| FRANK ZAPPA: BIOGRAPHICAL INFORMATION
| FRANK ZAPPA: BIOGRAFISCHE INFORMATIONEN |
| I was born in Baltimore, Maryland on December 21, 1940. I have two brothers and one sister. My father, now retired, held various positions as professor of history, meteorologist, metallurgist, data reduction clerk, barber, teacher of high school mathematics and author of a book on gambling (“Chances And How To Take Them”) … his various positions are not given in chronological order. My mother has been mainly a mother but once she was a librarian.
| Ich wurde am 21. Dezember 1940 in Baltimore, Maryland, geboren. Ich habe zwei Brüder und eine Schwester. Mein Vater, der jetzt im Ruhestand ist, hatte verschiedene Positionen als Geschichtsprofessor, Meteorologe, Metallurge, Datenoperator, Barbier, Mathematiklehrer an der High School und Autor eines Buches über Glücksspiel („Chancen und wie man sie nutzt“) … seine verschiedenen Positionen sind hier nicht in chronologischer Reihenfolge aufgeführt. Meine Mutter war hauptsächlich eine Mutter, aber sie war einmal Bibliothekarin. |
| I am the oldest child. My next youngest brother, Bob, spent 3 years in the Marines and a bunch of years in college studying sociology, etc. The “little brother”, Carl, divides his time between making milk shakes at McDonald’s and washing dishes at Bob’s Big Boy in the San Fernando Valley. My sister is married to a young man who likes cars a lot.
| Ich bin der älteste Sohn. Mein erster Bruder Bob war 3 Jahre bei den Marines und viele Jahre am College und studierte Soziologie, usw. Mein „kleiner Bruder“, Carl, verbringt seine Zeit zwischen dem Zubereiten von Smoothies bei McDonald’s und dem Geschirrspülen bei Bob’s Big Boy im San Fernando Valley. Meine Schwester ist mit einem Mann verheiratet, der Autos sehr mag. |
| I have a high school education, plus one semester in Chaffey Junior College (Alta Loma, California). I graduated from Antelope Valley High School, Lancaster, California on Friday, June 13, 1958 (with about 20 units less than what was required, simply because they were in a hurry to be rid of me).
| Ich habe Abitur, ich besuchte auch ein Semester lang das Chaffey Junior College (Alta Loma, Kalifornien). Ich machte am Freitag, den 13. Juni 1958, meinen Abschluss an der Antelope Valley High School in Lancaster, Kalifornien (mit etwa 20 Noten weniger als erforderlich, nur weil sie es eilig hatten, mich loszuwerden). |
| My formal musical education consists of one special harmony course which I was allowed to take during my senior year in high school (I got to go over to the Antelope Valley Junior College Campus and sit in Mr. Russell’s room), another harmony course (with required keyboard practice) at Chaffey J.C., taught by Miss Holly, and a composition course at Pomona College which I would sneak into and audit, taught by Mr. Kohn. I have played band and orchestra percussion in school ensembles conducted by Mr. Miller, Mr. McKillop, Mr. Minor, Mr. Kavellman, and Mr. Ballard.
| Meine formale Musikausbildung besteht aus einem speziellen Harmoniekurs, den ich während meines letzten Jahres an der High School belegen durfte (ich musste zum Campus des Antelope Valley Junior Colleges in Hr. Russells Zimmer gehen), einem weiteren Harmoniekurs (der Klavierübungen erforderte), der von Frau Holly am Chaffey Junior College unterrichtet wurde, und einer Kompositionsklasse, die von Hr. Kohn am Pomona College unterrichtet wurde, wo ich schlich mich hinein, um ihr zu folgen. Ich habe Band- und Orchesterpercussion in Schulkomplexen gespielt, die von Hr. Miller, Hr. McKillop, Hr. Minor, Hr. Kavellman und Hr. Ballard geleitet wurden. |
| The rest of my musical training comes from listening to records and playing in assorted little bands in beer joints and cocktail lounges, mostly in small towns. I also spent a lot of time in the library.
| Der Rest meiner musikalischen Ausbildung stammt aus dem Hören von Schallplatten und dem Spielen mit verschiedenen kleinen Bands in Kneipen und Nachtclubs, besonders in den Dörfern. Ich habe auch viel Zeit in der Bibliothek verbracht. |
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| IN CASE YOU NEVER HEARD OF OUR GROUP…
| WENN SIE NOCH NIE VON UNSERER GRUPPE GEHÖRT HABEN… |
| Because THE MOTHERS are now dealing with the motion picture audience, and this audience is not necessarily our normal record-listening concert-attending audience, and, as a result, might not be fully informed as to the legend and lore of our group, the following reference material has been provided.
| Als MOTHERS müssen wir uns jetzt mit den Zuschauern des Films auseinandersetzen, die nicht unbedingt dieselben sind, die unsere Platten hören und zu unseren Konzerten kommen, und folglich möglicherweise nicht vollständig über die Legende und Traditionen unserer Gruppe informiert sind; aus diesem Grund stellen wir Ihnen folgendes Referenzmaterial zur Verfügung. |
| QUESTIONS & ANSWERS
| FRAGEN UND ANTWORTEN |
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| What is it?
| Was ist das? |
| As far as I’m concerned, “200 MOTELS” is a SURREALISTIC DOCUMENTARY. The film is at once a reportage of real events and an extrapolation of them. Other elements include “conceptual by-products” of the extrapolated “real event”. In some ways the contents of the film are autobiographical.
| Was mich betrifft, „200 MOTELS“ ist ein surrealistischer Dokumentarfilm. Der Film ist gleichzeitig eine Chronik realer Ereignisse und auch ihre Hochrechnung. Andere Elemente umfassen „konzeptionelle Nebenprodukte“ der extrapolierten „realen Ereignisse“. Der Inhalt des Films ist in gewisser Weise autobiografisch. |
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| How did you ever get to make a movie in the first place?
| In erster Linie, wie bist du dazu gekommen, einen Film zu machen? |
| I have been interested in the potential of various visual mediums since 1958 when I first started shooting 8mm films. As a composer, I feel that visual elements, organized using structural techniques commonly associated with musical architecture, provide exciting possibilities for conceptual exploration.
| Ich interessiere mich seit 1958 - seit ich angefangen habe, 8mm-Filme zu drehen - für das Potenzial verschiedener visueller Kommunikationsmedien. Als Komponist denke ich, dass die visuellen Elemente, die nach Strukturtechniken organisiert sind, die üblicherweise in der musikalischen Architektur verwandt werden, anregende Möglichkeiten für konzeptionelle Erkundungen bieten. |
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| Yeah, but how’d you get anybody to pay for this thing?
| Ja, aber wie hast du es geschafft, dafür bezahlt zu werden? |
| After having several appointments with people who normally finance films, and having them run screaming into the distance after a partial explanation of the project, by mere chance we took it to United Artists. Mr. Picker looked over our folio (10 pages of “treatment”, 2 boxes of tape, and some clippings in case he never heard of our group) and said: “You have a deal… get me a budget” (Perhaps it was a little more elaborate and erudite than that). We left the office, got a budget and a bunch of lawyers and work began in earnest. (Pre-production actually began in 1968. I had been working on and off since that time to prepare the choral and orchestral music, composing about 60% of it in motel rooms after concerts on the road with THE MOTHERS).
| Nach mehreren Terminen mit Leuten, die normalerweise Filme finanzieren, die schreiend davongelaufen, nachdem ich anfing, ihnen das Projekt zu erklären, brachten wir es rein zufällig zu United Artists. Hr. Picker schaute sich unser Dossier an (10 Seiten „gründliche Analyse“, 2 Kisten Tonbänder und einige Zeitungsausschnitte, falls er noch nie von unserer Gruppe gehört hatte) und sagte: „Abgemacht… zeigt ihr mir ein Budget“ (Vielleicht war es ein etwas ausführlicher und gelehrter als das). Wir verließen das Büro, bekamen ein Budget und eine Gruppe von Anwälten, und die Arbeit begann ernsthaft. (Die Vorproduktion selbst begann tatsächlich 1968. Seitdem arbeite ich mit Unterbrechungen an der Vorbereitung von Chor- und Orchestermusik, von der ich ungefähr 60 % in Hotelzimmern nach Konzerttourneen mit den MOTHERS komponierte). |
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| Well… so tell me… what is it?
| Nun… dann sag mir… was ist das? |
| “200 MOTELS” is a SURREALISTIC DOCUMENTARY, but it might also be helpful to think of the overall “shape” of the film in the same way you might think of the “shape” of a piece of orchestra music, with leitmotifs, harmonic transpositions, slightly altered repetitions, cadences, atonal areas, counterpoint, polyrhythmic textures, onomatopoeic imitations, etc.
| „200 MOTELS“ ist ein SURREALISTISCHER DOKUMENTARFILM, aber es könnte auch nützlich sein, sich die allgemeine „Struktur“ des Films so vorzustellen, wie man sich die „Struktur“ eines Orchestermusikstücks vorstellt, mit Chören, harmonischen Transpositionen, leicht veränderten Wiederholungen, Kadenzen, atonalen Räumen, Kontrapunkten, polyrhythmischen Texturen, onomatopoetischen Imitationen, usw. |
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| Yeah? Well, I hate orchestra music… I don’t have any idea what you’re talking about, and I only like rock & roll. Is this a rock & roll movie or what?
| Ja? Nun, ich hasse Orchestermusik… Ich habe nicht die leiseste Ahnung, wovon du sprichst, und ich mag nur Rock & Roll. Ist das ein Rock & Roll-Film oder was sonst? |
| This is a “Rock & Roll Movie” and it is also an “Or What”. Granting the fact the THE MOTHERS tend to operate somewhere on the outermost fringes of your real-life Rock & Roll Consciousness, the film is an extension and a projection of the group’s specialized view of and participation in this intriguing area of contemporary human experience. In other words, “200 MOTELS” deals with things like:
| Dies ist ein „Rock & Roll Film“ und es ist auch ein „oder was sonst“. Wobei zu berücksichtigen ist, dass die MOTHERS im wirklichen Leben dazu neigen, irgendwo an den äußersten Rändern eures Rock & Roll-Bewusstseins zu operieren, ist der Film eine Erweiterung und Projektion der spezialisierten Vision und der Teilnahme der Gruppe an diesem faszinierenden Bereich zeitgenössischer menschlicher Erfahrung. Mit anderen Worten, „200 MOTELS“ behandelt Themen wie: |
| - Groupies
| - Groupies |
| - Life On The Road
| - Leben auf Tournee |
| - Relationship To Audience
| - Beziehungen zu dem Publikum |
| - Group Personality-Chemistry
| - Persönlichkeit-Chemie der Gruppe |
| - Macrobiotic Food & Tie-Dye Shirts
| - Makrobiotische Kost und T-Shirts nach Bindebatikverfahren gefärbt |
| - Etc.
| - Usw. |
| … but deals with these things in ways you might not expect (or approve of), simply because THE MOTHERS is not your average sort of Pop Group, and if, for instance, we have experiences with Groupies on the road, these experiences will not be very ordinary. Our Relationship To Audience is not ordinary. Our Group Personality-Chemistry is not ordinary… therefore an ordinary documentary based on our exploits wouldn’t be ordinary, and a SURREALISTIC DOCUMENTARY extended from these circumstances might seem to be just a little peculiar at first.
| … aber er behandelt diese Themen auf eine Weise, die ihr vielleicht nicht erwartet (oder nicht gutheißt), einfach weil die MOTHERS keine Popgruppe wie viele andere sind und wenn wir zum Beispiel Erfahrungen mit Groupies auf Tournee haben, diese Erfahrungen nicht sehr üblich sind. Unsere Beziehung zu dem Publikum ist nicht üblich. Unsere Gruppen-Chemie-Persönlichkeit ist nicht üblich… also wäre ein üblicher Dokumentarfilm, der auf unseren Wechselfällen basiert, nicht üblich, und ein entwickelt aus diesen Umständen SURREALISTISCHER DOKUMENTARFILM auf den ersten Blick etwas seltsam erscheinen mag. |
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| Well… if you can’t tell me what it is, tell me what happens in it… something… anything… help me… arrrrrrrrrghhhh!
| Nun… wenn du mir nicht sagen kannst, was es ist, sag mir wenigstens was in dem Film passiert… Irgendwas… irgendetwas… hilf mir… argh! |
| First of all, there is no chronological continuity stressed. This is done to convey the sort of time-space reference alteration a group can experience on tour. On the road, time is determined by when the road manager wakes you up, when the plane or bus leaves, when you set up equipment at the hall and check your sound system, when you play your concert, and what you do for recreation after the show. Space is indeterminate. Motels resemble each other. The same for planes and buses. Concert halls may vary a bit, but over a period of years they also blend together. Audiences vary/blend in a similar way.
| Zunächst fällt keine zeitliche Kontinuität auf. Dadurch soll vermittelt werden, welche Art von Veränderung von Raum-Zeit-Bezügen eine Gruppe auf Tournee erleben kann. Unterwegs hängt die Zeit davon ab, wann der Roadmanager dich weckt, wann das Flugzeug oder der Reisebus abfährt, wann du die Instrumente in der Halle installierst und das Audiosystem ausprobierst, wann du das Konzert spielst und davon ab, was du nach der Show tust, um Erholung zu haben. Raum ist unbestimmt. Motels sehen alle gleich aus. Dasselbe passiert mit Flugzeugen und Bussen. Konzertsäle mögen sich ein wenig unterscheiden, aber nach ein paar Jahren auch sie werden verworren. Das Publikum verändert sich / wird auf ähnliche Weise verwirrt. |
| When we go on tour, especially long tours, life in the group begins to resemble life in the army. Each concert is a campaign. On such tours it is possible to not know where you are (“Is this really Vienna?”), sitting in your room, dealing socially most of the time with other group members, you might as well be in Los Angeles. We seem to carry a “mystery bubble” of L.A. consciousness along on the road. Inside of this “bubble”, strange things happen. The situations contained in “200 MOTELS” were organically grown inside 4 years worth of these “bubbles”. These concepts extracted from within the various time-warps, with as much care as our $600.000 budget would permit, form the basis of the filmic event.
| Wenn wir auf Tournee sind, besonders während der langen, fängt das Leben in der Gruppe an, dem Leben in einer Armee zu ähneln. Jedes Konzert ist eine Kampagne. Bei diesen Tourneen kann es passieren, dass du nicht weißt, wo du bist („Ist es wirklich Wien?“), du bleibst in deinem Zimmer, sozialisierst dich die meiste Zeit nur mit anderen Mitgliedern der Gruppe, es ist, als wärest du in Los Angeles. Es scheint, dass unterwegs wir eine „mysteriöse Blase“ des Gewissens von Los Angeles mit uns herumtragen. In dieser „Blase“ passieren seltsame Dinge. Die in „200 MOTELS“ enthaltenen Situationen haben sich aus 4 Jahren dieser „Blasen“ organisch entwickelt. Diese Konzepte, so sorgfältig wie es das Budget von 600.000 Dollars zuließ, aus den verschiedenen zeitlichen Verzerrungen extrahiert, bilden die Grundlage der Filmveranstaltung. |
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| Who’s in it besides the Mothers?
| Wer ist da außer den Mothers? |
| Theodore Bikel plays RANCE MUHAMMITZ, Ringo Starr plays LARRY THE DWARF, Keith Moon plays THE HOT NUN, Jimmy Carl Black (The Indian Of The Group) plays LONESOME COWBOY BURT, Martin Lickert plays JEFF, Janet Ferguson & Miss Lucy Offerall (GTOs) play THE GROUPIES, Don Preston & Motorhead Sherwood play slightly modified versions of THEMSELVES, Dick Barber (our Road Manager) plays THE INDUSTRIAL VACUUM CLEANER, and Miss Pamela Miller (GTOs) plays THE ROCK & ROLL INTERVIEWER. Mark Volman and Howard Kaylan, the group’s two lead vocalists, are featured also playing modified versions of THEMSELVES.
| Theodore Bikel spielt RANCE MUHAMMITZ, Ringo Starr spielt LARRY DER ZWERG, Keith Moon spielt DIE PROVOKANTE NONNE, Jimmy Carl Black (der Indio der Gruppe) spielt DEN EINSAMEN COWBOY BURT, Martin Lickert spielt JEFF, Janet Ferguson und Miss Lucy Offerall (von Girls Together Outrageously) spielen die GROUPIES, Don Preston und Motorhead Sherwood spielen leicht modifizierte Versionen von SICH SELBST, Dick Barber (unser Road Manager) spielt DEN INDUSTRIESTAUBSAUGER und Miss Pamela Miller (von Girls Together Outrageously) spielt DIE ROCK & ROLL-INTERVIEWERIN. Mark Volman und Howard Kaylan, die beiden Leadsänger der Gruppe, spielen auch modifizierte Versionen von SICH SELBST. |
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| Are you in it?
| Bist du auch dabei? |
| A little bit.
| Ein bisschen. |
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| What’s Ringo Starr doing in a Mothers movie?
| Was macht Ringo Starr in einem Mothers-Film? |
| I asked him to play the role of Larry The Dwarf. He accepted because he said he was getting “… a bit browned-off” with his good-guy image.
| Ich bat ihn, die Rolle von Larry Der Zwerg zu spielen. Er akzeptierte, weil er sagte, er sei „… ein bisschen satt“ von seinem Image als guter Junge. |
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| I heard this movie was shot on video tape.
| Ich habe gehört, dass dieser Film auf Videoband gedreht wurde. |
| The video-tape-to-film process used in “200 MOTELS” could easily start a new production trend. “200 MOTELS” is the first full-length feature film to use this system, and some of the new optical effects made possible by this electronic technique are bound to attract the curiosity of adventurous film makers. One of the best things about these visuals is that most can be done while shooting (not in a lab where controls are uncertain and costly) and instant decisions can be made about colors, textures, shapes, superimpositions, electronically with amazing precision. Other effects are possible (such as the combination of several scenes, each of which is already a montage) during the video tape editing stage. “200 MOTELS” was shot in 7 days, with video editing for 11 days, followed by refinements in the 35mm stage (at the usual film-handling work rate) of 3 months, sandwiched in between several concert tours. I personally supervised all stages of editing.
| Das aus-Videotape-zu-Film-Verfahren von „200 MOTELS“ wird voraussichtlich einen neuen Produktionstrend einleiten. „200 MOTELS“ ist der erste Spielfilm, der dieses System verwendet, und einige der neuen optischen Effekte, die durch diese elektronische Technik ermöglicht werden, werden die Neugier der kühnsten Regisseure wecken. Einer der Vorteile dieser visuellen Effekte ist, dass viele von ihnen während der Aufnahme erzielt werden können (nicht im Labor, wo die Kontrollen sind ungewiss und teuer) und mit Hilfe von Elektronik sofortige Entscheidungen über Farbe, Texturen, Formen und Überschneidungen mit außergewöhnlicher Präzision getroffen werden können. Während der Schnittphase des Videobandes weitere Effekte können erzielt werden (z. B. die Kombination mehrerer Szenen, die jeweils selbst eine Montage sind). „200 MOTELS“ wurde in 7 Tagen gedreht und in 11 Tagen bearbeitet, gefolgt von 3 Monaten Retusche im 35mm-Format (im üblichen Tempo der Filmarbeit), unterbrochen von verschiedenen Konzerttourneen. Ich habe alle Phasen der Montage persönlich überwacht. |
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| What do you expect to accomplish with this weird movie?
| Was erhoffst du dich von diesem seltsamen Film? |
| For the audience that already knows and appreciates THE MOTHERS, “200 MOTELS” will provide a logical extension of our concerts and recordings. For the audience that doesn’t know, doesn’t care, but still takes a chance every once in a while on a new idea, “200 MOTELS” will provide a surprising introduction to the group and its work. For those that can’t stand THE MOTHERS and have always felt we were nothing more than a bunch of tone-deaf perverts, “200 MOTELS” will probably confirm their worst suspicions.
| Für ein Publikum, das die MOTHERS bereits kennt und schätzt, wird „200 MOTELS“ eine logische Erweiterung unserer Konzerte und unserer Platten stellen. Für ein Publikum, das sie nicht kennt oder für sie nicht interessiert ist, aber manchmal Freude an neuen Ideen hat, wird „200 MOTELS“ eine überraschende Einführung in die Gruppe und ihre Arbeit stellen. Für diejenigen, die die MOTHERS nicht ausstehen können und immer angenommen haben, wir seien nichts weiter als ein Rudel ohne musikalisches Ohr Perverslinge, wird „200 MOTELS“ wahrscheinlich ihre schlimmsten Verdächtigungen bestätigen. |
| Album notes by Patrick Pending - June 1977
| Liner Notes von Patrick Pending - Juni 1977 |
| Once Upon A Time there was a man named Frank Vincent Zappa. The man begat a film. The film begat an album. And the begatting of that film and that album is precisely what this is all about. Most of what follows is Absolutely True. Some of what follows is Fuzzy Recollection. A tiny bit, here and there, is a Wild Guess.
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| The first time anyone can remember any music from what would become the “200 Motels” film being publicly performed was on Friday, May 15, 1970 at a concert at UCLA’s Pauley Pavilion. This was a unique event which featured a collection of the original Mothers of Invention performing with Zubin Mehta conducting the Los Angeles Philharmonic. In the audience were Howard Kaylan and Mark Volman, sitting in seats compliments of Howard’s cousin, Herb Cohen, Frank’s manager and partner. Backstage after the concert, knowing the Turtles had broken up two weeks earlier, Frank invited Howard and Mark to be a part of the new Mothers line-up, to leave for a European tour in ten days, and, oh yes, “Shortly after that we’ll be making a movie”.
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| In the Bizarre Productions offices on Wilshire Boulevard, right next to and several floors above a clothing store called Zachary All, the notion of making some sort of film had circulated for quite some time. Ideas started, stopped and changed lanes. At one point, the leading candidate seemed to be a science fiction script involving Captain Beefheart.
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| Sometime in 1970, Herb and Frank approached an executive named David Picker at United Artists Pictures (now a subsidiary of Metro-Goldwyn-Mayer Inc.) with a ten page synopsis of what “200 Motels” would be, a couple boxes of tape and some press clippings. By the conclusion of the meeting a deal had been struck. Bizarre Productions had sold United Artists the motion picture and soundtrack album. One of the things which was agreed was that Bizarre couldn’t deliver a film that would be rated X, at that time the MPAA rating that allowed no one under 17, no matter who they were with, admittance into the theatre. Eventually, a budget of approximately $600,000 was agreed upon for both film and album. Frank would later say the total spent ended up being $679,000.
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| The task of handling the details of how the production would proceed was roughly divided into two parts (as most of the tasks were at the time). Herb would, primarily, take care of the paperwork which was needed to conduct daily business. Frank would, primarily, take care of the paperwork which was needed to hold the notes, measures and lyrics. Herb hired Jerry Goode of Murakami-Wolf to handle production matters and Tony Palmer was hired to be the director. Frank, meanwhile, expanded and modified the concepts of his original film treatment, working on plots and characters.
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| During this time, Frank was also recording and assembling the “Chunga’s Revenge” album, on which compositions embodying the life on the road theme, candidates for inclusion in the film, first appeared. Frank’s work habits, chronicled many times over elsewhere, were prodigious. One of these habits was to use what he had on hand in whatever he was doing at the time. And in the “Chunga’s Revenge” notes, Frank advised us that “all of the vocals on this album are a preview of the story from ‘200 Motels’”.
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| Simultaneously, there was the actual life on the road with concert dates which began in June of 1970, and continued throughout the year. By the end of August, the Mothers, now comprising Frank, Howard, Mark, Ian Underwood, George Duke, Jeff Simmons and Aynsley Dunbar, were performing some of Frank’s recent “200 Motels”-intended compositions - “Lonesome cowboy Burt”, “Bwana Dik”, “Would you like a snack?”, “The mud shark groupie routine”, “What will this morning bring me this evening” and “Penis dimension” became a regular part of their set.
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| From the beginning Frank had wanted to use an orchestra in the film. He’d been writing orchestral music since he was 14. Partly for economic reasons and partly because the Royal Philharmonic Orchestra lived over there, it was decided to shoot at Pinewood Studios, which were about 20 miles west of London down the A40, in the village of Iver Heath, Buckinghamshire. The cost of going to them was far less than the cost of bringing them to him, but, even by shooting in England, the use of the RPO remained the single largest expense in the budget. Partly because of the very brief shooting schedule the budget would allow, but also because versatility and the ability for immediate playback was crucial, “200 Motels” was to be shot on videotape, edited on videotape, and then transferred to 35mm film stock. This had never been done before.
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| Around Thanksgiving 1970, Cal Schenkel, the Mothers’ graphics engineer, who designed most everything in “200 Motels”, traveled to England with Jerry to begin pre-production. Over the next few weeks Jerry, Tony, Calvin, Leo Austin, the film’s Art Director, and Frank met many times to sort out what seemed like thousands of details. Also by this time, almost all of the continuity problems with the plot had been resolved, which cleared the way for an actual shooting script to be written.
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| By Christmas 1970, Frank, Gail, Moon and Dweezil had settled into a rented house at 56 Ladbroke Grove, sort of over near Notting Hill Gate, in London W11. Lucy Offerall, Miss Lucy of the GTOs, came over with the understanding that she would babysit the kids for the month until the shooting began. Janet Ferguson, who had worked with Frank in his still unfinished movie “Uncle Meat”, and who, with Lucy, would portray The Groupies in the film, had also moved in by this time.
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| At Pinewood, set construction on Stage “A” began on Monday, January 4, 1971. One of the James Bond films, the musical “Fiddler On The Roof”, both also United Artists Pictures, and several British television shows were in production on other soundstages nearby. The Centerville Recreational Facility and the concentration camp set took up most of the far end of the stage. The Royal Philharmonic Orchestra, with the percussionists costumed as the guards, was situated there amid the guard towers, machine guns and barbed wire. Just outside the facility’s front gate, just down Main Street and over on the right, was built the Newt Ranch. Right across the street, the sets for the Groupies room, the liquor store, Redneck Eats, The Electric Circus Factory, The Rancid Boutique and most of the rest of Centerville was constructed. Dancers auditions were held on January 11 and 12, followed by five days of rehearsal and some costume fittings. Howard, Mark, Ian and Ruth Underwood, George Duke, Jeff and Breena Simmons, Jimmy Carl Black, Don Preston and Dick Barber all arrived in London on Friday, January 15. Everyone was booked into the Kensington Palace Hotel in DeVere Gardens.
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| Over the week of January 17 through 23, rehearsals, individual and variously collective, with the band, the percussion, the cast, the orchestra, the dancers and the chorus, were held. Theodore Bikel arrived from Israel. By Friday January 22, set construction had progressed enough so that the crew could rig the lights and install the stage sound equipment. Phyllis Bryn-Julson, the woman who sang soprano throughout the film, flew in from the U.S. on Sunday, January 24. The same day, the Mobile Rolling Stones recording truck arrived at Pinewood fully laden with all of the 16-track recording equipment which was used to record everything.
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| Concurrently with all of this going on, Frank conducted the first read-through of the shooting script, 101 scenes over 254 pages, with the cast at the Kensington Palace Hotel on, it is remembered, about Monday, January 18. He had completed it the night before. Frank believed, as he would later explain, that the easiest thing to do when you only have a week to make a movie is to be yourself. And much of his script included characterizations based upon the band being themselves and plot twists and turns based upon real events.
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| This first read-through was going rather well when it became very clear that Life was going to make a sudden U-turn-without-signaling to imitate Art. When the group got to Scene 32, page 89 to be exact, there was, as is said, a great disturbance in the force. Much of this scene, which took place in a hotel room where the band was staying, contained dialogue excoriating Frank for using hidden tape recorders in order to steal ideas from them, which Frank had based upon actual band conversations he had actually recorded on actually hidden tape recorders. As Jeff read all of the lines which had been written for him to say, all of which were things Jeff had said in Real Life - about Zappa being too old… let’s buy him a watch, about not being taken seriously as a musician anymore, about quitting the Mothers and forming his own group - he did just that. Right then and there. Jeff and his wife flew back to the U.S. and the mad scramble began to find his replacement.
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| The first person to audition to be The Substitute Jeff Simmons was Noel Redding, the bassist for the Jimi Hendrix Experience. Unfortunately he did not pass the audition because Frank felt he did not possess the acting skills required. Wilfrid Brambell, an English actor best known for portraying Paul McCartney’s grandfather in “A Hard Day’s Night”, came in to audition and was magnificent. Although he thought the script was daft, he agreed, as a lark, to play the part. He joined the cast in script rehearsals which lasted until, it is recalled, Tuesday, January 26 when, most politely put, Wilfrid was having a great deal of trouble remembering his lines, and he, too, left the film. So, in addition to all of the normal problems of mounting such an ambitious project, three days before principal photography was scheduled to begin, the key part of Jeff was again uncast with no prospects in sight.
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| The following day there was some real doubt whether shooting would go forward at all. It was somewhat dismal. The band spent part of the day glumly assembled in a Pinewood dressing room, playing cards and drinking beer, when Frank announced that “I don’t care who it is… the next person to walk through that dressing room door gets the part of Jeff”. As if on cue, as if from another absurd script, Ringo Starr’s chauffeur popped through the door. Although Ringo had been rehearsing with the cast all along, this was the first time anyone met Martin Lickert. He had long hair. He had an English accent. He could, after a fashion, even play the bass. The production was back on track and full steam ahead.
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| Jeff was not the only part to undergo last minute troubles. Ringo had not been cast as Larry The Dwarf until the middle of January. There was a part written for a character named Jeff Beck, and it was hoped the guitarist could be persuaded to play it, but despite his meeting with Frank, it remained uncertain he would, although the scenes written for him stayed in the script. Mick Jagger was penciled in to do a walk-on or to play the part of the nun with the fake harp who was the object of the Dwarf’s lamp. The evolution of the parts of The Good Self and The Bad Self, who appeared during Jeff’s hallucinations, is rather interesting.
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| An early draft of the script had Frank as The Good Self and Mark as The Bad Self. In the shooting script Frank had written The Good Self role for Pete Townshend and the Bad Self role for Keith Moon. By the first day of shooting Keith had been switched to being The Good Self and the Mothers’ longtime road manager, Dick Barber, who was already cast as the Industrial Vacuum Cleaner, was now also The Bad Self. But after the shoot was over, and everyone was back in L.A., it was decided to re-record these parts for use as the soundtrack of the animation with Howard portraying Jeff, Mark as The Good Conscience (as this voice was now known) and Jim Pons, who played bass in the Turtles, as The Bad Conscience. Keith was eventually cast as Pamela, the Hot Nun Groupie. And the part of the second Rock Magazine interviewer, known in the script as Soprano Number 2 because it was written to be played by a singer, was given to Pamela Miller, previously known as Miss Pamela of the GTOs and much later known as Pamela Des Barres.
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| Although using videotape for television was commonplace in 1971, its reliability for shooting Frank’s motion picture was still unanswered. Frank thought this videotape-to-film process could easily start a new production trend, and, more than a dozen years hence, it would. But at this time, it was an application of a technology with an on / off switch but no instruction booklet. Every scene was shot by four cameras. It was Tony’s job to set the shots, do the blocking, conduct the video rehearsals and ensure that every image got onto the videotape the way it was supposed to. An advantage of using videotape, both creative and timesaving, was that instant decisions could be made about color, texture, superimpositions, dissolves, matte shots and optical effects. Quite a bit of video editing was planned to be done live in the video booth. While the video equipment was being set up, Stage “A” was also being used for three days of full dress rehearsals with the cast, the dancers, the chorus and the orchestra. Frank was still tweaking the shooting script, finishing up some musical compositions and meeting with Jerry to work out production problems.
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|
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| Thursday, January 28, was the first day of shooting of “200 Motels”, production number T/MWP/157. The cast showed up at Pinewood at 8:50AM for make-up and was on Stage “A” by 9:00AM. Each day’s production was broken up into several parts. Mornings were usually used to pre-record music with the band, chorus and orchestra which was used for later playback at the shoot or was used when Frank assembled the soundtrack album. Some of these morning pre-record sessions were shot for use in the final cut of the film. Each afternoon starting at 1:00PM, after lunch, the shooting of the script took place. In between takes the cast would usually wait in the dressing rooms until they heard their scene number called. Everyone would work until 5:00PM when a loud buzzer would go off. This buzzer was the signal that union members - and almost everyone involved in the production other than Frank and his entourage was - who were required to work after its sounding were now to be paid at a substantially higher rate. And since there was absolutely no budget for any of these kind of golden time expenditures everything stopped everyday at the sound of that buzzer.
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| “200 Motels” principal photography was shot, entirely, in seven eight-hour days. By the fourth and fifth days of the shoot, the pace of work was quite arduous and things were getting quite frenzied. With only two days at Pinewood remaining, strains in some working relationships were beginning to show. Frank, Tony and Jerry were sometimes in disagreement about how some thing should be done or what should happen next. All along, scenes from the shooting script, scenes crucial to the narrative structure, had to be deleted from the schedule in order to spend what little time remained on the scenes which were deemed to be essential and on the cutaways which were required for the editing process. It became clear to Frank, clear to almost everyone, that despite all best efforts, a seven day shooting schedule simply did not permit this film to be completed as written in the shooting script.
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| Frank was rewriting everything constantly, adding, deleting, modifying, trying to make the square peg of his story fit into the round hole of remaining time. But, no matter what adverse circumstance was being faced, when an “absurd project”, as Frank called this, was being made, there was simply an inherent amount of frivolity and nonsense that no problem or setback could permanently divert. The most vivid memory most folks have about the making of “200 Motels”, besides the frenzy, was that it was great fun.
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| On the next to last day of shooting there was tenseness and determination which accompanies the ability to no longer postpone. Everything was rushed. Frank had been up most of the night, among other things, rewriting the finale. The band learned the “we’re gonna tear down the studio” section of the finale while on the bus on the way to Pinewood that morning. Scheduled for the sixth day were six scenes from “The pleated gazelle sequence” - the only part of the script in which Frank had written a major on-camera speaking part for himself - the “Penis dimension” sequence, which required playback of the music they had recorded one of the previous days, and the “Strictly genteel” finale. It had been Frank’s intention, from the beginning, that the music in the film be a “real orchestra and real rock & roll band playing real notes” and fact, everything in the film except “Penis dimension” is actually being performed, as you see and hear it, by the musicians on the screen.
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| During the finale shoot, after Theodore says that “it’s been swell having you with us tonight”, Don was scripted to say: “We sort of ran out of time here, and we have to go… our contract with United Artists limits the length of the film…”, a line which did not appear in the final cut. Whether or not that line was completely accurate, what was accurate was that there was only one full working day left at Pinewood with a lot left to do. The sixth day was the final day the Royal Philharmonic Orchestra worked on the film and they were due to be sent home at the end of the morning session. After completing the finale, they were needed only for the “Orchestra Disaster” bit. Quite a few members of the orchestra took this sequence title a little bit too literally, and whether as impishness or as protest, or both, ripped up the tuxedos the production had rented for them.
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| Friday, February 5, 1971. The final day. With all of the orchestra’s work completed the day before, the entire last day was spent shooting less ponderous scenes which featured the band, a few of the cast members and the dancers. Also scheduled for this day was a close-up shot of Frank’s eyeball which would zoom out to show him blowing smoke rings. The final bit of business of this final day, it is remembered, was a shot in which the Centerville bank was blown up. The shot did not at all go exactly as planned. At 5:00PM precisely, the buzzer shouted, and time officially ran out.
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| The videotaped scenes from the shoot were edited together at TVR, on Windmill Street, in London. Frank, Tony, Barry Stephens and Ray Hunney cut what they had into final shape. Scenes were selected and assembled, certain montage sequences were combined, and an elaborate, but primordial, process to manipulate the speed of the videotape was used, employing a large, album sized, metallic videodisc contraption upon which the footage could be copied, sped up or slowed down, and then played back. Even though the audio at Pinewood had been recorded on 16-track machines, the film soundtrack was to be mono. In 1971 there were still so few theatres that could use a stereo print, that the additional cost to make so few stereo prints was just not in the budget. Frank and Tony still did not agree on how the film should be sequenced and it was during this editing process that they determined that some of the Pinewood footage, for one reason or another, was not usable. After eleven days, everyone working about ten hours each day, Frank’s final assembly of videotape was ready to be sent over to Technicolor for transfer to 35mm film stock.
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| It had always been known there was going to be some animation included in the final film, but precisely what it should be changed from re-write to re-write. An early draft had the animated sequence built around “Would you go all the way for the USA?”, while another obliquely refers to something called “The Red Throbber” sequence. And, at one point, a portion of the “dick is a monster” routine was the leading candidate. But because of the Pinewood footage which couldn’t be used, the decision was made that the animation would be the entire Jeff freak-out sequence, from “Dental hygiene dilemma” to the “I’m stealing the room” rant. The animation would be done back in the States at Murakami-Wolf.
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|
| Meanwhile, one concert had been scheduled to take advantage of everyone already being in England and to take a very practical, and necessary, advantage of an arcane union regulation. This concert was supposed to take place after everything had wrapped at Pinewood and before anything commenced at TVR. It was to be held at the Royal Albert Hall on Monday, February 8, and was to feature the Mothers performing with the Royal Philharmonic Orchestra and a chorus.
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| The Musicians Union rule in effect at that time said a full rate had to be paid for orchestral rehearsals needed for a film but that a far lesser rate could be paid for orchestral rehearsals needed for a concert. So, in order to control the costs of using the RPO in the film and in order to fulfill this union requirement, a concert needed to be performed with them.
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| Some members of the orchestra, who were none too pleased with what they considered all of the vulgar shenanigans which occurred during the shoot, suggested to the Royal Albert Hall management that, should this concert be allowed, some manner of obscenity would result. This was simply not the case, as Frank had planned an appropriately restrained program just for the occasion. But no one got to hear it. Management canceled the concert. Frank saw this as censorship, and told the press so, even holding a protest cum press conference, with the Mothers and placards and banners, in front of the Hall on the day the concert would have taken place. Frank sued the Royal Albert Hall, a surreal experience with a surreal result he wrote about, years later, in “The Real Frank Zappa Book”.
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| By the beginning of March, with everyone back home in the States for several weeks and the 35mm film deep into post-production, attention turned to another tour. The band this time was Frank, Howard, Mark, Ian, Aynsley, Don, Jim and Bob Harris. It was on this tour that the band played at the Fillmore East in New York City. Recording from these shows were later edited into what would become the “Fillmore East - June 1971” album. Most of that album, when it was released in August, was devoted to the performance, with some ad-libbed modifications, of sixteen pages of dialogue and music Frank had written in the shooting script, which he had based upon a tale told to him by Howard, and which, with the exception of “Daddy, daddy, daddy”, were not included in the final cut of the film.
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| In Burbank, California, starting in mid-April, Calvin and Chuck Swenson figured out what the animation would look like. Almost all animation is created to an already existing audio track so, as most of the needed Pinewood audio couldn’t be used, Howard, Mark and Jim went into a San Fernando Valley recording studio, in the city of North Hollywood to be exact, and re-recorded Frank’s original scripted dialogue for Scenes 95 to 98. While they were there, they also recorded, along with Frank, a series of radio commercials for the film ▲. United Artists used six of these spots, varying in length from ten seconds to one minute, to press up a seven inch single which was sent out to radio stations.
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| The re-recorded audio track was delivered to Murakami-Wolf, where timing for each segment was worked out and storyboards were made. Calvin designed the characters and created the backgrounds. Chuck animated the characters, animated the dribbling letters for the opening title and put together the end credits. It took them, along with five people in the ink and paint department, eight weeks to complete the animation.
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| Since he had returned to America, Frank had been selecting, remixing and assembling the master tapes for the “200 Motels” soundtrack album. Almost all of this took place, as usual, down in his basement. At the same studio and at the same time that the animation audio track had been re-recorded, Frank and Barry Keene had, among other things, recorded overdubs of Howard and Mark and had replaced two of Martin’s bass tracks. Calvin was designing the album package. The budget for the album, which was a two disc set in a gatefold sleeve, allowed for a 16-page booklet and a poster to be included. Dave McMacken was hired to create the illustration which was used for both the front cover of the album and for the film and album posters. The notion of a cover with the theme of Frank Ruling The World was approved. After concepts for what this finished illustration should be were discussed, Dave created a test piece of art, a first rendering which was later sold to Rhino Records for use on their 1993 “Rare Meat” collection of Frank’s early Del-Fi recordings.
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| It took about a month for the final acrylic painting, about 36 inches or so square, to be completed.
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| Then, because the decision had already been made to forego using Ringo’s image on the outside of the album and only to use Ringo’s image to promote the film, a slightly curious thing took place. After everything the album package required was made from the painting, Dave took it back and painted in Ringo so it could be used for the motion picture one-sheets, which were displayed in all of the theatres, and for the album poster, which was tucked inside one of the sleeves so no one could see Ringo until they opened up their album. The “200 Motels” cover painting would undergo one more change. There was a billboard announcing the film and album releases installed on Sunset Boulevard, over near the Source, on October 1. To accommodate the billboard’s very horizontal and very rectangular shape, additional panels with new art were created on each side of the original.
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| The final cut of the film, color corrected, with the opening, the animation and the end credits firmly affixed, was finished and submitted to the Motion Picture Association Of America rating board. On June 23, the MPAA sent a ratings certificate to Murakami-Wolf. The film had been rated “R” which meant that people under seventeen years of age could only see it if they were with a parent. For some unknown reason, the certificate arrived unsigned. As the packaging process for the album was still underway, Frank told Calvin to sign the certificate himself and use it on the front cover of the album booklet.
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|
| The “200 Motels” World Premiere was held in a Piccadilly Circus theatre, amid some royalty and many, many fans, in London. It opened in four cities in the U.S. in October and, as they say, went “wide”, at least somewhat, in January 1972. The U.S. West Coast premiere was held at a theatre called the Music Hall in Beverly Hills. It seemed as if every American citizen who worked on the film was there. Frank was, of course, the host and the focus of attention, spending most of the time before the movie began speaking with all sorts of folks out in front of the theatre. The audience that night also included quite a number of people, fans of the Mothers, who won tickets to the screening during some of the radio promotion for the film. For almost everyone there who had worked on the film, this was the first time they saw the completed movie, the first time they saw just how Frank put it together and what did and what did not make it into the final cut.
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| What ended up on the screen after the final frame of the end credits had faded to black, but before the film had actually finished running through the projector, was an oddly amusing surprise. Someone had scratched, presumably into the emulsion of the print being used that night, a small postlude which, individual letter replaced by individual letter, flashed up on the lower right-hand side of the screen.
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| It read: H E M A D E M E D O I T
| |
| Say!
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|
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| Ow!
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| Look out!
| Beachtung! |
| Ow!
| |
| Look out!
| Beachtung! |
| Ow!
| |
| Look out!
| Beachtung! |
|
| |
| How long?
| Wie lange noch? |
| How long?
| Wie lange noch? |
| Till that mystery roach be arrivin’ soon
| Bis diese mysteriöse Kakerlake hier ankommt |
| Ya-ooo ya-ooo ya-ooo ya-ooo
| |
|
| |
| That mystery roach be approachin’
| Bis diese mysteriöse Kakerlake ran kommt |
| That mystery roach be approachin’ me
| Bis diese mysteriöse Kakerlake auf mich ran kommt |
| La la la la la la la oof!
| |
|
| |
| How long?
| Wie lange noch? |
| How long?
| Wie lange noch? |
| Till that mystery roach been gone
| Bis diese mysteriöse Kakerlake weg ist |
| Ya-ooo-ooo-oo-ooo
| |
| Ya-ooo-ooo-oo-ooo
| |
|
| |
| That mystery roach be approachin’
| Bis diese mysteriöse Kakerlake ran kommt |
| That mystery roach be approachin’ me
| Bis diese mysteriöse Kakerlake auf mich ran kommt |
| La la la la la la la oof!
| |
|
| |
| That mystery roach be approachin’
| Bis diese mysteriöse Kakerlake ran kommt |
| That mystery roach be approachin’ me
| Bis diese mysteriöse Kakerlake auf mich ran kommt |
| La la la la la la la oof!
| |
|
| |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
|
| |
| Once in a minute
| Einmal in einer Minute |
|
| |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
| Mystery mystery mystery mystery mystery mystery mystery roach!
| Mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse, mysteriöse Kakerlake! |
|
| |
| [Howard Kaylan] Ah! Hold it!
| Ah! Hört mal auf! |
| Wait a minute!
| Moment mal! |
| Stop that music!
| Hört auf zu spielen! |
| Please!
| Bitte! |
| Hold it!
| Hört mal auf! |
| Wait a minute!
| Moment mal! |
| Ah! What are we SINGING about?
| Ah! Worüber singen wir denn da? |
| A mystery ROACH?
| Eine mysteriöse Kakerlake? |
| We must be FLIPPING OUT!
| Wir müssen ausgetickt sein! |
| This town
| Diese Stadt |
| This town
| Diese Stadt |
| Is a sealed tuna sandwich
| Ist ein luftdicht verpackter Thunfisch-Sandwich |
| Sealed tuna sandwich
| Luftdicht verpackter Thunfisch-Sandwich |
| With the wrapper glued
| Eingepackt und zugeschweit |
| It’s by baloney on the RACK
| Im Regal steht neben der Mortadella |
| It goes for 40 cents a WHACK
| Kost 40 Cents pro Stück |
|
| |
| It’s just a place for us to play
| Für uns ist nur ein Ort, wo wir spielen |
| To help us pay
| Um die Piepen zu verdienen |
| The cost of the tickets back to L.A.
| Für den Rückflug nach Los Angeles |
| The cost of the tickets back to L.A.
| Für den Rückflug nach Los Angeles |
| The cost of the tickets back to L.A.
| Für den Rückflug nach Los Angeles |
|
| |
| All the people in the Sandwich Town
| Die Leute in dieser Sandwich-Stadt |
| Think the place is great
| Finden ihren Ort ganz fabelhaft |
| What if part of it’s crumbling down?
| Und wenn ein Teil zusammenbricht? |
| Most of them prob’ly won’t be ‘round
| Viele von ihnen werden wahrscheinlich nicht mehr da sein |
| They’ll either be dead
| Entweder sie werden tot sein |
| Or moved to San Francisco
| Oder sie werden nach San Francisco gezogen sein |
| Where everybody thinks they’re heavy business
| Wo jeder denkt, dass er etwas Wichtiges zu erledigen hat |
|
| |
| But it’s just a tuna sandwich from another catering service
| Aber es ist nur ein Thunfisch-Sandwich von einem anderen Verpflegungsservice |
| [Jimmy Carl Black] My name is Burtram, I am a redneck
| Mein Name ist Burtram, ich bin ein südliches Landei |
| All my friends they call me “Burt”
| Meine Freunde nennen mich alle „Burt“ |
| Hi, Burt!
| Hi, Burt! |
| All my family from down in Texas
| Meine ganze Familie da unten in Texas |
| Make their livin’ diggin’ dirt
| Bestellt das Land, um zu überleben |
|
| |
| Come out here to Californy
| Bin hier raus nach Kalifornien gekommen |
| Just to find me some pretty girls
| Um mal ein paar hübsche Mädeln aufzutun |
| Ones I seen gets me so horny
| Die, die ich bis jetzt geseh’n hab, machen mich so richtig geil |
| Ruby lips an’ teeth like pearls
| Rubinrote Lippen und Zähne wie Perlen |
|
| |
| Wanna love ‘em all, wanna love ‘em dearly
| Will sie alle lieben, will sie mit Hingabe lieben |
| Wanna pretty girl, I’ll even pay
| Will hübsche Mädeln, ich zahl sogar |
| I’ll buy ‘em furs, I’ll buy ‘em jewelry
| Ich kauf’ ihnen Pelze, ich kauf’ ihnen Schmuck |
| I know they like me, here’s what I say:
| Ich bin sicher, sie mögen mich und so sprech’ sie an: |
|
| |
| I’m lonesome cowboy Burt
| Ich bin Burt, der einsame Cowboy |
| (Speakin’ atcha!)
| (Ich red’ mit dir!) |
| Come smell my fringe-y shirt
| Komm, riech mal an meinem Fransenhemd |
| (Reekin’ atcha!)
| (Du bist derjenige, der stinkt!) |
| My cowboy pants
| Meine Cowboy-Hosen |
| My cowboy dance
| Mein Cowboy-Tanz |
| My bold advance
| Meine kühnen Avancen |
| On this here waitress
| Bei dieser Kellnerin hier |
| Yodel-oh-oo-pee-hey!
| Jodeln! |
| Yodel-oh-oo-pee!
| Jodeln! |
|
| |
| He’s lonesome cowboy Burt
| Er ist Burt, der einsame Cowboy |
| Dontcha get his feelings hurt
| Verletze nicht seine Gefühle |
| Come on in this place an’ I’ll buy you a taste
| Komm mit hier in diesen Laden rein und ich lad’ dich zu ‘ner Runde ein |
| You can sit on my face, where’s my waitress?
| Du kannst dich auf mein Gesicht hocken, wo ist meine Kellnerin? |
|
| |
| Burtram, Burtram redneck
| Burtram, Burtram das südliche Landei |
| Burtram, Burtram redneck
| Burtram, Burtram das südliche Landei |
|
| |
| I’m an awful nice guy, sweat all day in the sun
| Ich bin ein schrecklich netter Kerl, schwitz’ den ganzen Tag in der Sonne |
| Roofer by trade, quite a bundle I’ve made
| Ich bin Dachdecker von Beruf, hab’ ziemlich viele davon gemacht |
| I’m unionized roofin’ old son of a gun!
| Ich bin ein gewerkschaftlich organisierter Dachdecker- Spitzbube! |
| He’s a unionized roofin’ old son of a gun!
| Er ist ein gewerkschaftlich organisierter Dachdecker- Spitzbube! |
|
| |
| When I get off, I get plastered
| Wenn ich hinuntergeh’, ich bin mit Gips bedeckt |
| Drink till I fall onna floor
| Ich trink’, bis ich auf dem Boden land’ |
| Find me some communist bastard
| Ich greif’ mir irgendein Kommunistenschwein |
| An’ stomp on his face till he don’t move no more
| Und stampf’ ihm das Gesicht platt, bis er sich nicht mehr regt |
| He stomps on his face till he don’t move no more!
| Er stampft ihm das Gesicht platt, bis er sich nicht mehr regt! |
|
| |
| I fuss, an’ I cuss an’ I keep on drinkin’
| Ich reg’ mich auf und fluch’ und sauf’ mich voll |
| Till my eyes puff up an’ turn red
| Bis ich knallrote Augen krieg’ |
| I drool on m’ shirt, I see if he’s hurt
| Mir der Sabber am Hemd runter läuft, ich seh’ nach, ob er verletzt ist |
| Kick him again in the head, YES!
| Dann ich geb’ ihm noch einen Tritt an den Kopf, ja! |
| Kick him again in the head, BOYS!
| Geb’ ihm noch einen Tritt an den Kopf, Mann! |
| Kick him again in the head, NOW!
| Geb’ ihm noch einen Tritt an den Kopf, jetzt! |
| Kick him again in the head!
| Geb’ ihm noch einen Tritt an den Kopf! |
|
| |
| Lonesome cowboy Burt
| Burt, der einsame Cowboy |
| (Speakin’ atcha!)
| (Ich red’ mit dir!) |
| Come smell my fringe-y shirt
| Komm, riech mal an meinem Fransenhemd |
| (Reekin’ atcha!)
| (Du bist derjenige, der stinkt!) |
| My cowboy pants
| Meine Cowboy-Hosen |
| My cowboy dance
| Mein Cowboy-Tanz |
| My bold advance
| Meine kühnen Avancen |
| On this here waitress
| Bei dieser Kellnerin hier |
| Yodel-oh-oo-pee-hey!
| Jodeln! |
| Yodel-oh-oo-pee!
| Jodeln! |
|
| |
| He’s lonesome cowboy Burt
| Er ist Burt, der einsame Cowboy |
| Dontcha get his feelings hurt
| Verletze nicht seine Gefühle |
| Yeah, but come on in this place an’ I’ll buy you a taste
| Ja, aber komm mit hier in diesen Laden rein und ich lad’ dich zu ‘ner Runde ein |
| An’ you can sit on my face, where’s my waitress?
| Und du kannst dich auf mein Gesicht hocken, wo ist meine Kellnerin? |
|
| |
| OPAL, YOU HOT LITTLE BITCH!
| OPAL, DU HEISSE KLEINE NUTTE! |
| The clock upon the wall
| Die Wanduhr |
| Has struck the midnight hour
| Hat Mitternacht geschlagen |
| She finishes her call
| Sie beendet ihr Telefonat |
| Her girlfriend’s in the shower
| Ihre Freundin steht unter der Dusche |
|
| |
| Practisissing, practiss, practicing!
| Prüft provokative Profile! |
|
| |
| Half a dozen provocative squats
| Ein halbes Dutzend provokativer Hockenposen |
| Out of the shower, she squeezes her spots
| Nach der Dusche drückt sie ihre Pickel aus |
| Brushes her teeth, shoots a deodorant, spray up her twat
| Putzt sich die Zähne, sprüht ein Deo, sogar auf ihre Fotze |
| It’s getting her… getting her hot
| Das macht sie… macht sie heiß |
|
| |
| She’s just twenty-four and she can’t get off
| Sie ist erst vierundzwanzig und keinen Orgasmus mehr |
| A sad but typical case, yeah!
| Ein trauriger aber typischer Fall! |
| Last dude to do her got in and got soft
| Der letzte, der bei ihr drüber stieg schob, ihn rein und er schlaffte ihm ab |
| She blew it and laughed in his face, yeah!
| Sie ihm einen geblasen hat und lachte ihm ins Gesicht, ja! |
| Face, yeah!
| Ins Gesicht, ja! |
| Yeah
| Ja |
| She chooses all the clothes
| Sie sucht sich die ganzen Kleider raus |
| She’ll wear tonight to dance in
| Die sie tragen wird heute Abend beim Tanz |
| She dances, she prances, she dances, she prances, she prances, she prances, she…
| Sie tanzt, stolziert herum, tanzt, stolziert herum, stolziert herum, stolziert herum… |
| The places that she goes
| In den Clubs, wo sie hingeht |
| Are filled with guys from groups
| Sitzen lauter Kerls von Bands |
| Yeah yeah yeah
| |
| Waiting for a chance to break her pants in
| Die warten auf eine Chance, in ihre Höschen einzubrechen |
|
| |
| PROVOCATIVE SQUATS
| PROVOKATIVER HOCKENPOSEN |
| Gum-me-on-m’lung-a
| Komm, lass dich dort lecken |
| PROVOCATIVE SQUATS
| PROVOKATIVER HOCKENPOSEN |
| Gum-me-on-m’lung-a
| Komm, lass dich dort lecken |
| PROVOCATIVE SQUATS
| PROVOKATIVER HOCKENPOSEN |
| Gum-me-on-m’lung-a
| Komm, lass dich dort lecken |
| PROVOCATIVE SQUATS
| PROVOKATIVER HOCKENPOSEN |
| Gum-me-on-m’lung-a
| Komm, lass dich dort lecken |
|
| |
| Well, at least there’s sort of a choice there
| Naja, wenigstens gibt’s eine gewisse Auswahl |
| Twenty or thirty at times there have been
| Manchmal waren schon zwanzig oder dreißig |
| Somewhat desirable boys there
| Einigermaßen begehrenswerte Kerls da |
| Dressed really spiffy, with long hair
| Schick angezogen und langes Haar |
| Waiting for girls they can shove it right in
| Die warten auf Mädchen, bei denen sie ihn geradewegs reinschieben können |
|
| |
| Well, at least there’s sort of a choice there
| Naja, wenigstens gibt’s eine gewisse Auswahl |
| Twenty or thirty at times there have been
| Manchmal waren schon zwanzig oder dreißig |
| Somewhat desirable boys there
| Einigermaßen begehrenswerte Kerls da |
| Dressed really spiffy, with long hair
| Schick angezogen und langes Haar |
| Waiting for girls they can shove it right in
| Die warten auf Mädchen, bei denen sie ihn geradewegs reinschieben können |
| [Jeff Simmons] Han-min-noon-toon han-toon-ran
| |
| [Good conscience] No, Jeff!
| [Gutes Gewissen] Nein, Jeff! |
| [Jeff Simmons] Rantoon Rantoon Rantoon Frammin Hantoon Rantoon Hantoon Frammin
| |
| [Good conscience] No, no, no!
| [Gutes Gewissen] Nee, nee, nee! |
| [Jeff Simmons] Man! This stuff is great! It’s just as if Donovan himself had appeared on my very own TV with words of peace, love, and eternal cosmic wisdom!
| [Jeff] Dufte! Dieses Zeug ist großartig! Es ist, als ob Donovan selbst direkt in meinem Fernseher mit Worten des Friedens, der Liebe und der ewigen kosmischen Weisheit auftauchte! |
|
| Leading me, guiding me. On paths of everlasting pseudo-karmic negligence, in the very midst of my drug-induced nocturnal emission.
| Er führt mich, leitet mich. Auf Pfaden endloser pseudo-karmischer Nachlässigkeit, inmitten meiner drogeninduzierten feuchten Träume. |
| [Good conscience] For I am your good conscience, Jeff. I know all. I see all. I am a cosmic love pulse matrix, becoming a technicolor interpositive!
| [Gutes Gewissen] Weil ich dein gutes Gewissen bin, Jeff. Ich weiß alles. Ich sehe alles. Ich bin eine pulsierende Matrix kosmischer Liebe, die zu einem farbenprächtigen Interpositiv wird! |
|
| |
| [Jeff Simmons] Huh? Where’d you buy that incense? It’s hip!
| [Jeff] Häh? Wo hast du diesen Weihrauch gekauft? Er ist trendig! |
| [Good conscience] It’s the same and mysterious exotic oriental fragrance as what the Beatles get off on
| [Gutes Gewissen] Er ist derselbe mysteriöse und exotische orientalische Duft, nach dem die Beatles verrückt sind |
| [Jeff Simmons] I thought I recognized it. Sniff sniff… mmm, what is that, musk?
| [Jeff] Ich glaube, ich habe ihn erkannt. Schnüff schnüff… mhm, was ist das, Moschus? |
| Sniff sniff sniff… mmmh!
| Schnüff schnüff schnüff… mhm! |
| [Good conscience] Jeff, I know what’s good for you
| [Gutes Gewissen] Jeff, ich weiß, was gut für dich ist |
| [Jeff Simmons] Right. You’re heavy!
| [Jeff] Richtig. Du bist stark! |
| [Good conscience] Yes, Jeff, I am your guiding light. Listen to me: DON’T RIP OFF THE TOWELS, JEFF!
| [Gutes Gewissen] Ja, Jeff, ich bin dein Orientierungslicht. Hör mir zu: klaue nicht die Handtücher, Jeff! |
|
| |
| [Bad conscience] Piss off, you little nitwit!
| [Schlechtes Gewissen] Verpiss dich, du kleiner Trottel! |
| [Jeff Simmons] Hey man, what’s the deal?
| [Jeff] Hey, Mann, was ist los? |
| [Good conscience] Don’t listen to him, Jeff, he’s no good. He’ll make you do BAD THINGS!
| [Gutes Gewissen] Hör nicht auf es, Jeff, es ist ein Nichtsnutz. Es wird dich dazu bringen, schlechte Dinge zu tun! |
|
| |
| [Jeff Simmons] You mean, he’ll make me SIN?
| [Jeff] Du meinst, es wird mich zum Sündigen bringen? |
| [Good conscience] Yes, Jeff. Sin!
| [Gutes Gewissen] Ja, Jeff. Sündigen! |
| [Jeff Simmons] Wow!
| [Jeff] Wow! |
|
| |
| [Bad conscience] Jeff, I’d like to have a word with you, about your soul
| [Schlechtes Gewissen] Jeff, ich würde gerne ein paar Worte mit dir über deine Seele sprechen |
| [Good conscience] No, don’t listen, Jeff
| [Gutes Gewissen] Nein, hör nicht zu, Jeff |
| [Bad conscience] Why are you wasting your life, night after night playing this comedy music?
| [Schlechtes Gewissen] Warum verschwendest du dein Leben damit, jeden Abend diese Comedy-Musik zu spielen? |
| [Jeff Simmons] You’re right, I’m too heavy to be in this group
| [Jeff] Du hast recht, ich bin zu stark, um in dieser Gruppe zu bleiben |
| [Bad conscience] Comedy music
| [Schlechtes Gewissen] Comedy-Musik |
| [Good conscience] Jeff, YOUR SOUL!
| [Gutes Gewissen] Jeff, deine Seele! |
|
| |
| [On the right] Oh, ah
| [Von rechts] Oh |
| Oh, you’re wasting your life
| Oh, du verschwendest dein Leben |
| To be…
| Um zu bleiben… |
| Ah
| Ah |
|
| |
| [On the left] Oh, ah
| [Von links] Oh |
| Ah ah
| Ha ha |
| Too heavy, Jeff
| Zu stark, Jeff |
|
| |
| [Jeff Simmons] In this group, all I ever get to do is play Zappa’s comedy music. HE EATS!
| [Jeff] In dieser Gruppe kann ich immer nur Zappas Comedy-Musik spielen. Er saugt! |
| [Good conscience] Jeff!
| [Gutes Gewissen] Jeff! |
| [Jeff Simmons] I get so tense!
| [Jeff] Ich bin zu angespannt! |
| [Bad conscience] Of course you do, my boy
| [Schlechtes Gewissen] Es ist offensichtlich, dass du so bist, mein Junge |
| [Jeff Simmons] The stuff he makes me do is always off the wall!
| [Jeff] Er bringt mich immer dazu, Unsinn zu mach’n! |
| [Bad conscience] That’s why it would be best to leave his stern employ
| [Schlechtes Gewissen] Deshalb wäre es besser, wenn du diese strenge Arbeit seinen Befehlen überlassen würdest |
| [Jeff Simmons] And quit the group!
| [Jeff] Und die Gruppe verlassen! |
| [Bad conscience] You’ll make it big!
| [Schlechtes Gewissen] Bis zu der Herrlichkeit! |
| [Jeff Simmons] That’s right!
| [Jeff] Ganz recht! |
| [Bad conscience] Of course!
| [Schlechte Gewissen] Na klar! |
| [Jeff Simmons] And then I won’t be small!
| [Jeff] Dann ich werde nicht eingeschränkt sein! |
|
| |
| Ha ha ha ha ha!
| |
| Ha ha ha!
| |
| Ti-diddly-diddly-dee
| |
| Ha ha ha!
| |
| He-he-he-he-heh!
| |
|
| |
| [Jeff Simmons] Ahmet Ertegun used this towel as a bathmat six weeks ago at a rancid motel in Orlando, Florida, with the highest MILDEW rating of any commercial lodging facility within the territorial limits of the United States, naturally excluding tropical possessions.
| [Jeff] Vor sechs Wochen benutzte Ahmet Ertegun dieses Handtuch als Badematte in einem verfaulten Motel in Orlando, Florida, mit der höchsten Schimmelrate aller Hotels in den Vereinigten Staaten, Tropenbesitzen natürlich ausgenommen. |
| It’s still damp. What an aroma! This is the best I ever got off! What can I say about this elixir? Try it on steaks! Cleans nylons! Small craft warnings! It’s great for the home! The office! ON FRUITS!
| Es ist noch nass. Was für ein Duft! Es ist das Beste, was ich je genossen habe! Was kann ich sagen über diesem Elixier? Probiere es auf Steaks! Reinigt Nylonstrümpfe! Tricks des Handels! Es ist großartig für zu Hause! Fürs Büro! Auf Obst! |
| [Bad conscience] This is the real you, Jeff. Rip off a few more ashtrays. Get rid of some of that inner tension. Quit the comedy group! Get your own group together. HEAVY! Like Grand Funk! Or Black Sabbath.
| [Schlechtes Gewissen] Jetzt erkenne ich dich, Jeff. Klaue noch ein paar Aschenbecher. Lade etwas von dieser inneren Spannung herunter. Verlass diese Comedy-Gruppe! Starte deine eigene Gruppe. Stark! Wie die Grand Funk! Oder die Black Sabbath. |
| [Good conscience] No, Jeff
| [Gutes Gewissen] Nein, Jeff |
| [Jeff Simmons] Or Coven!
| [Jeff] Oder die Coven! |
| [Good conscience] Peace, love
| [Gutes Gewissen] Frieden, Liebe |
| [Bad conscience] Bollocks!
| [Schlechtes Gewissen] Quatsch! |
| [Jeff Simmons] What can I say about this elixir?
| [Jeff] Was kann ich sagen über diesem Elixier? |
|
| |
| [Howard Kaylan] Jeff has gone out there on that stuff!
| [Howard] Diese Sache machte Jeff verrückt! |
| [Good conscience] He should have never have used the elixir and only stuck to the incense.
| [Gutes Gewissen] Er hätte niemals das Elixier verwenden sollen, sondern sich auf Weihrauch beschränken sollen. |
| Oh, ✄ Atlantis…
| Oh, ✄ Atlantis… |
| [Mark Volman] That was Billy the mountain ▶, dressed up like Donovan, fading out on the wall-mounted TV screen ▶. Jeff is flipping out. Road fatigue! We’ve got to get him back to normal before Zappa finds out, and steals it, and makes him do it in the movie!
| [Mark] Das war Billy der Berg ▶, verkleidet als Donovan, der auf den Fernsehbildschirm an der Wand ▶ eingeblendet wurde. Jeff flippt aus. Tournee-Stress! Wir müssen ihn wieder zur Vernunft bringen, bevor Zappa es herausfindet, die Idee stiehlt und ihn dazu bringt, sie im Film zu spielen! |
| [Bad conscience] You have a brilliant career ahead of you, my boy, just GET OUT OF THIS GROUP!
| [Schlechtes Gewissen] Du hast eine glänzende Karriere vor dir, mein Junge, du musst nur diese Gruppe verlassen! |
| [Mark Volman] Howard, that was Studebacher Hoch ▶, dressed up like Jim Pons, giving career guidance to the bass player of a rock-oriented comedy group. Jeff’s imagination has gone beyond the fringe of audience comprehension.
| [Mark] Howard, das war Studebacher Hoch ▶, verkleidet als Jim Pons, der den Bassisten einer rockigen Comedy-Gruppe professionell beriet. Jeffs Vorstellungskraft hat die Grenzen des Publikums Verständnisses überschritten. |
|
| |
| [Howard Kaylan] Jeff, Jeff, it’s me, the Phlorescent Leech!
| [Howard] Jeff, Jeff, ich bin es, der Fluoreszierende Blutegel! |
| [Mark Volman] Jeff, Jeff, it’s me, Eddie!
| [Mark] Jeff, Jeff, ich bin es, Eddie! |
|
| |
| WOWWWW! WHAT CAN I SAY ABOUT THIS ELIXIR!
| WOW! WAS KANN ICH SAGEN ÜBER DIESEM ELIXIER! |
|
| |
| [Mark Volman, on the right] Put it on your steaks uh… send it overseas, […] ground, and put it on you surfboard so you won’t slip off. Try it on your […] boy, and on the… the red balloons, you can blow up all balloons with it. Put it on your uh… on… on your pizzas.
| [Mark, von rechts] Lege es auf die Steaks, äh… schicke es nach Übersee, […] Boden und lege es auf deinem Surfbrett, damit du nicht rutschst aus. Probiere es an deinem […] und an… an roten Luftballons, du kannst damit alle Luftballons aufblasen. Lege es auf deinen äh… auf… auf deinen Pizzen. |
| Put it on your shoes, tie your bike with it, and fill up your tires with it.
| Lege es auf deinen Schuhen an, verwend es, um dein Fahrrad zu binden und deine Reifen aufzupumpen. |
|
| |
| [Howard Kaylan, center] Use it to clean your swimming pool, sell it to your mother and tell her it’s a Rit Tie-Dye kit, you won’t even believe what’ll happen when you starch your shirt with it, ironing goes easier and your car windows never looked better in your whole life. Ladies and gentlemen, you can inhale it, and it makes your voice three keys higher, and you can’t even stand what happens when you put it on your hair, as hair tonic, heh heh. And if you ever tried it as a…
| [Howard, in der Mitte] Verwend es, um deinen Pool zu reinigen, verkaufe es an deine Mutter und sag sie, dass es ein Rit-Farbstoffset ist, du wirst es nicht glauben, wenn du deine Hemden damit stärkst, das Bügeln wird einfacher und deine Autoscheiben werden in deinem ganzen Leben noch nie besser ausgesehen haben. Sie können es einatmen, meine Damen und Herren, und es wird ihre Stimme drei Töne höher machen, und Sie können nicht einmal glauben, was passiert, wenn Sie es als Conditioner auf Ihrem Haar geben, heh heh. Und wenn Sie es noch nie versucht haben als… |
|
| |
| [Jim Pons, on the left] Soak your shirts in it, soak your teeth in it, let it play the piano.
| [Jim, von links] Tauche deine Hemden ein, tauche dein Gebiss ein, lass es Klavier spielen. |
| Follow it around the block. Wear it instead of jeans. Bathe your puppies with it. Feed it to your ducks. Use it instead of chlorine in your swimming pool. Breathe it. Love it.
| Folge ihm um den Block. Trage es anstelle einer Jeans. Gib deinen Welpen ein Bad damit. Füttere deinen Enten damit. Verwend es anstelle von Chlor in deinem Pool. Atme es ein. Liebe es. |
|
| |
| What…?
| Was…? |
| WOWWWWWW!
| WOW! |
| What can I…?
| Was kann ich…? |
| WOWWWWWW!
| WOW! |
| What…?
| Was…? |
| What can I say about this?
| Was kann ich dazu sagen? |
| WOWWWWWW!
| WOW! |
| Ooo-ooo, do you like my new car? ▶
| Uh-uh, gefällt dir mein neues Auto? ▶ |
| Ooo-ooo, do you like my new car?
| Uh-uh, gefällt dir mein neues Auto? |
|
| |
| She’s such a dignified lady
| Sie ist so eine vornehme Dame |
| She’s so pretty and soft
| Sie ist so hübsch und sanft |
| You can’t call her a groupie
| Ein Groupie darf man sie nicht nennen |
| It just pisses her off
| Da reagiert sie sofort ganz sauer drauf |
| Yeah
| Ja |
| She got diamonds and jewelry
| Sie hat Diamanten und Juwelen |
| She got lotsa new clothes
| Hat ‘ne Menge neue Kleider |
| She ain’t hurtin’ for money
| Mit Geld ist sie nicht grade knapp dran |
| So that everyone knows…
| So dass also jeder gleich sieht… |
|
| |
| That she knows what she wants
| Dass sie weiß nämlich, was sie will |
| Knows what she likes
| Sie weiß nämlich, was ihr gefällt |
| Daddy, daddy, daddy, oooh!
| Liebling, Liebling, Liebling, uh! |
| Daddy, daddy, daddy, oooh!
| Liebling, Liebling, Liebling, uh! |
| Daddy, daddy, daddy
| Liebling, Liebling, Liebling |
| Look out, she’s got her eyes on you
| Pass auf, sie hat ein Auge auf dich |
|
| |
| She left her place after midnight ▶
| Sie ging nach Mitternacht von zuhause weg ▶ |
| La la la la la
| |
| And she drove to the club
| Und fuhr raus zum Club |
| La la la la-ee-ah!
| |
| You know that her and her partner
| Es ist klar, dass sie und ihre Freundin |
| La la la la la
| |
| Came here lookin’ for love
| In Sachen Liebe hergekommen sind |
| La la la la-ee-ah!
| |
| They want a guy from a group
| Sie wollen einen Kerl von einer Gruppe |
| La la la la la
| |
| Got a thing in a charts
| Die was in den Charts hat |
| La la la la-ee-ah!
| |
| IF HIS DICK IS A MONSTER…
| WENN SEIN DICK EIN MONSTER IST… |
| IF HIS DICK IS A MONSTER…
| WENN SEIN DICK EIN MONSTER IST… |
| IF HIS DICK IS A MONSTER…
| WENN SEIN DICK EIN MONSTER IST… |
| THEY WILL GIVE HIM THEIR HEARTS
| SIE WERDEN IHM IHRE HERZEN GEBEN |
|
| |
| ‘Cause they know what they want
| Weil sie wissen nämlich, was sie wollen |
| Do it, d’ya wanna-wanna?
| Mach’s, willste, willste? |
| Know what they like
| Sie wissen nämlich, was ihnen gefällt |
| Daddy, daddy, daddy, oooh!
| Liebling, Liebling, Liebling, uh! |
| Daddy, daddy, daddy, oooh!
| Liebling, Liebling, Liebling, uh! |
| Daddy, daddy, daddy
| Liebling, Liebling, Liebling |
| Look out, they got their eyes on you
| Pass auf, sie haben ein Auge auf dich |
|
| |
| FAM-BAM YAK-A-TA-TAHHH!
| |
|
| |
| They know what they want
| Sie wissen nämlich, was sie wollen |
| Know what they like
| Sie wissen nämlich, was ihnen gefällt |
| Daddy, daddy, daddy, oooh!
| Liebling, Liebling, Liebling, uh! |
| Daddy, daddy, daddy, oooh!
| Liebling, Liebling, Liebling, uh! |
| Daddy, daddy, daddy
| Liebling, Liebling, Liebling |
| Awright, you got ‘em screamin’ all night
| Tja, du hast sie soweit, dass sie kreischen die ganze Nacht |
| La la la la la
| |
| Screamin’ all night
| Kreischen die ganze Nacht |
|
| |
| Ooo-ooo, do you like my new car?
| Uh-uh, gefällt dir mein neues Auto? |
| Do it, do it, d’ya wanna-wanna do it, do it?
| Mach’s, mach’s, willst du’s, willst du’s mach’n? |
| It’s a Bentley!
| Es ist ein Bentley! |
| Ooh!
| Uh! |
| Ooo-ooo, do you like my new car?
| Uh-uh, gefällt dir mein neues Auto? |
| Do it, do it, d’ya wanna-wanna do it, do it?
| Mach’s, mach’s, willst du’s, willst du’s mach’n? |
| It’s a Cooper!
| Es ist ein Cooper! |
| Ooh!
| Uh! |
| Ooo-ooo, do you like my new car?
| Uh-uh, gefällt dir mein neues Auto? |
| Do it, do it, d’ya wanna-wanna do it, do it?
| Mach’s, mach’s, willst du’s, willst du’s mach’n? |
| It’s a Chevy!
| Es ist ein Chevrolet! |
| Ooh!
| Uh! |
| Ooo-ooo, do you like my new car?
| Uh-uh, gefällt dir mein neues Auto? |
| Do it, do it, d’ya wanna-wanna do it, do it?
| Mach’s, mach’s, willst du’s, willst du’s mach’n? |
| Or a Lincoln!
| Oder ein Lincoln! |
| Ooh!
| Uh! |
| Ooo-ooo, do you like my new car?
| Uh-uh, gefällt dir mein neues Auto? |
| Do it, do it, d’ya wanna-wanna do it, do it?
| Mach’s, mach’s, willst du’s, willst du’s mach’n? |
| ‘Cause they’re dancin’!
| Denn sie tanzen! |
| Penis dimension
| Penis-Größe |
| Penis dimension
| Penis-Größe |
| Penis dimension is worrying me
| Penis-Größe macht mir Sorgen |
| I can’t hardly sleep at night
| Ich kann nachts kaum schlafen |
| ‘Cause of penis dimension
| Wegen der Penis-Größe |
|
| |
| Do you worry?
| Sorgst du dich? |
| Do you worry a lot?
| Sorgst du dich sehr? |
|
| |
| No!
| Nein! |
|
| |
| Do you worry?
| Sorgst du dich? |
| Do you worry and moan
| Sorgst du dich und tust du stöhnen |
| That the size of your cock is not monstrous enough?
| Dass dein Schwanz nicht monströs genug ist? |
|
| |
| It’s your penis dimension!
| Das ist deine Penis-Größe! |
| Penis dimension!
| Penis-Größe! |
|
| |
| [Howard Kaylan] Wah ooo-wah ooo-wah ooo-wah
| |
| Wah ooo-wah ooo-wah ooo-wah
| |
|
| |
| [Mark Volman] Hiya friends! Now, just be honest about it. Did you ever consider the possibility that your penis, and in the case of many dignified ladies, that the size of the titties themselves might provide elements of subconscious tension? Weird, twisted anxieties that could force a human being to have to become a politician! A policeman! A Jesuit monk. A rock & roll guitar player! A wino! You name it. Or in the case of the ladies, the ones that can’t afford a silicone beef-up, they become writers of hot books.
| He, Freunde! Kommt schon, mal ganz ehrlich. Habt ihr mal die Möglichkeit in Betracht gezogen, dass euer Penis - oder im Falle so mancher vornehmen Damen die Größe der Titten - im Unterbewusstsein womöglich gewisse Spannungen hervorruft? Merkwürdige, verquälte Sorgen, die einen Menschen dazu bringen können, dass er Politiker wird! Polizist! Jesuitenpater. Gitarren-Spieler in einer Rock & Roll-Gruppe! Weinsäufer! Um nur einige zu nennen. Oder, im Falle diese Ladies, die sich keine Silikon-Einspritzung leisten können, die verfassen dann erotische Bücher. |
| [Howard Kaylan] “Manuel, the gardener, placed his burning phallus in her quivering quim”
| „Manuel, der Gärtner, platzierte seinen brennenden Phallus in ihre zitternde Fut“ |
| [Mark Volman] Yes, or they become Carmelite nuns!
| Ja, oder sie treten in ein Karmeliter-Kloster ein! |
| [Howard Kaylan] “Gonzo, the lead guitar player, placed his mutated member in her slithering slit”
| „Gonzo, der Leadgitarrist, platzierte sein mutiertes Glied in ihren rutschigen Schlitz“ |
| Ha ha ha! Ooh.
| Ha ha ha! Uh. |
| [Mark Volman] Or race horse jockeys. There is no reason why you or your loved ones should suffer. Things are bad enough, without the size of your organ adding even more misery to the TROUBLES OF THE WORLD!
| Oder sie werden Jockeys. Es ist absolut nicht einzusehen, weshalb ihr oder eure lieben Angehörigen leiden sollten. Der Zustand der Welt ist schon schlimm genug, auch ohne dass die Größe eures Organs noch neues Elend hinzufügt! |
| [Howard Kaylan] Right on! Right on!
| Wahr gesprochen! Wahr gesprochen! |
| [Mark Volman] Now, if you’re a lady and you’ve got munchkin tits, you can console yourself with this age-old line from primary school:
| Nun, falls du eine Lady bist und zwergenhafte Titten hast, dann kannst du dich trösten mit folgendem altehrwürdigen Spruch aus der Volksschule: |
| [Mark Volman & Howard Kaylan] “ANYTHING OVER A MOUTHFUL IS WASTED”. YES!
| „ALLES, WAS NICHT IN DEN MUND REINGEHT, IST VERSCHWENDUNG“. JA! |
| [Mark Volman] And isn’t it the truth? And if you’re a guy, and one night you’re at a party and you’re trying to be cool, I mean, you aren’t even wearing any underwear, you’re being so cool, and somebody hits on you one night, and he looks you up and down and he says:
| Und ist das nicht die Wahrheit? Und wenn du ein Typ bist und eines Abends auf eine Party gehst und cool zu sein versuchst, ich meine, du bist so cool, dass du nicht mal Unterhosen trägst, und es macht sich jemand an dich ran und mustert dich von oben bis unten und fragt: |
| [Howard Kaylan] “Eight inches or less?” ▶
| „Zwanzig Zentimeter oder weniger?“ ▶ |
| [Mark Volman] Well, let me tell you, brothers, that’s the time when you’ve got to turn around and look that son of a bitch right between the eyes, and you got to tell him these words…
| Na, ich sage euch eins, Brüder, das ist der Augenblick, wo müsst ihr euch umdrehen, diesem Hurensohn direkt in die Augen sehen, und dann folgendes zu ihm sagen… |
| What will this evening bring me this morning?
| Was wird mir dieser Abend morgen früh einbringen? |
| What will this evening bring me this morning?
| Was wird mir dieser Abend morgen früh einbringen? |
| Dawn will arrive without any warning
| Der Sonnenaufgang wird anbrechen ohne jede Warnung |
|
| |
| What will I say the next day to whatever I drag to my hotel tonight?
| Was werde ich morgen früh sagen zu der Nummer, die ich heute Nacht in mein Hotel abschleppe? |
| If things go all right!
| Wenn alles gut läuft! |
| What will I say the next day to whatever I drag to my hotel tonight?
| Was werde ich morgen früh sagen zu der Nummer, die ich heute Nacht in mein Hotel abschleppe? |
| Will she be outasite?
| Wird sie große Klasse sein? |
|
| |
| What will this evening bring me this morning?
| Was wird mir dieser Abend morgen früh einbringen? |
| What will this evening bring me this morning?
| Was wird mir dieser Abend morgen früh einbringen? |
| A succulent fat one, a mod little flat one
| Eine saftige Dicke, eine modische kleine Flachbrüstige |
| Maybe a hot one, to give me the clap!
| Vielleicht eine Heiße, die mir einen Tripper anhängt! |
| Maybe a freak who gets off with a strap!
| Vielleicht eine Abartige, die mit einem Lederriemen genießt! |
|
| |
| What will I say the next day to whatever I drag to my hotel tonight?
| Was werde ich morgen früh sagen zu der Nummer, die ich heute Nacht in mein Hotel abschleppe? |
| What will I say the next day to whatever I drag to my hotel tonight?
| Was werde ich morgen früh sagen zu der Nummer, die ich heute Nacht in mein Hotel abschleppe? |
| If things go all right!
| Wenn alles gut läuft! |
| If things go all right!
| Wenn alles gut läuft! |
|
| |
| What will I say the next day to whatever I drag to my hotel tonight?
| Was werde ich morgen früh sagen zu der Nummer, die ich heute Nacht in mein Hotel abschleppe? |
| What will I say the next day to whatever I drag to my hotel tonight?
| Was werde ich morgen früh sagen zu der Nummer, die ich heute Nacht in mein Hotel abschleppe? |
| Will she be outasite?
| Wird sie große Klasse sein? |
| Will she be outasite?
| Wird sie große Klasse sein? |
| [Repeat]
| [Wiederholt] |
| Ooh, the way you love me, lady
| Uh, wie du mich liebst, Lady |
| I get so hard now I could die
| Da krieg ich einen Steifen, dass ich sterben könnte |
| Ooh, the way you love me, sugar
| Uh, wie du mich liebst, Zucker-Puppe |
| I get so hard now I could die
| Da krieg ich einen Steifen, dass ich sterben könnte |
|
| |
| Open up your pocketbook, get another quarter out
| Mach deinen Geldbeutel auf, hol noch einen Vierteldollar raus |
| Drop it in the meter, mama, try me on for size
| Und wirf ihn in den Schlitz, Weib, teste meine Größe |
| Open up your pocketbook, get another quarter out
| Mach deinen Geldbeutel auf, hol noch einen Vierteldollar raus |
| Drop it in the meter, mama, try me on for size
| Und wirf ihn in den Schlitz, Weib, teste meine Größe |
|
| |
| Ooh, the way you squeeze me, baby
| Uh, wie du mich drückst, Baby |
| Red balloons just pop behind my eyes
| Da platzen mir rote Ballons hinter den Augen |
| Ooh, the way you squeeze me, girl
| Uh, wie du mich drückst, Mädchen |
| Red balloons just pop behind my eyes
| Da platzen mir rote Ballons hinter den Augen |
|
| |
| Open up your pocketbook, get another quarter out
| Mach deinen Geldbeutel auf, hol noch einen Vierteldollar raus |
| Drop it in the meter, mama, try me on for size
| Und wirf ihn in den Schlitz, Weib, teste meine Größe |
| Open up your pocketbook, get another quarter out
| Mach deinen Geldbeutel auf, hol noch einen Vierteldollar raus |
| Drop it in the meter, mama, try me on for size
| Und wirf ihn in den Schlitz, Weib, teste meine Größe |
|
| |
| [Instrumental]
| [Instrumental] |
|
| |
| [Mark Volman] Do you really wanna please me?
| [Mark] Willste mir wirklich was Gutes tun? |
| [Howard Kaylan] Well, you know I do, babe
| [Howard] Tja, das weißt du doch, Baby |
| [Mark Volman] Well, tell me why you do it? I really wanna know
| [Mark] Naja, sag mir, warum du’s machst? Ich möcht’ es wirklich wissen |
| [Howard Kaylan] Oh no, no, it wouldn’t be right for me to tell you tonight
| [Howard] Oh nee, nee, das war nicht ganz angebracht, wenn ich dir das sag’ heut’ Nacht |
| [Mark Volman] You better tell me right away or I’ll pack up and go!
| [Mark] Besser, du sagst’s mir sofort sonst ziehe ich mich wieder an und geh’! |
| [Howard Kaylan] Don’t get mad, it ain’t no big thing
| [Howard] Werd nicht wütend, ist ja keine große Sache |
| [Mark Volman] You better tell me right away, don’t you treat me cold
| [Mark] Besser, du sagst’s mir sofort, komm mir bloß nicht auf die kühle Tour |
| [Howard Kaylan] Hold it, hold IT, HOLD IT, HOLD IT!
| [Howard] Hör auf, hör auf, hör auf, hör auf! |
|
| |
| Well, there are a lot of reasons why I’d… I’d drag a girl such as yourself back to this plastic hotel room and rip you off for spare change to run a… to run a vibrating machine attached to this queen-size, bulk-purchase, kapok-infested, do-not-remove-tag-under-penalty-of-law type bed and… and make you take off all your little clothes until you were nearly STARK RAVING NUDE!
| Naja, es gibt eine Menge Gründe, warum ich… ein Mädchen wie dich hier rauf in dieses Plastik-Hotelzimmer schleppte ab und dich um dein Kleingeld erleichterte für diesen… diesen Münz-Vibrator, der unter diesem Queen-Size Kapok-gestopften Etikett-Abreißen-bei-Strafe-verboten-Kaufhausbett befestigt ist und… und von dir verlangte, dass du all deine dünnen Fähnchen ausziehst, bis du fast splitternackt bist! |
| Save for your chrome-with-heavy-duty-leather-thong peace medallion, heh, and make you assume a series of marginally erotic ▶ poses involving a plastic chair and an old guitar strap while I did a wee-wee in your hair and beat you with a pair of tennis shoes I got from Jeff Beck ▶.
| Bis auf dein Peace Medaillon Chrom-an-strapazierfähigem-Lederriemen, und dich eine Reihe von marginalem andeutungs-weise erotischen Stellungen ▶ einnehmen lasse in Verbindung mit einem Plastik-Stuhl und einem alten Gitarrengurt, während ich dir ein Pipi ins Haar mache und dich mit einem Paar Tennisschuhen schlage, die mir Jeff Beck vermacht hat ▶. |
| [Narrator] The girl wants to fix him some broth
| [Erzähler] Das Mädchen will ihm etwas Brühe zubereiten |
| [Phyllis Bryn-Julson] Tinsel cock!
| [Phyllis] Pipimann! |
| [Chorus] Doo-wee-do, tinsel cock, my baby
| [Chor] Kuckuck, Pipimann, mein Baby |
| [Phyllis Bryn-Julson] Would you like some broth?
| [Phyllis] Willst du ein bisschen Brühe? |
| [Narrator] Some nice soup
| [Erzähler] Ein bisschen gute Suppe |
| [Chorus] YUM!
| [Chor] MJAM! |
| [Phyllis Bryn-Julson] Some hot broth?
| [Phyllis] Ein bisschen heiße Brühe? |
| [Narrator] Small dogs in it
| [Erzähler] Mit kleinen Hunden drinnen |
| [Chorus] Doggies!
| [Chor] Hündchen! |
| [Phyllis Bryn-Julson] Yooooouuuu… do you?
| [Phyllis] Willst… du? |
| [Narrator] You like broth?
| [Erzähler] Magst du Brühe? |
| [Chorus] Doo-wadnum!
| |
| [Narrator] Dog broth?
| [Erzähler] Hundebrühe? |
| [Phyllis Bryn-Julson] Hot broth?
| [Phyllis] Heiße Brühe? |
| [Chorus] Hot dog broth?
| [Chor] Brühe aus heißem Hund / Hotdog? |
| [Narrator] You like dog broth hot?
| [Erzähler] Magst du Brühe aus Hotdog? |
| [Phyllis Bryn-Julson] Hot dog debris
| [Phyllis] Hotdog-Trümmer |
| [Chorus] DEBRIS!
| [Chor] TRÜMMER! |
| [Phyllis Bryn-Julson] Dog debris!
| [Phyllis] Hunde-Trümmer! |
| [Narrator] How do you like it?
| [Erzähler] Wie gefällt es dir? |
| [Chorus] Dog breath? ▶
| [Chor] Hundeatem? ▶ |
| [Phyllis Bryn-Julson] Doo doo
| |
| [Narrator] Debris of the four styles offered
| [Erzähler] Wir haben Trümmer in den vier Sorten |
| [Chorus] DOG BROTH? DOG BREATH BROTH?
| [Chor] HUNDEBRÜHE? HUNDEATEMBRÜHE? |
| [Narrator] Debris, broth, breath and the ever-popular hygienic European version: tinsel cock!
| [Erzähler] Trümmer, Brühe, Hundeatem und die zeitlose und hygienische europäische Version: Pipimann! |
| [Chorus] Tinsel cock!
| [Chor] Pipimann! |
| [Narrator] Which do you choose?
| [Erzähler] Welchen wählst du? |
| [Theodore Bikel] This, as you might have guessed, is the end of the movie. The entire cast is assembled here at the Centerville Recreational Facility to bid farewell to you, and to express thanks for your attendance at this theater. This might seem old fashioned to some of you, but I’d like to join in on this song. It’s the kind of a sentimental song that you get at the end of a movie, it’s the kind of a song that people might sing to let you in the audience know that we really like you and care about you, yeah. Understand how hard it is to laugh these days, with all the terrible problems in the world!
| Das ist, wie Sie vielleicht erraten haben, das Ende des Films. Die gesamte Besetzung ist hier in Centervilles Freizeitanlage versammelt, um Sie zu begrüßen und Ihnen zu danken, dass Sie in dieses Kino gekommen sind. Es mag einigen von Ihnen altmodisch vorkommen, aber ich würde diesen Song auch gerne singen. Es ist die Art von sentimentalem Song, die man normalerweise am Ende von Filmen setzt, die Art von Lied, das wir singen könnten, um Sie im Publikum zu mitteilen, wie sehr wir Sie mögen und wie sehr wir uns um Sie kümmern, ja. Ich verstehe, wie schwer es heutzutage ist zu lachen, mit all den schrecklichen Problemen, die es auf der Welt gibt! |
|
| |
| Lord, have mercy on the people in England
| Herrgott, erbarme dich der englischen Bevölkerung |
| For the terrible food these people must eat
| Für die abscheulichen Nahrung, die sie essen müssen |
| Baaahhh, excuse me a minute
| Bäh, entschuldigen Sie mich für eine Minute |
| And may the Lord have mercy on the fate of this movie
| Und möge der Herrgott dem Schicksal dieses Films gnädig sein |
| And God bless the mind of the man in the street
| Und, Gott, segne den Verstand der gewöhnlichen Menschen |
|
| |
| [Chorus] Help all the rednecks and the flatfoot policemen
| Hilf allen südlichen Landeiern und allen Bullen |
| Through the terrible functions they all must perform
| In den abscheulichen Funktionen, die sie alle ausführen müssen |
| God help the winos, the junkies, and the weirdos
| Gott, hilf den Säufern, den Junkies und den Spinnern |
| [Phyllis Bryn-Julson] And every poor soul who’s adrift in the storm
| Und all den armen Seelen führerlos im Sturm |
|
| |
| [Chorus] Help everybody, so they all get some action
| Hilf allen, ein bisschen Action zu haben |
| Some love on the weekend, some real satisfaction
| Ein bisschen Liebe am Wochenende, etwas echte Befriedigung |
| [Phyllis Bryn-Julson] A room and a meal and a garbage disposal
| Ein Zimmer und eine Mahlzeit und ein Müllschlucker |
| A lawn and a hose’ll be strictly genteel
| Ein Garten und eine Wasserpumpe werden völlig anständig sein |
|
| |
| [Chorus] Reach out your hand to the girl in the dog book
| Reiche deine Hand dem Mädchen mit dem Hund im Schundblatt |
| The girl in the pig book, and the one with the horse
| Dem Mädchen mit dem Schwein im Schundblatt und dem mit dem Pferd |
| Make sure they keep all those businessmen happy
| Lass sie weiterhin all diese Geschäftsleute erfreuen |
| And the purple-lipped censors and the Germans of course
| Und die Zensoren mit bläulichen Lippen und die Deutschen, natürlich |
|
| |
| Help everybody, so they all get some action
| Hilf allen, ein bisschen Action zu haben |
| Some love on the weekend, some real satisfaction
| Ein bisschen Liebe am Wochenende, etwas echte Befriedigung |
| A Swedish apparatus with a hood and a bludgeon
| Ein schwedisches Gerät mit einer Kapuze und einem Knüppel |
| With a microwave oven, “Honey, how do it feel?”
| Und ein Mikrowellenherd, „Liebling, wie’s ist?“ |
|
| |
| [Instrumental]
| [Instrumental] |
|
| |
| [Chorus] Lord, have mercy on the hippies and faggots
| Herrgott, habe Erbarmen mit den Hippies und den Schwuchteln |
| And the dykes and the weird little children they grow
| Und den Lesben und den seltsamen Kindern, die sie großziehen |
|
| |
| Help the black man
| Hilf dem Schwarzen |
| Help the poor man
| Hilf dem Armen |
| Help the milk man
| Hilf dem Milchmann |
| Help the door man
| Hilf dem Torhüter |
| Help the lonely, neglected old farts that I know
| Hilf den einsamen und vernachlässigten alten Säcken, die ich kenne |
|
| |
| [Theodore Bikel] It’s been swell havin’ you with us tonight, folks!
| Es war schön, Sie heute Abend bei uns zu haben, Freunde! |
|
| |
| [Mark Volman] But, don’t leave the theater yet, ‘cause there’s still more to come, but before we go on, I want to introduce to you my friend and musical associate, Howard Kaylan, who’s going to give us all a final closing benediction.
| Verlassen Sie das Kino jedoch noch nicht, denn es wird noch mehr passieren; aber bevor wir weitermachen, möchte ich Ihnen meinen Freund und Partner in der Musik, Howard Kaylan, vorstellen, der uns allen jetzt einen letzten Schlusssegen geben wird. |
|
| |
| [Howard Kaylan] They’re gonna clear out the studio
| Sie sind dabei, das Studio zu räumen |
| They’re gonna tear down all the…
| Sie sind dabei, alle… zu abreißen |
| They’re gonna whip down all the…
| Sie sind dabei, alle… zu wegnehmen |
| They’re gonna sweep out all the…
| Sie sind dabei, alle… zu auslöschen |
| They’re gonna pay off all the…
| Sie sind dabei, alle… zu feuern |
| Oh yeah!
| Oh ja! |
|
| |
| And then…
| Und dann… |
| And then…
| Und dann… |
| And then…
| Und dann… |
| And then…
| Und dann… |
|
| |
| Hey hey hey, everybody in the orchestra and the chorus
| Hey hey hey, alle im Orchester und im Chor |
| Talkin’ ‘bout every one of our lovely and talented dancers
| Ich spreche von jedem unserer schönen und guten Tänzer |
| Talkin’ ‘bout the light bulb men
| Ich spreche von Beleuchtungsmännern |
| Camera men
| Von Kameramännern |
| The make-up men
| Von Maskenbildnern |
| The fake-up men
| Von Hochstaplern |
| Yeah, the rake-up men
| Ja, von Müllmännern |
| Especially Herbie Cohen, yeah
| Vor allem von Herb Cohen, ja |
| They’re all gonna rise up
| Sie sind alle dabei, zu steigen |
| They’re gonna jump up
| Sie sind alle dabei, zu springen |
| I said jump up
| Ich sagte ‚zu springen‘ |
| Talkin’ ‘bout jump right up and off the floor
| Ich fordere euch auf, sofort auf den Boden zu springen |
| Jump right up and hit the door
| Sofort springt und raus |
| They’re all gonna rise up and jump off!
| Sie sind alle dabei, zu steigen und runterspringen! |
| They’re gonna ride on home
| Sie sind dabei, nach Hause zu gehen |
| They’re gonna ride on home
| Sie sind dabei, nach Hause zu gehen |
| They’re gonna ride on home
| Sie sind dabei, nach Hause zu gehen |
| They’re gonna ride on home
| Sie sind dabei, nach Hause zu gehen |
| And once again
| Um sie sich wieder |
| Take themselves
| Im Ernst |
| Seriously, yeeeah!
| Zu nehmen, ja! |
| Two, three, four, seriously
| Zwei, drei, vier, im Ernst |
| They’re all gonna go home
| Sie sind alle dabei, nach Hause zu gehen |
| Ye-hey!
| |
| Through the driving sleet and rain
| Mitten in strömender Graupel und Regen |
| They’re all gonna go home
| Sie sind alle dabei, nach Hause zu gehen |
| Through the fog, through the dust
| Mitten im Nebel, mitten im Staub |
| Through the tropical fever and the blistering frost
| Mitten im Tropenfieber und bitterer Kälte |
| They’re all gonna go home
| Sie sind alle dabei, nach Hause zu gehen |
| And get out of it as they can be, baby
| Um da rauszukommen, wie sie können, Baby |
| And the same goes for me
| Und das gleiche gilt für mich |
| The same goes for me
| Das gleiche gilt für mich |
| Oh yeah!
| Oh ja! |
| Oh yeah!
| Oh ja! |
| Oh yeah!
| Oh ja! |
| Oh yeah!
| Oh ja! |
|
| |
| And each and every member of this rock-oriented comedy group in his own special way
| Und alle Mitglieder dieser rockigen Comedy-Gruppe auf ihre eigene Weise |
| Is gonna get out of it as he can be
| Werden da herauskommen, wie sie können |
| We all gonna get wasted
| Wir werden alle erschüttert sein |
| We all gonna get twisted
| Wir werden alle stoned sein |
| We all gonna get wasted
| Wir werden alle erschüttert sein |
| We all gonna get twisted
| Wir werden alle stoned sein |
| And I am definitely gonna get REAMED
| Und ich werd’ mich sicher in den Arsch gefickt |
| ‘Cause I’m such a lonely…
| Denn ich ein einsamer… |
| I’m such a lonely…
| Ich ein einsamer… |
| A lonely, lonely, talkin’ ‘bout a lonely guy
| Ein einsamer, einsamer, ich sprech’ von einem einsamen Jungen |
|
| |
| Oh, and I know tonight, I am definitely…
| Oh, und ich weiß, dass ich heute Abend werd’ mich sicher… |
| I am positively…
| Absolut… |
| I just have to get…
| Ich muss mich wirklich… |
| BENT, REAMED AND WASTED
| BÜCKEN, IN DEN ARSCH GEFICKT UND ERSCHÜTTERT SEIN |
|
| |
| [Jimmy Carl Black] A disaster area the size of Atlantic City, New Jersey!
| Ein Katastrophengebiet der Größe von Atlantic City, New Jersey! |
|
| |
| [Howard Kaylan] He’s making me do this, ladies and gentlemen. I wouldn’t do it if it weren’t for him. You noticed, all through this material, I’ve been glancing over toward my left? Well, I’ll tell you the reason for that, ladies and gentlemen. HE is over there. HE is over on the left. HE is the guy that is making me do all this shit. Right over there. Now, all through this movie, every time we’ve been on stage, I’ve had to look over in that direction, right? You saw it, you know. Well, that’s ‘cause HE’s over there. I’ve got to watch him for signs. HE jumps up and down like a jackass. I can’t even believe the guy sometimes. But we gotta watch him. “After all” we said “it’s Frank’s movie”. Now, we’re the Mothers, but it’s still Frank’s movie. Let’s say it, HE got to paid for it, HE rented the studio, had all these cheesy sets built, it’s so moche! I can’t even stand it. HE’s telling everybody, right now, right over there, to…
| Er ist derjenige, meine Damen und Herren, der mich dazu zwingt. Ich würde es nicht tun, wenn er nicht wäre. Ist Ihnen aufgefallen, dass ich während dieser Show ständig zu meiner Linken hochgeschaut habe? Na, ich sage Ihnen warum, meine Damen und Herren. Er ist da oben. Er ist oben links. Er ist derjenige, der mich dazu bringt, diesen ganzen Scheiß zu machen. Gleich da oben. Gut, während des ganzen Films, während wir auf der Bühne standen, musste ich immer in diese Richtung schauen, richtig? Sie haben es gesehen, ist wahr. Na, das liegt daran, dass er da oben ist. Ich muss seinen Zeichen folgen. Er springt auf und ab wie ein Trottel. Manchmal kann ich ihm einfach nicht glauben. Aber wir müssen ihn anschauen. „Er ist immerhin“ sagten wir uns „Franks Film“. Naja, wir sind die Mothers, trotzdem das ist Franks Film. Seien wir ehrlich, er musste dafür bezahlen, er hat das Studio gemietet, er hat all diese verpfuschten Sets bauen lassen, das ist ja schrecklich! Ich kann es einfach nicht ertragen. Er sagt allen, grade jetzt, direkt da oben… |
| Ooh, the way you love me, lady
| Uh, wie du mich liebst, Lady |
| I get so hard now I could die
| Da krieg ich einen Steifen, dass ich sterben könnte |
| Ooh, the way you love me, sugar
| Uh, wie du mich liebst, Zucker-Puppe |
| I get so hard now I could die
| Da krieg ich einen Steifen, dass ich sterben könnte |
|
| |
| Open up your pocketbook, get another quarter out
| Mach deinen Geldbeutel auf, hol noch einen Vierteldollar raus |
| Drop it in the meter, mama, try me on for size
| Und wirf ihn in den Schlitz, Weib, teste meine Größe |
| Open up your pocketbook, get another quarter out
| Mach deinen Geldbeutel auf, hol noch einen Vierteldollar raus |
| Drop it in the meter, mama, try me on for size
| Und wirf ihn in den Schlitz, Weib, teste meine Größe |
|
| |
| Ooh, the way you squeeze me, baby
| Uh, wie du mich drückst, Baby |
| Red balloons just pop behind my eyes
| Da platzen mir rote Ballons hinter den Augen |
| Ooh, the way you squeeze me, girl
| Uh, wie du mich drückst, Mädchen |
| Red balloons just pop behind my eyes
| Da platzen mir rote Ballons hinter den Augen |
|
| |
| Open up your pocketbook, get another quarter out
| Mach deinen Geldbeutel auf, hol noch einen Vierteldollar raus |
| Drop it in the meter, mama, try me on for size
| Und wirf ihn in den Schlitz, Weib, teste meine Größe |
| Open up your pocketbook, get another quarter out
| Mach deinen Geldbeutel auf, hol noch einen Vierteldollar raus |
| Drop it in the meter, mama, try me on for size
| Und wirf ihn in den Schlitz, Weib, teste meine Größe |
|
| |
| [Instrumental]
| [Instrumental] |
|
| |
| [Mark Volman] Do you really wanna please me?
| [Mark] Willste mir wirklich was Gutes tun? |
| [Howard Kaylan] Well, you know I do, babe
| [Howard] Tja, das weißt du doch, Baby |
| [Mark Volman] Well, tell me why you do it? I really wanna know
| [Mark] Naja, sag mir, warum du’s machst? Ich möcht’ es wirklich wissen |
| [Howard Kaylan] Oh no, no, it wouldn’t be right for me to tell you tonight
| [Howard] Oh nee, nee, das war nicht ganz angebracht, wenn ich dir das sag’ heut’ Nacht |
| [Mark Volman] You better tell me right away or I’ll pack up and go!
| [Mark] Besser, du sagst’s mir sofort sonst ziehe ich mich wieder an und geh’! |
| [Howard Kaylan] Don’t get mad, it ain’t no big thing
| [Howard] Werd nicht wütend, ist ja keine große Sache |
| [Mark Volman] You better tell me right away, don’t you treat me cold
| [Mark] Besser, du sagst’s mir sofort, komm mir bloß nicht auf die kühle Tour |
| [Howard Kaylan] Hold it, hold IT, HOLD IT, HOLD IT!
| [Howard] Hör auf, hör auf, hör auf, hör auf! |
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