| Album notes by FZ
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| WHAT IS “FREAKING OUT”
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| On a personal level, Freaking Out is a process whereby an individual casts off outmoded and restricting standards of thinking, dress, and social etiquette in order to express CREATIVELY his relationship to his immediate environment and the social structure as a whole. Less perceptive individuals have referred to us who have chosen this way of thinking and FEELING as “Freaks”, hence the term: Freaking Out.
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| On a collective level, when any number of “Freaks” gather and express themselves creatively through music or dance, for example, it is generally referred to as a FREAK OUT. The participants, already emancipated from our national social slavery, dressed in their most inspired apparel, realize as a group whatever potential they possess for free expression.
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| We would like to encourage everyone who HEARS this music to join us… become a member of The United Mutations… FREAK OUT!
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| Frank Zappa is the leader and musical director of THE MOTHERS OF INVENTION. His performances in person with the group are rare. His personality is so repellent that it’s best he stay away… for the sake of impressionable young minds who might not be prepared to cope with him. When he does show up he performs on the guitar. Sometimes he sings. Sometimes he talks to the audience. Sometimes there is trouble.
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| BIOGRAPHICAL TRIVIA
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| I was born in Baltimore, Maryland, December 21, 1940 and grew up in California. I am a self-taught musician, composer, blah, blah, blah. When I was eleven years old I was 5 foot 7 with hairy legs, pimples and a moustache… for some strange reason they’d never let me be the captain of the softball team. Got married when I was 20… a lovely girl: almost ruined her life, filed for divorce, moved into my recording studio, joined forces with Ray, Jim and Roy, schemed and plotted for a year, working in beer joints, blah, blah, starved a lot, etc., played a lot of freaky music and stayed vastly unpopular (though notorious). OWE OUR EXISTENCE to Mark Cheka for his initial encouragement and sterling example (and to a whole bunch of other people who are going to be bugged because their names aren’t listed in detail, with addresses and pertinent facts about what they like about the government and their other fetishes).
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| Ray used to be a carpenter and a bartender and sing with Little Julian Herrera and the Tigers (note the falsetto part in ♫ “I remember Linda”) … been singing R&B for ten to twelve years. Jim got fired from some idiot band in Kansas, forcing him to move to California. Lucky for us. Seems he just couldn’t get turned on playing ♫ “Louie Louie” all night… it must have hurt him deeply when they rejected him. Roy is an asthmatic Pachuco, good-natured excellent bass player, involved in the R&B scene here for about ten years. He is unbelievably tolerant. I don’t understand it. Elliot digs the blues. He has a big dimple in his chin. We made him grow a beard to cover it up. He just got out of the Army. Lucky for the Army. THEY ARE ALL MUSICIANS.
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| “RELEVANT QUOTES”
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“The present-day composer refuses to die!”
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EDGARD VARÈSE, July 1921
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“I’d like to clean you boys up a bit and mold you. I believe I could make you as big as the Turtles”
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A NOTED L.A. DISC JOCKEY
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“No commercial potential”
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A VERY IMPORTANT MAN AT COLUMBIA RECORDS
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“I find your approach to music to be commensurate with the major motivational forces exemplified most manifestly in the ‘tragicomic’ aspects of the ‘theatre of the absurd’”
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DAVID ANDERLE
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“I told you so”
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BILLY JAMES
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| “MORE RELEVANT QUOTES”
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“Straight Ahead!”
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TOM WILSON, March 1966
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“What the h**** you gonna do with all those drums at 1:00 in the morning?”
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HERBIE COHEN (OUR MANAGER), March 1966
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“Tell us where those drums are… we want to repossess them… we’ll call MGM Records! We’re a multi-million dollar company and we can play havoc with you”
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LAURENTIDE FINANCE CO., March 1966
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“If your children ever find out how lame you really are, they’ll murder you in your sleep”
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OUR CLOSING MESSAGE TO TOURISTS
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AT THE HOLLYWOOD WHISKY A GO GO
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December 1965
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| “Freak Out Hot Spots” map from the inside-right cover of early US copies
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| PLANNING ON VISITING L.A. THIS SUMMER? Send for your copy of the special map we have prepared for you. “FREAK-OUT HOT-SPOTS” shows how to get to Canter’s, Ben Frank’s, Fred C. Dobbs, the Trip, the Whisky a Go Go, the Brave New World, It’s Boss, Bido Lito’s, and many more interesting places. Also shows where the heat has been busting frequently, with tips on safety in police-terror situations. Only $1.00 in magnificent color (mostly black) send to: FREAK MAP c/o MGM RECORDS, 1540 Broadway, New York, N.Y. 10036. Hurry! This map has no commercial potential! ▶
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| (1) The Cinematheque 16 still happens on a psychedelic level with rare and interesting films from the Great Underground. Located at 8815-1/2 Sunset Blvd. (657-6815)
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| (2) The Trip used to be the center of the Freak Scene. See it now: 8572 Sunset Blvd.
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| (3) Ben Frank’s used to be the place to go after the dancing stopped. The atomic blast denotes a bust (overall) by the L.A. heat. 8585 Sunset Blvd. (phone 655-7410)
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| (4) Whisky a Go Go still happens every night with top Pop Music Acts (and occasionally, lesser known fill-in groups like us). Yay, gang! Lotsa fun! 8901 Sunset Blvd. (phone 652-4204)
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| (5) Gazzarri’s still happens on a hard rock custom Pompadour sport coat level. Don’t miss it at 9039 W. Sunset Blvd. (phone 273-6606)
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| (6) The Troubadour gives you not only folk music, but folk-rock music, rock music itself, and other hybrids, all IN CONCERT. Stunning in its concept at 9083 Santa Monica Blvd. (phone 276-6168)
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| (7) West L.A. Sheriff’s Station nestled in the heart of the outskirts of the fringe of where everything is happening, this moral arsenal provides shelter and sanctuary for that proud and magnificent beast we call THE WEST L.A. SHERIFF’S DEPUTY/servant & protector OR, more commonly, THE MAN. See the hapless trustees in their stencilled shirts washing HIS cars. Hear bold Aryan operatives rave about long hair freakos and the last John Birch meeting at 720 N. San Vicente Blvd. (phone… only as a last resort if you have long hair or a beard 652-3525)
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| (8) Barney’s Beanery is still there. It is a matter of opinion whether it is still (or ever was) HAPPENING. Fun to visit: 8447 W. Santa Monica Blvd. (phone 654-9240)
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| (9) The Chez which used to be The Action which was the first place we worked when we emerged from the sticks and came to Hollywood is now High Class. A must: 8265 Santa Monica Blvd. (phone 656-3576)
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| (10) P.J.’s is now, as it was, and always (most likely but I’ll check it out for you a coupla times) will be, the greatest place in town to see Trini Lopez in action. Located at 8151 W. Santa Monica Blvd. (phone 656-8000)
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| (11) The Sea Witch is one of the teenie-bopper (no offense, gang) IN SPOTS, featuring the new local bands in performance of psychedelic music b/w Cokes and Coffee… 8514 Sunset Blvd. (phone 652-9160)
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| (12) FRED C. DOBBS Memorial Shrine… it used to be the best place to go to meet friends and dig the juke box until the heat blew it for us… or was it that bunch of outside idiots that started hanging around towards the end there, unable to maintain their coolness? The ruins are located at 8537 Sunset Blvd.
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| (13) IT’S BOSS is teenie-bopper heaven. You only have to be 15 to get in. Located at 8433 Sunset Blvd. (phone 654-9900)
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| (14) Nikki’s Too is a day-time spot with an outdoor thing where you can ingest surprisingly good hamburgers in the company of a lot of really creepy people who sit there next to you while you’re eating and hope that somebody driving by owes them money so they can scream and yell at them and make a scene so the people walking by will notice that they’re sitting there and how groovy their sunglasses are… 8355 Sunset Blvd. (phone 656-9244)
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| (15) The Colonial West Model is a nice place to visit, but I wouldn’t want to live there. My views, however, were not shared by The Paul Butterfield Blues Band, Sammy Davis Jr., or any of the other 18 million hippies who have made this their place to crash over the past few years. Conveniently located next to Nikki’s Too at 8351 Sunset Blvd. (phone for reservations 656-4120)
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| (16) The Stripcombers is HAPPENING for black leather jackets and motorcycle boots if that is your bag. Keen fun at 8301 Sunset Blvd. (for pertinent information phone the West Hollywood Sheriff’s Station)
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| (17) The Fifth Estate is one of those places that refuses to quit… even after a whole series of scenes with the heat, bravely situated at 8226 Sunset Blvd. (phone 656-7673)
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| (18) PANDORA’S BOX is another teenie-bop underground stronghold… a defiant little island at the top of the Strip with a picket fence around it and cops and ingenue freakos and lots of atmosphere, but tiny. Try sitting at Frascati’s across the street and watching the heat surround the place while the kids scramble for cover. Keen fun. Located at 8118 Sunset Blvd. (phone 656-9192)
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| (19) GEE GEE’S was a scene until it was mysteriously forced out of business. It is, at this moment, for rent… 8100 Sunset Blvd., next to Schwab’s drug store, across the street from Ah Fong’s and Greenblatts Deli.
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| (20) The Ash Grove features ETHNIC ETHNICAL ETHNOCENTRIC Folque Musique… I remember when Bud & Travis used to work there and Ed Pearl used to do Ethnopolitical Greasing for the newly founded cabaret at the Idyllwild Folk Freak Sanctuary in 1958, before Hal Zeiger invented the HOOTENANNY. Check it out at 8162 Melrose Avenue (phone 653-2070)
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| (21) VITO’S STUDIO & store & cult HQ & sanctuary & genetic laboratory which is REALLY THE PLACE TO SEE is located at 303 N. Laurel (the bomb blasts tells us that the status quo agents have made it known that they are checking Vito out)
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| (22) CANTER’S Fairfax restaurant is THE TOP FREAKO WATERING HOLE AND SOCIAL HQ, scene of more blatant Gestapo practices than the peaceful natives care to recollect, it is a good place to go as soon as you arrive in town. If a black bus (or two) pulls up in front and you see your fellows, brethren and kinfolk being loaded into them (as if it were off to Auschwitz), do not flip out. Do something constructive: something positive… unfortunately, I’m not allowed to offer any suggestions, except to say, perhaps, that the silverware is cheap and easy to replace. You may cautiously approach it at 419 N. Fairfax (safer to phone 651-2030). Canter’s is across the street from the Kazoo (See #69)
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| (23) The Blue Grotto coffee house used to be nice and quiet until it got busted in the middle of the night. Meet and talk with the survivors at 1010 N. Fairfax.
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| (24) CARL’S HOUSE is where Carl lives. It wouldn’t be right to give EVERYBODY the address… he would never get any sleep, poor fella.
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| (25) SITE OF A GIGANTIC & FESTIVE BUST wherein much brutality and authoritarian B.S. was perpetrated with the result that all parties involved served a lot of DEAD TIME (time before trial) and got acquitted (causing them great physical and mental discomfort & status loss).
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| (26) TTG RECORDING STUDIOS where we cut our album.
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| (27) THE BRAVE NEW WORLD is a very IN sort of late-teen Freak spot. Visit 1644 N. Cherokee, near M’Goos on Hollywood Blvd.
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| (28) The Omnibus is a coffee house next door to the WILD THING at 1835 Cahuenga (phone 462-0473)
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| (29) The Red Velvet is HQ for the plastic & Pompadour set with lotsa hard rock & blue-eyed soul to TURN YOU ON, BABY. Located at 6507 Sunset Blvd. (466-0861)
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| (30) BIDO LITO’S (formerly Cosmo Alley, one of our beloved manager’s old coffee houses) is another underground teen-freako hot spot that launched the group LOVE “into orbit in the top pop hit charts with many smash numbers” (some of them performed on their employers). The Bido Lito’s ain’t quite the same… but still sort of happening & atmospheric at 1608 N. Cosmo St.
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| (31) The Haunted House is fulla go-go & snappy ensembles & hair-dos & a genuine fire-breathing bandstand. Must be seen to be believed at 6315 Hollywood Blvd.
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| (32) The Hollywood Ranch market never closes and is a good place to see some REAL FREAKS. 1248 N. Vine (phone 464-0156)
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| (33) The Hollywood Police Station, a masterpiece of Etruscan architecture in the heart of primitive Hollywood.
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| (34) WILD THING is a dance place I never been to yet which is next door to the Omnibus on Cahuenga near Yucca, which has featured such groups as The West Coast Pop Art Experimental Band, The Knack and The Eastside Kids (who, I am led to believe, are funky).
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| (35) THE TROPICANA MOTEL is groupies’ paradise… that’s where most of the touring groups who play the Whisky a Go Go stay when they hit town, as well as many members of active local groups like The Doors and The Byrds. Located at 8585 Santa Monica Blvd. (phone 652-5720)
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| (69) (by request) THE LOS ANGELES FREE PRESS OFFICE, cognoscenti HQ, beacon of truth, champion of teen & otherwise justice, nice people, and more at 5903 Melrose Avenue. You would be wise to subscribe immediately upon arrival to town or you will never really know what’s going on… socially or politically. THEY ALSO SELL BOOKS, MAGAZINES, BUMPERSTICKERS & BUTTONS THAT WILL MAKE YOU LAUGH & HAVE STATUS at 424-1/2 Fairfax, across from Canter’s, #22.
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| Back side text ▶
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| These Mothers is crazy. You can tell by their clothes. One guy wears beads and they all smell bad. We were gonna get them for a dance after the basketball game but my best pal warned me you can never tell how many will show up… sometimes the guy in the fur coat doesn’t show up and sometimes he does show up only he brings a big bunch of crazy people with him and they dance all over the place.
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| None of the kids at my school like these Mothers… specially since my teacher told us what the words to their songs meant.
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Sincerely forever,
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Suzy Creamcheese
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Salt Lake City, Utah
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| [Notes by FZ] It was written for Carl Orestes Franzoni. He is freaky down to his toe nails. Someday he will live next door to you and your lawn will die.
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| Drop out of school before your mind rots from exposure to our mediocre educational system. Forget about the Senior Prom and go to the library and educate yourself if you’ve got any guts.
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| Some of you like pep rallies and plastic robots who tell you what to read. Forget I mentioned it. This song has no message. Rise for the flag salute.
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| Mister America, walk on by
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| Your schools that do not teach
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| Mister America, walk on by
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| The minds that won’t be reached
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| Mister America, try to hide
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| The emptiness that’s you inside
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| When once you find that the way you lied
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| And all the corny tricks you tried
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| Will not forestall the rising tide
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| Of hungry freaks, daddy
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| They won’t go for no more
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| Great midwestern hardware store
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| Philosophy that turns away
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| From those who aren’t afraid to say
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| What’s on their minds
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| (The left-behinds of the Great Society)
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| [Instrumental]
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| Hungry freaks, daddy
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| [Instrumental]
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| Mister America, walk on by
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| Your supermarket dream
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| Mister America, walk on by
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| The liquor store supreme
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| Mister America, try to hide
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| The product of your savage pride
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| The useful minds that it denied
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| The day you shrugged and stepped aside
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| You saw their clothes and then you cried:
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| “Those hungry freaks!”, daddy
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| They won’t go for no more
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| Great midwestern hardware store
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| Philosophy that turns away
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| From those who aren’t afraid to say
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| What’s on their minds
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| (The left-behinds of the Great Society)
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| [Notes by FZ] It is a summary of my feelings in social-sexual relationships.
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| Ain’t got no heart
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| I ain’t got no heart to give away
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| I sit and laugh at fools in love
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| There ain’t no such thing as love
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| No angels singing up above today
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| Girl, I don’t believe
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| Girl, I don’t believe in what you say
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| You say your heart is only mine
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| I say to you: “You must be blind
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| What makes you think that you’re so fine
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| That I would throw away
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| The groovy life I lead?
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| ‘Cause, baby, what you got, yeah
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| It sure ain’t what I need
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| Girl, you’d better go
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| Girl, you’d better go away
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| I think that life with you would be
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| Just not quite the thing for me
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| Why is it so hard to see my way?
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| Why should I be stuck with you?
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| It’s just not what I want to do
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| Why should an embrace or two
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| Make me such a part of you?”
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| I ain’t got no heart to give away
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| [Notes by FZ] At five o’clock in the morning someone kept singing this in my mind and made me write it down. I will admit to being frightened when I finally played it out loud and sang the words.
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| Oohh oohh ohohohooo
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| Oohh oohh ohohohooo
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| What will you do if we let you go home
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| And the plastic’s all melted and so is the chrome?
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| Who are the brain police?
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| Oohh oohh ohohohooo
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| Oohh oohh ohohohooo
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| What will you do when the label comes off
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| And the plastic’s all melted and the chrome is too soft?
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| WAAAAHHHH!
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| I think I’m gonna die
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| I think I’m gonna die
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| I think I’m going to die
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| I think I’m going to die
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| I think I’m going to die
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| I think I’m going to die
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| I’m gonna die
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| I think I’m going to die
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| I think I’m gonna die
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| I’m going to die
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| I think I’m gonna die
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| I think I’m gonna die
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| I think I’m gonna die
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| Going to die
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| Who are the brain police?
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| Oohh oohh ohohohooo
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| Oohh oohh ohohohooo
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| What will you do if the people you knew
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| Were the plastic that melted and the chromium too?
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| Who are the brain police?
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| [Instrumental]
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| [Notes by FZ] It is very greasy. You should not listen to it. You should wear it on your hair.
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| A year ago today was when you went away
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| But now you come back knockin’ on my door
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| And you say you’re back to stay
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| But I say…
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| Go cry on somebody else’s shoulder
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| I’m somewhat wiser now and one whole year older
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| I sure don’t need you now, I don’t love you anymore
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| You cheated me, baby, and told some dirty lies about me
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| Fooled around with all those other guys
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| That’s why I had to set you free
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| I sure don’t need you now and I don’t love you anymore
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| A year ago today you went away
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| And now you come back cryin’, cryin’: “Darling, please let me in”
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| But I don’t need you, no, I don’t love you anymore
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| So go lean on, go cry on somebody else’s door
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| Go cry on somebody else’s shoulder
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| I’m somewhat wiser now and one whole year older
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| I sure don’t need you now, I don’t love you anymore
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| (Oh, my darling!)
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| Go ahead and cry
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| Go ahead and let the tears fall out of your eye
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| (Darling)
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| Let ‘em fall on your dress
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| Who cares if it makes a mess?
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| I gave you my high-school ring
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| At the root beer stand
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| We had a teen-age love, baby
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| I thought it was charp, it was really so grand, but…
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| You cheated me, baby, and told some dirty lies about me
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| Fooled around with all those other guys
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| That’s why I had to get my khakis pressed
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| I sure don’t need you now, I don’t love you anymore
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| Ba-ay-by
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| Baby
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| I-I-I-I
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| I love you so much, darling
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| I, oh, I love you
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| Why don’t you dig me?
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| Ba-ay-by
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| I dig you but you don’t dig me
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| Oh, I need you
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| I don’t understand what it is
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| Ba-ay-by
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| I had my car re-upholstered
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| I got my hair processed
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| Oh, I love you
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| I got a nice Pompadour job on it
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| Oh, my baby
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| I bought a new pair of shoes
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| Oh, my love
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| I got some new khakis and I met you
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| And we went out to get a Coca-Cola
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| [Notes by FZ] It is a body commercial for the band. It is sung during live performances to advise the female audience of potential delights to be derived from social contact with us folks. Trivial poop.
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| Motherly love
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| Motherly love
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| Forget about the brotherly and other-ly love
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| Motherly love is just the thing for you
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| You know your Mothers gonna love you till you don’t know what to do
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| The Mothers got love that’ll drive you mad, they’re ravin’ ‘bout the way we do
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| No need to feel lonely, no need to feel sad if we ever get a hold on you
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| What you need is…
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| Motherly love
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| Come on, get it now
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| Motherly love
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| Forget about the brotherly and other-ly love
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| Motherly love is just the thing for you
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| You know your Mothers gonna love you till you don’t know what to do
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| Nature’s been good to this here band, don’t ever think we’re shy
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| Send us up some little groupies and we’ll take their hands and rock ‘em till they sweat and cry
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| What you need is…
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| Motherly love
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| Get it now
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| Motherly love
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| Forget about the brotherly and other-ly love
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| Motherly love is just the thing for you
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| You know your Mothers gonna love you till you don’t know what to do
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| We can love you till you have a heart attack, you’d best believe that’s true
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| We’ll bite your neck and scratch your back till you don’t know what to do
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| What you need is…
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| Motherly love
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| Motherly love
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| Forget about the brotherly and other-ly love
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| Motherly love is just the thing for you
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| You know your Mothers gonna love you till you don’t know what to do
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| You know I’ve got a little motherly love for you, baby
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| Yeah
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| You know I’ve got a little motherly love for you, honey
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| Yeah
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| You know it doesn’t bother me at all that you’re only eighteen years old
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| ‘Cause I got a little motherly love for you, baby
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| [Notes by FZ] It is based on a modified nanigo rhythm. We call it a Motown Waltz. It stays in 3/4 time throughout, but shifts in the accents occur from section to section. As an American teenager (as an American), this means nothing to you. (I always wondered if I could write a love song).
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| When I won your love I was very glad
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| Every happiness in the world belonged to me
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| Then our love was lost and you went away
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| Now I shed my tears in lonely misery
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| I know now that you never ever really loved me
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| It hurts me now to think you never ever really cared
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| I sit and ask myself a thousand times to try and find
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| What really happened to the love that we shared
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| How could I be such a fool?
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| How could I believe all those lies you told me?
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| How could I be taken in by your sweet face?
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| You spoiled our love
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| You ruined my life
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| I’m so tore down
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| I’m a terrible disgrace
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| But there will come a time and you’ll regret the way
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| You treated me as if I was a fool and didn’t know
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| The many times you lied about your love for me
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| Someone else is gonna know that your love was just a show
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| How could I be such a fool?
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| [Notes by FZ] It is carefully designed to suck the 12 year old listener into our camp. I like the piano and xylophone accompaniment in the second chorus. It is cheerful. It is harmless. ✄ Wooly Bully. Little Richard says he likes it.
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| Wowie Zowie, your love’s a treat
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| Wowie Zowie, you can’t be beat
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| Wowie Zowie, baby, you’re so neat
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| I don’t even care if you shave your legs
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| Wowie Zowie, baby, you’re so fine
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| Wowie Zowie, baby, please be mine
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| Wowie Zowie, ✄ up and down my spine
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| I don’t even care if you brush your teeth
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| Dream of you each mornin’
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| I dream of you each night
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| Just the other day I got so shook up
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| I dreamed of you in the afternoon
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| [Instrumental]
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| I dream of you each mornin’
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| I dream of you each night
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| Just the other day I got so shook up
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| I had a flash in the afternoon
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| Wowie Zowie, baby, ✄ love me do
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| Wowie Zowie, and I’ll love you too
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| Wowie Zowie, baby, I’ll be true
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| I don’t even care if your dad’s the heat
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| Wowie Zowie
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| Wowie
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| Wowie Zowie
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| Wowie
|
| [Repeat]
|
| [Notes by FZ] It was written to describe a situation in which Pamela Zarubica found herself last spring. (“Wowie Zowie” is what she says when she’s not grouchy… who would guess it could inspire a song? No one would guess. None of you are perceptive enough. Why are you reading this?) The formal structure of “You didn’t try to call me” is not revolutionary, but it is interesting. You don’t care.
|
|
|
| You didn’t try to call me
|
| Why didn’t you try, didn’t you try? Didn’t you know I was lonely?
|
| No matter who I take home, I keep on callin’ your name
|
| And you… (I need you so bad) ‘cause you’re The One, babe
|
|
|
| Tell me, tell me, who’s lovin’ you now
|
| ‘Cause it worries my mind and I can’t sleep at all
|
| I stayed home on Friday just to wait for your call
|
|
|
| And you didn’t try to call me
|
| Why didn’t you try, didn’t you try? Didn’t you know I was lonely?
|
| No matter who I take home, I keep on callin’ your name
|
| And you… (I need you so bad) ‘cause you’re The One, babe
|
|
|
| Tell me, tell me, who’s lovin’ you now
|
| ‘Cause it worries my mind and I can’t sleep at all
|
| I stayed home on Friday just to wait for your call
|
|
|
| I can’t say what’s right or what’s wrong
|
| But I love you
|
| All you gotta do is call me, babe
|
| ‘Cause I want you
|
|
|
| You make me feel so excited, girl!
|
| I got so hung up on you from the moment that we met
|
| That no matter how I try, I can’t keep the tears
|
| From running down my face, I’m all alone at my place
|
|
|
| You didn’t try to call me
|
| Why didn’t you try, didn’t you try? Didn’t you know I was lonely?
|
| Baby!
|
| Why didn’t you try, didn’t you try?
|
| I say, please!
|
| Didn’t you know I was lonely?
|
| I stayed home all afternoon, man
|
| I was working on my car
|
| I fixed the upholstery
|
| I fixed the seat so it would tilt back
|
| We were going to go to the drive-in
|
| And you didn’t call me, man
|
| I waited, it was Friday night, I remember, man
|
| It was nine o’clock and I was sitting on home
|
| I was still watching television and you didn’t try to call me
|
| We’d been going steady for six weeks
|
| And I thought you were my teen-age thrill
|
| I thought you were my teen angel, man
|
| But you didn’t call me
|
| I dig you so much, man, why didn’t you call me?
|
| If you could have seen me in the afternoon
|
| I was hung up, I even washed the car
|
| I… I reprimered the right front fender, man
|
| We were gonna go, we were gonna go out
|
| And get some root beer afterwards, man
|
| Baby!
|
| And I was gonna show everybody my new carburetor
|
| Baby!
|
| And you didn’t try to call me
|
| Girl!
|
| [Notes by FZ] It is a song I wrote about three years ago when I was considering divorce. If I had never gotten divorced, this piece of trivial nonsense would never have been recorded. It is included in this collection because, in a nutshell, kids, it is… how shall I say it? … it is intellectually and emotionally ACCESSIBLE for you. Hah! Maybe it is even right down your alley!
|
|
|
| Any way the wind blows, is-a fine with me
|
| Any way the wind blows, it don’t matter to me
|
| ‘Cause I’m thru with-a fussin’ and-a fightin’ with-a you
|
| I went out and found a woman who is gonna be true
|
| She makes me, oh, so happy, now I’m never ever blue
|
|
|
| Any way the wind blows
|
| Any way the wind blows
|
| Any way the wind blows
|
|
|
| She is my heart and soul and she loves me tenderly
|
| Now ✄ my story can be told, just how good she is to me
|
| Yes, she treats me like she loves me and she never makes me cry
|
| I’m gonna stick with her till the day I die
|
| She’s not like you, baby, she would never ever lie
|
|
|
| Any way the wind blows
|
| Any way the wind blows
|
| Any way the wind blows
|
|
|
| [Instrumental]
|
|
|
| Any way the wind blows
|
| Any way the wind blows
|
| Any way the wind blows
|
|
|
| Now that I am free from the troubles of the past
|
| Took me much too long to see that our romance couldn’t last
|
| I’m gonna go away and leave you standing at the door
|
| I’ll tell you, pretty baby, I won’t be back no more
|
| ‘Cause you don’t even know what love is for
|
|
|
| Any way the wind blows
|
| Any way the wind blows
|
| Any way the wind blows
|
| [Notes by FZ] It is OK and safe and was designed that way on purpose.
|
|
|
| YEAH!
|
|
|
| Got no place to go
|
| I’m tired of walking up and down the street all by myself
|
| No love left for me to give
|
| I tried and tried, but no one wants me the way I am
|
| Why should I pretend I like to roam from door to door?
|
| Maybe I’ll just kill myself, I just don’t care no more
|
|
|
| Because I’m not satisfied
|
| Everything I’ve tried
|
| I don’t like the way
|
| Life has been abusing me
|
|
|
| YEAH!
|
|
|
| YEAH!
|
|
|
| Who would care if I was gone?
|
| I never met no one who’d care if I was dead and gone
|
| Who needs me to care for them?
|
| Nobody needs me, why should I just hang around?
|
| Why should I just sit and watch while the others smile?
|
| I just wish that someone cared if I was happy for a while
|
|
|
| Because I’m not satisfied
|
| Everything I’ve tried
|
| I don’t like the way
|
| Life has been abusing me
|
|
|
| YEAH!
|
| Bop bop-bop bop-bop bop-bow
|
| Bop bop-bop bop-bop bop-bop
|
|
|
| You’re probably wondering why I’m here
|
| And so am I, so am I
|
|
|
| Just as much as you wonder ‘bout me bein’ in this place
|
| YEAH!
|
| That’s just how much I marvel at the lameness on your face
|
|
|
| You rise each day the same old way
|
| And join your friends out on the street
|
| Spray your hair and think you’re neat
|
| I think your life is incomplete
|
| But maybe that’s not for me to say
|
| They only pay me here to play
|
|
|
| I wanna hear ♫ “Caravan” with a drum sola ▶
|
|
|
| You’re probably wondering why I’m here
|
| And so am I, so am I
|
|
|
| Just as much as you wonder ‘bout me starin’ back at you
|
| YEAH!
|
| That’s just how much I question the corny things you do
|
|
|
| You paint your face and then you chase
|
| To meet the gang where the action is
|
| Stomp all night and drink your fizz
|
| Roll your car and say: “Gee whiz!”
|
| You tore a big hole in your convertible top
|
| What will you tell your mom and pa?
|
|
|
| Mom, I tore a big hole in the convertible
|
|
|
| You’re probably wondering why I’m here
|
| And so am I, so am I
|
|
|
| Just as much as you wonder if I mean just what I say
|
| YEAH!
|
| That’s just how much I question the social games you play
|
|
|
| You told your mom you’re stoked on Tom
|
| And went for a cruise in Freddie’s car
|
| Tommy is asking where you are
|
| You boogied all night in a cheesy bar
|
| Plastic boots and plastic hat
|
| And you think you know where it’s at
|
|
|
| You’re probably wondering why I’m here
|
| Not that it makes a heck of a lot of a difference to ya
|
| [Notes by FZ] It is how I feel about racial unrest in general and the Watts situation in particular. It was written during the Watts riot as it developed. I shopped it briefly all over Hollywood but no one would touch it… everybody worries so much about not getting any air play. My, my.
|
|
|
| Well, I’m about to get sick from watchin’ my TV
|
| Been checkin’ out the news until my eyeballs fail to see
|
| I mean to say that every day is just another rotten mess
|
| And when it’s gonna change, my friend, is anybody’s guess
|
|
|
| So I’m watchin’ and I’m waitin’, hopin’ for the best
|
| Even think I’ll go to prayin’ every time I hear ‘em sayin’
|
| That there’s no way to delay that trouble comin’ every day
|
| No way to delay that trouble comin’ every day
|
|
|
| Wednesday I watched the riot, I’ve seen the cops out on the street
|
| Watched ‘em throwin’ rocks and stuff, and chokin’ in the heat
|
| Listened to reports about the whisky passin’ ‘round
|
| Seen the smoke & fire and the market burnin’ down
|
| Watched while everybody on his street would take a turn
|
| To stomp & smash & bash & crash & slash & bust & burn
|
|
|
| And I’m watchin’ and I’m waitin’, hopin’ for the best
|
| Even think I’ll go to prayin’ every time I hear ‘em sayin’
|
| That there’s no way to delay that trouble comin’ every day
|
| No way to delay that trouble comin’ every day
|
|
|
| Well, you can cool it, you can heat it
|
| ‘Cause, baby, I don’t need it
|
| Take your TV tube and eat it
|
| An’ all that phony stuff on sports
|
| An’ all the unconfirmed reports
|
| You know I watched that rotten box
|
| Until my head begin to hurt
|
| From checkin’ out the way
|
| The newsmen say they get the dirt
|
| Before the guys on channel so-and-so
|
| And further they assert
|
| That any show they’ll interrupt
|
| To bring you news if it comes up
|
| They say that if the place blows up they will be the first to tell
|
| Because the boys they got downtown are workin’ hard and doin’ swell
|
| And if anybody gets the news before it hits the street
|
| They say that no one blabs it faster, their coverage can’t be beat
|
| And if another woman driver gets machine-gunned from her seat
|
| They’ll send some joker with a brownie and you’ll see it all complete
|
|
|
| So I’m watchin’ and I’m waitin’, hopin’ for the best
|
| Even think I’ll go to prayin’ every time I hear ‘em sayin’
|
| That there’s no way to delay that trouble comin’ every day
|
| No way to delay that trouble comin’ every day
|
|
|
| Hey, you know something people?
|
| I’m not black, but there’s a whole lots a times I wish I could say I’m not white
|
|
|
| Well, I seen the fires burnin’
|
| And the local people turnin’
|
| On the merchants and the shops
|
| Who used to sell their brooms and mops
|
| And every other household item
|
| Watched a mob just turn and bite ‘em
|
| And they say it served ‘em right
|
| Because a few of them were white
|
| And it’s the same across the nation
|
| Black and white discrimination
|
| Yellin’: “You can’t understand me”
|
| An’ all that other jazz they hand me
|
| In the papers and TV
|
| And all that mass stupidity
|
| That seems to grow more every day
|
| Each time you hear some nitwit say
|
| He wants to go and do you in
|
| Because the color of your skin
|
| Just don’t appeal to him
|
| No matter if it’s black or white
|
| Because he’s out for blood tonight
|
|
|
| [Instrumental]
|
|
|
| You know we got to sit around at home and watch this thing begin
|
| But I bet there won’t be many live to see it really end
|
| ‘Cause the fire in the street ain’t like the fire in the heart
|
| And in the eyes of all these people, don’t you know that this could start
|
| On any street in any town in any state if any clown
|
| Decides that now’s the time to fight for some ideal he thinks is right
|
| And if a million more agree there ain’t no Great Society
|
| As it applies to you and me, our country isn’t free
|
| And the law refuses to see, if all that you can ever be
|
| Is just a lousy janitor unless your uncle owns a store
|
| You know that five in every four just won’t amount to nothin’ more
|
| Gonna watch the rats go across the floor and make up songs about being poor
|
|
|
| Blow your harmonica, son!
|
| [Notes by FZ] It is dedicated to Elvis Presley. Note the interesting formal structure and the stunning four-part barber shop harmony toward the end. Note the obvious lack of commercial potential ▶. Ho hum.
|
|
|
| [Kim Fowley] Help, I’m a rock
|
| Help, I’m a rock
|
| Help, I’m a rock
|
| Help, I’m a rock
|
|
|
| Hah-hah-hah-hah-hah-hah-hah-hah-hah-hah-hah
|
|
|
| Ay-yo ee-ow-ee-ow-ee
|
| Veni-ma-no too mah
|
| Veni veni ka toree tor
|
| See’dra votra nee!
|
| Vedi-vedi ki-ta-la tom-bay
|
| Vel-lay ka-la tay-la-tor
|
| Vel-lay kay-la ta-la-sor
|
| Vel-lay kay-lay ka-la-tor
|
| Vel-lay kay-la sa-la-tay
|
| Vor-a kor-ay tor-a-tor
|
| Vel-la kay-la sa-la tch’ay
|
| Vor-a kor-ay kay-a la kur’ad
|
| Vor-a silli kay-t’ay tcha-to
|
| Vor-a kay-ay tay-lay tay-ay tcha-to
|
|
|
| Klanna-tholl
|
| Klanna-tholl
|
| Klanna-tholl
|
| Pik-a-dill-a do-tchay
|
| Pik-a-li-sa no-say
|
| O-ooh
|
|
|
| Bi-ni-bi-ni me-ho-la-ka ta-ka-ho-ba
|
| Say-kay pay-tay-ho-a-la tur-i-ca
|
| Mee-oo-da-ra
|
| Chil-li pil-li ka-zi-o-bi-a bee bee bee bee
|
| Do-dee-bop
|
| You know…
|
| A-mad hee
|
|
|
| Arrrrreeeeeeeeeeeee
|
| Oooooooooooaaaaaaaaaa
|
| OOOOaaaaaaaaaaa
|
| Ah hah
|
|
|
| O-wee ya yo yo yo a-ki-o wee
|
| A-ki-o-ka a-yi-a-ee
|
| A-ki-o-ka o-ki-o-wee
|
| A-ki-o-ka o-ki-o-wee
|
| A-ki-o-ka o-ki-o-wee
|
| A-ki-o-ka o-ki-o-wee
|
| A ki-o-ka o-wee-say ya-vo
|
|
|
| Pedi-goh
|
| Pedi-koh
|
| Ann-i tcho-ee-see-na
|
| Per-a-ko-ee-say
|
| Kar-ra
|
| May-a-ta
|
| Uh-oh
|
| Uh-oh
|
| Uh-oh
|
| Uh-oh
|
| Uh-oh
|
| Hay-lo
|
| Pray-lo
|
| Say la do sa ka ho-say
|
| Vay-lay ko say-let-a-no
|
| Vay-la ka sa la to-shay
|
| Va-la ko-lo-tay
|
| Ay-o
|
| Lay-o
|
| Lay-o
|
| Aaaaaaaayyyyyyyyyyyaaaaaaaaa
|
| O-ha o-ha yew
|
| Ah-yew
|
| Lay la-fan
|
| Ah ah ah ah ah ah ah ah ah ah ah ah ah ah
|
|
|
| Help, I’m a rock!
|
| Help, I’m a rock!
|
| Help, I’m a rock!
|
| Somebody!
|
| Help, I’m a rock!
|
| Please!
|
| Help, I’m a rock!
|
| Please!
|
| Help, I’m a rock!
|
| Please!
|
| Help, I’m a rock!
|
| Wow!
|
| Help, I’m a rock!
|
| Wow!
|
| Help, I’m a rock!
|
| Help, I’m a rock!
|
| Somebody helps me
|
|
|
| Wow, man, it’s a drag being a rock
|
| Help, I’m a rock
|
| Help, I’m a rock
|
| Help, I’m a rock
|
| I wish I was anything but a rock
|
| Heck, I’d even like to be a policeman
|
| Hey, you know what?
|
| You know maybe if I practice, you know
|
| Maybe if I pass my driving test
|
| I could get a gig drivin’ that bus that pick the freaks up ▶
|
| In front of Ben Frank’s, right?
|
|
|
| Help, I’m a cop!
|
| Help, I’m a cop!
|
| Help, I’m a cop!
|
| Help, I’m a cop!
|
| Help, I’m a rock
|
| Help, I’m a cop!
|
| Help, I’m a rock
|
|
|
| It’s a drag being a cop
|
| I think I’d rather be the mayor
|
|
|
| Always wondered what I was gonna be when I grew up, you know
|
| Always wondered whether or not… whether or not I could make it
|
| You know, in society, because
|
| You know, it’s a drag when you’re rejected
|
| So I tore the cover off a book of matches
|
| And I sent in
|
| And I got this letter back that said…
|
|
|
| [Instrumental]
|
| It can’t happen HERE
|
| It can’t happen HERE
|
| I’m telling you, my DEAR
|
| That it can’t happen HERE
|
| Because I been checkin’ it out, baby
|
| I checked it out a coupla times
|
| But I’m telling you it can’t happen here
|
|
|
| Oh, darling, it’s important that you believe me
|
| Bop bop bop bop
|
| That it can’t happen here
|
|
|
| Who COULD IMAGINE that they would freak out somewhere in Kansas?
|
| Kansas, Kansas, Kansas, Kansas
|
| Kansas, Kansas, do-do-dun to-to Kansas, Kansas, la la la
|
| Kansas, Kansas, do-do-dun to-to Kansas, Kansas
|
|
|
| Who COULD IMAGINE that they would freak out in Minnesota?
|
| Mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi
|
| Mama Minnesota, mama Minnesota, mama Minnesota, ma-ma-ma-ma-ma-ma-ma-ma
|
| Mama Minnesota, mama Minnesota, mama Minnesota, ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma mama Minnesota
|
| Who COULD IMAGINE…
|
|
|
| [Instrumental]
|
|
|
| Who COULD IMAGINE that they would freak out in Washington D.C.?
|
| AC/DC bop-bop-bop
|
| AC/DC do-do-do-dun AC/DC ma-ma-ma-ma-ma-ma-ma AC/DC
|
| But it can’t happen here
|
| Oh baby, it can’t happen here
|
| AC/DC bop-bop-bop
|
| Oh baby, it can’t happen here
|
| AC/DC bop-bop-bop
|
| It can’t happen here
|
| Everybody’s safe and it can’t happen here
|
| AC/DC bop-bop-bop
|
| No freaks for us
|
| AC/DC bop-bop-bop
|
| It can’t happen here
|
| AC/DC bop-bop-bop
|
| Everybody’s clean and it can’t happen here
|
| No, no, it won’t happen here
|
| No, no, it won’t happen here
|
| AC/DC bop-bop-bop
|
| I’m telling you it can’t…
|
| AC/DC bop-bop-bop
|
| It won’t happen here
|
| Bop-bop-ditty-bop
|
| I’m not worried at all, I’m not worried at all
|
| Ditty-bop-bop-bop
|
| Plastic folks, you know
|
| It won’t happen here
|
| You’re safe, mama
|
| No, no, no
|
| You’re safe, baby
|
| No, no, no
|
| You just cook a TV dinner
|
| No, no, no
|
| And you make it
|
| Bop bop bop
|
| No, no, no
|
| Oh, we’re gonna get a TV dinner and cook it up
|
| No, no, no, no, no, no, no
|
| Oh, get a TV dinner and cook it up
|
| Cook it up
|
| Oh, and it won’t happen here
|
| Who could imagine that they would freak out in the suburbs!
|
| No, no, no, no, no, no, no, no, no, no
|
| Man, you guys are really safe
|
| Everything’s cool
|
|
|
| I remember Tu-tu
|
| I remember Tu-tu
|
| I remember Tu-tu
|
| They had a swimming pool
|
| I remember Tu-tu
|
| I remember Tu-tu
|
| They had a swimming pool
|
| I remember Tu-tu
|
| I remember Tu-tu
|
| They had a swimming pool
|
|
|
| And they thought it couldn’t HAPPEN HERE
|
| Duh duh duh
|
| They knew it couldn’t happen here
|
| They were so sure it couldn’t happen here, but…
|
|
|
| [FZ] Suzy? ▶
|
| YES, YES, OH YES! I’VE ALWAYS FELT THAT
|
| YES, I AGREE, MAN, IT REALLY MAKES IT, YEAH!
|
| IT’S A REAL THING, MAN, IT REALLY MAKES IT
|
|
|
| [FZ] Suzy? You just got to town, and we’ve been… we’ve been very interested in your development
|
|
|
| [Jeannie Vassoir] Forget it!
|
|
|
| Hmmmmmmmmm
|
| It can’t happen HERE
|
| [Notes by FZ] (Unfinished Ballet in Two Tableaux) I. Ritual Dance of the Child-Killer. II. Nullis Pretii (No commercial potential ▶). It is what freaks sound like when you turn them loose in a recording studio at one o’clock in the morning on $500 worth of rented percussion equipment. A bright snappy number. Hotcha!
|
|
|
| [FZ] Suzy? ▶
|
| [Jeannie Vassoir] Yes
|
|
|
| [FZ] Suzy Creamcheese?
|
| [Jeannie Vassoir] Yes
|
|
|
| [FZ] This is the voice of your conscience, baby uh… I just want to check one thing out with ya, you don’t mind, do ya?
|
| [Jeannie Vassoir] What?
|
|
|
| [FZ] Suzy Creamcheese, honey, what’s got into ya?
|
|
|
| [Instrumental]
|
|
|
| Cream… cheese
|
| Oh, baby
|
| Oh, wow, yeah, man
|
| It’s happening, man
|
| Ba-jo-la jinga
|
| Flashing, man!
|
| AMERICA’S WONDERFUL!
|
| WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL
|
| It really makes it!
|
| CREAM-cheese
|
|
|
| [Instrumental]
|
|
|
| Wai-ka-vo-jeen-ya do-ra-man-ya
|
| Oh yeah, man, crazy, man, flashing, man
|
| Ma ga-yay-go va-tcha kam ba-jinga wai-ya ka-ma-tay
|
| Oh, wow, yeah, man
|
| It’s happening, man
|
| Ba-jo-la jinga
|
| Flashing, man!
|
| Flashing, man, flashing, man
|
| Oh, wow!
|
| Crazy, man
|
| Skies are blue, baby!
|
| It really makes it!
|
| Oh no
|
| Yes!
|
| Funcha funcha veni meh ka em ma ka-ta-cheek
|
| Flashing, man!
|
| Flashing, flashing
|
|
|
| Moy jing-ya veraña ba keesh-eet
|
| Faster
|
| Moytch moytch ver-rate ver-rate
|
| Faster, higher
|
| Ba-yay-ga va-yay
|
|
|
| Faster, faster, faster, faster, faster, higher, higher, faster, faster, higher, higher, higher, higher
|
| Flashing, flashing, flashing
|
|
|
| Creamcheese, creamcheese, cream…
|
| Creamcheese, creamcheese, creamcheese
|
| Creamcheese, creamcheese, creamcheese, creamcheese
|
| Creamcheese
|
| Creamcheese
|
| Creamcheese
|
| Creamcheese, creamcheese
|
| Creamcheese
|
|
|
| [Backwards]
|
| Creamcheese, cream ch-ch-ch-cheese
|
| Creamcheese
|
|
|
| [Speeded-up]
|
| Cheese
|
| Cheese-cream
|
| Creamcheese
|
| Creamcheese
|
| Creamcheese, creamcheese, creamcheese, creamcheese
|
| Nothing like creamcheese
|
| Ah
|
| Creamcheese
|
| Creamcheese
|
| Creamcheese
|
| Creamcheese, creamcheese
|
| I love creamcheese, you love creamcheese
|
| Creamcheese, creamcheese
|
| Cream-cheese
|
| Cream-chee-chee-cream-cheese
|
| Creamcheese, creamcheese, creamcheese, creamcheese
|
| Psychedelic creamcheese!
|
| Cheese! Cheese!
|
| Creamcheese, creamcheese
|
| Cream… cheese
|
|
|
| Did you pick up on that?
|
|
|
| [Speeded-up]
|
| CREAM… cheese
|
| Cream-cheese
|
| And a Kaiser roll
|
| Creamcheese!
|
| Creamcheese
|
| Cream-chee… ese!
|
| Ah
|
| FUCK!
|
| Creamcheese
|
| Creamcheese
|
| Creamcheese
|
| Creamcheese
|
| Cream-cheese
|
| Cream… cheese
|
| Cheese, cheese-cream
|
| Oh no, creamcheese
|
| Cream…
|
| Ah, a-ha!
|
| Cream, cream, cream… CHEESE
|
| CREAM-CHEESE!
|
| Creamcheese
|
| CREAM-CHEESE!
|
| Bop-doo-bop-bop
|
| Cream-cheese
|
| Creamcheese, cream-m-m-m-cheese
|
| Cheese?
|
| Ah-ha-ha-ha! Cream… cheese
|
| Ah-ha-ha! Creamcheese
|
| Ah! Ay-ay-ay-ay! Creamcheese
|
| Yay-yay-yay-yay
|
| Yay-no-yay-no-no-no-yay
|
 Design by Jack Anesh - Photo by Ray Leong.jpg "(Front) Design by Jack Anesh - Photo by Ray Leong")
.jpg "(LP inside left)")
.jpg "(LP inside right)")
 Design by Jack Anesh - Photo by Ray Leong.jpg "(LP back) Design by Jack Anesh - Photo by Ray Leong")
Songs list
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Title origin
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