosmith song.
767
01:26:23,646 --> 01:26:27,639
So, obviously this song has far-reaching...
768
01:26:29,419 --> 01:26:31,546
A far-reaching fan base.
769
01:26:31,821 --> 01:26:36,087
But he actually got permission to use it,
but you know, he...
770
01:26:36,192 --> 01:26:41,323
He used it in his own
fantastically lecherous way and it's...
771
01:26:41,898 --> 01:26:45,595
lt's nice to have,
to have that quote, you know, elsewhere.
772
01:26:47,103 --> 01:26:51,096
But, yeah,
what's funny when you hear all this stuff,
773
01:26:51,641 --> 01:26:55,873
you know, slightly differently balanced
than the actual mix,
774
01:26:55,978 --> 01:26:58,572
there are so many
groovy little keyboard parts in it
775
01:26:58,681 --> 01:27:02,981
and it's as if they got Stevie Wonder
playing the little clav parts
776
01:27:03,085 --> 01:27:06,612
and it's obviously, you know, George Duke,
777
01:27:06,722 --> 01:27:08,815
but there's some...
778
01:27:09,725 --> 01:27:14,025
There's just so many cool little elements
that make this
779
01:27:15,231 --> 01:27:18,394
have a really good groovy feel to it.
780
01:27:18,501 --> 01:27:20,901
So it's not just a joke song.
781
01:27:21,103 --> 01:27:24,561
To actually play the song,
you have to have a really good feel,
782
01:27:24,707 --> 01:27:27,232
you have to be a good player
to make it work, you know.
783
01:27:27,343 --> 01:27:32,178
Otherwise, it would fall into this sort of...
784
01:27:34,083 --> 01:27:36,142
l don't know, more...
785
01:27:36,352 --> 01:27:40,049
-Cheech and Chong mentality.
-Yeah, a little bit of a Cheech and Chong,
786
01:27:40,156 --> 01:27:43,751
but, you know, just the overall...
l guess what l'm trying to say
787
01:27:43,860 --> 01:27:46,454
is the execution of these elements
788
01:27:46,562 --> 01:27:51,124
is so top-notch by these great players
789
01:27:51,567 --> 01:27:56,527
that it still has integrity, musically,
790
01:27:56,639 --> 01:28:00,302
even if there is something incredibly silly
or stupid on top of it.
791
01:28:01,277 --> 01:28:06,374
And that's, again, you know,
a testament to Frank's arrangement skills.
792
01:28:06,482 --> 01:28:10,578
He would look at
what he had to work with
793
01:28:10,686 --> 01:28:13,655
and find the best in all of the players,
794
01:28:13,956 --> 01:28:16,982
and l'm not just talking about
their technical ability.
795
01:28:17,093 --> 01:28:20,995
lf they had certain proclivities
and sense of humour,
796
01:28:21,097 --> 01:28:25,193
he would push them in a direction
to include that in the music
797
01:28:25,668 --> 01:28:29,695
and it could be instrumentally,
or it could actually be with vocals,
798
01:28:29,805 --> 01:28:33,832
or improvisational things
that happen in songs,
799
01:28:33,943 --> 01:28:38,380
but that's what must have been so much fun
about working with Frank.
800
01:28:39,248 --> 01:28:40,715
People think of him
801
01:28:40,816 --> 01:28:44,479
as, you know, this crazy taskmaster,
802
01:28:45,388 --> 01:28:49,347
and l'm sure that he was,
when it came to his strict music
803
01:28:49,458 --> 01:28:52,825
that was, you know... That he composed
and it was written on paper,
804
01:28:52,929 --> 01:28:55,523
but l'm sure they all got up
to a lot of fun times
805
01:28:55,631 --> 01:28:58,998
on the road and in the studio
just making the music.
806
01:29:38,941 --> 01:29:41,535
-Got some sound effects coming up here.
-Yeah.
807
01:29:42,211 --> 01:29:44,008
But, you know, what's funny is
808
01:29:44,847 --> 01:29:48,305
in some way, you could think of this
as the precursor to rap.
809
01:29:49,051 --> 01:29:51,576
You know,
it's a song with a monologue in it.
810
01:29:56,325 --> 01:29:58,122
''Right here on the floora.''
811
01:30:22,451 --> 01:30:24,681
-Hey, that's not in the record.
-Yeah.
812
01:30:28,758 --> 01:30:32,455
-lntroducing the concept of the pygmy pony.
-That's right.
813
01:30:44,940 --> 01:30:46,373
That's pretty cool.
814
01:31:12,468 --> 01:31:14,561
l wonder why this was edited down.
815
01:31:18,808 --> 01:31:20,139
You know, it's...
816
01:31:21,744 --> 01:31:23,211
lt's a long outro.
817
01:31:41,764 --> 01:31:45,165
-Straight to tape with those effects, huh?
-Yeah.
818
01:31:49,839 --> 01:31:52,706
Wouldn't that stuff be done post,
normally, nowadays?
819
01:31:53,876 --> 01:31:56,674
Just depends.
You know the thing about it is
820
01:31:56,946 --> 01:31:59,915
in those days
you committed your ideas to tape
821
01:32:00,015 --> 01:32:02,711
because you had a finite amount of tracks
and you knew that,
822
01:32:02,818 --> 01:32:05,309
''Well, if l have, you know, five or six tracks
823
01:32:05,421 --> 01:32:08,788
''that l want to make a blend
of all these elements together
824
01:32:08,891 --> 01:32:10,085
''and l need some effects on them,
825
01:32:10,192 --> 01:32:12,626
''l've got to do that and either
826
01:32:12,728 --> 01:32:16,528
''moult them down to a stereo pair
or one mono track
827
01:32:16,732 --> 01:32:20,691
''and then l have to use the same tracks
l used to record all that stuff
828
01:32:20,803 --> 01:32:22,566
''to record some other stuff.''
829
01:32:22,671 --> 01:32:25,970
So in that case they would probably
have had to have thought about
830
01:32:26,075 --> 01:32:30,034
all of the effects and things
they wanted to add and commit to that.
831
01:32:30,713 --> 01:32:34,080
But now you have the option of,
you know, multiple different kinds of effects
832
01:32:34,183 --> 01:32:36,515
that you could audition at any point.
833
01:32:37,787 --> 01:32:40,881
But still l think
834
01:32:41,290 --> 01:32:44,282
it's probably a better way to make a record,
835
01:32:44,393 --> 01:32:46,987
is to commit to the idea.
836
01:32:47,797 --> 01:32:52,666
'Cause there's... There's a lot of stuff
that becomes rather sluggish
837
01:32:52,768 --> 01:32:55,896
when you have 150 tracks on a song,
you know.
838
01:32:56,005 --> 01:32:59,270
And everybody's guilty of it on a computer
'cause it's so easy to do.
839
01:33:11,320 --> 01:33:12,719
Oops!
840
01:33:13,823 --> 01:33:15,586
What was that, the...
841
01:33:17,626 --> 01:33:20,686
-A little stop in the action?
-No idea.
842
01:33:24,400 --> 01:33:26,300
Oh, well, we'll edit that out.
843
01:33:27,803 --> 01:33:29,930
-This is the end of the tune.
-Yeah.
844
01:33:36,011 --> 01:33:38,002
Speciality vocals there.
845
01:33:44,553 --> 01:33:46,714
lt's just so funny to hear all this.
846
01:33:50,826 --> 01:33:53,522
Just the tone of the instruments.
847
01:33:53,629 --> 01:33:56,792
-The electric pianos and...
-Try track five for a second here.
848
01:33:56,899 --> 01:33:57,991
Okay.
849
01:34:02,338 --> 01:34:03,566
A little ARP.
850
01:34:13,249 --> 01:34:14,580
lt's pretty funny.
851
01:34:23,926 --> 01:34:25,826
More harmony to the...
852
01:34:35,905 --> 01:34:38,271
lt's just a nice little cycle.
853
01:34:48,984 --> 01:34:51,077
The ending you never got to hear
on the record.
854
01:34:51,186 --> 01:34:52,619
That's right.
74154
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