| From “The Real Frank Zappa Book”
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| Project/Object is a term I have used to describe the overall concept of my work in various mediums. Each project (in whatever realm), or interview connected to it, is part of a larger object for which there is no “technical name”.
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| Think of the connecting material in the Project/Object this way: A novelist invents a character. If the character is a good one, he takes on a life of his own. Why should he get to go to only one party? He could pop up anytime in a future novel.
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| Or: Rembrandt got his “look” by mixing just a little brown into every other color - he didn’t do red unless it had brown in it. The brown itself wasn’t especially fascinating, but the result of its obsessive inclusion was that “look”.
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| In the case of the Project/Object, you may find a little poodle over here, a little blow job over there, etc., etc. I am not obsessed by poodles or blow jobs, however: these words (and others of equal insignificance), along with pictorial images and melodic themes, recur throughout the albums, interviews, films, videos (and this book) for no other reason than to unify the “collection”.
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| Album notes by Gail Zappa
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| The Contiguity
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| As you may know, in our efforts here at UMRK to provide you with the finest optional audio entertainment (in the universe) we deploy the inimitably-skilled audio archiveologist, Joe Travers, to venture forth (where few are chosen but many have called) into the FZ sequin mines, dismote the ages and identify suitable nuggets for your personal aural excitation.
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| (Spiffy auras are not hereby guaranteed but you never know…)
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| Sometimes Joe dreams. And he knows that some stuff is not imaginary. He has actually heard it. And Joe also wonders. And what he wonders is whether anyone else (besides himself - and The Imaginer ▶) will ever hear what he gets to hear on an average day in the Vault. And we here at the Utility Muffin Research Kitchen (where ReSearch is our middle name…) feel it is our duty… and we decided, aaafnraamicably as it were, that since we can do whatever we want whenever we want we will poot forth and sometimes second, so that from NOW and into the When of all Evers, you too can know the wonderment, which will never cease. And so it is that we now present to you an other kind of nugget: Joe’s exciting new series - even as history wends and wiles its way beyond the 4tieth anniversary of that ineluctable (as luck would have it) other Mothers’ Day.
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| A nugget, as some of you may recall, is: a significant artifact by virtue of being an unreleased composition, a special performance or arrangement, a thrilling example from a less-documented line-up, a rare recording from somewhere other than a studio or stage and/or otherwise previously unreleased recording, highly nutritional trims and/or outs, different edits or mixes, a special project, a rehearsal, home recording, an excerpt from an interview or otherwise spoken gem, perhaps a “build reel” or other “as-is” (unadulterated by FZ) item, exquisite in quality, uniqueness or hotness anywhereanytimeanyplace (aka AAA - see also AAAFNRAA: anything anytime anywhere for no reason at all), from the breadth and depth of FZ’s career in lifeasweknowit (lawki).
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| Praise the l.o.r.d. (also a defined term: living on reproducible data)!
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| Herein pertains a little something of note from “You Can’t Do That on Stage Anymore” (YCDTOSA):
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… early selections of historical interest by the original Mothers of Invention, though not exactly “hi-fi”, have been included for the amusement of those fetishistic individuals who still believe the only “good” material was performed by that particular group. Comparison to the recorded works of the later ensembles might finally put an end to that curious fantasy.
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Frank Zappa, 1988
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| Yes and but also ▲:
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Perhaps the most unique aspect of the Mothers’ work is the conceptual continuity of the group’s output macrostructure. There is, and always has been, a conscious control of thematic and structural elements flowing through each album, live performance, and interview.
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Do you know about “Earthworks”? Imagine the decades and the pile of stuff on them subjected to extensive long-range conceptual landscape modification. Houses. Offices. People live there and work there. They even make movies there. Imagine that you could be living there and working there and not even know about it. Whether you can imagine it or not, that’s what the deal is.
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The basic blueprints were executed in 1962-63. Preliminary experimentation, in early and mid-1964. Construction of the project/object ▶ began in late 1964. Work is still in progress.
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I’m sure you realize that total control is neither possible, nor desirable (it takes the fun out of it). The project/object contains plans and non-plans also precisely calculated event-structures designed to accommodate the mechanics of fate and all bonus statistical improbabilities attendant thereto.
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What we sound like is more than what we sound like. We are part of the project/object. The project/object (maybe you like event/organism better) incorporates any available visual medium, consciousness of all participants (including audience), all perceptual deficiencies, God (as energy), The Big Note (as universal basic building material), and other things. We make a special art in an environment hostile to dreamers.
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| And, the ever-popular hygienic European version ▶:
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This is a silly analogy, however… Imagine the head of a pin. On the head of this pin is an amazingly detailed illustration of some sort. It might be a little thought or a feeling or, perhaps, an obscure symbol. It might just be a picture of a sky or something with birds in it… but it’s on the head of this pin, remember, and it’s infinitely detailed. Now, imagine this pin is not a pin… it’s a musical note with a corresponding physical action, like the secret raising of an eyebrow ▶ to add special emphasis. Even in a recording studio where nobody can see you.
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Now, imagine enough of these abstracted pins (with the needle part chopped off to save space) to fill an area as large as the North American Continent and most of Central Europe, piled to a depth of 80 feet. Now, imagine this area is not geometric space. Imagine a collection of decades (the exact number to be disclosed eventually). Pause.
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Frank Zappa, In the WHEN of Ever
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| [Interviewer] Who came up with the name “Mothers of Invention”?
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| [FZ] I did
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| [Interviewer] Just…
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| [FZ] Well, it was sort of forced upon me because uh… the group was originally called “The Mothers” and uh… our original contract was with Verve Records, a subsidiary of MGM, and they refused to sign a group called “The Mothers” because they felt that the… that it was obscene. And so they wanted to change it to “The Mothers Auxiliary”. So, out of necessity we became “The Mothers of Invention”. Is that pretty pat?
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| [Interviewer] That’s it
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| [FZ] That’s what happened
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| [FZ] What you need is…
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| [Ray Collins] 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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| Whoa-oh
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| [FZ] Henry’s got love that’ll drive you mad, they’re ravin’ ‘bout the way he do
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| No need to feel lonely, no need to feel sad if he ever gets a hold on you
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| What you need is…
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|
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| [Ray Collins] 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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| Whoa-oh
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| [FZ] Nature’s been good to Roy over here, don’t think he’s really shy
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| Watch your step if he comes near because he’ll rock you till you sweat and cry
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| What you need is…
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|
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| [Ray Collins] 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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| Whoa-oh
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| [FZ] Nature’s been good to Jimmy Black, there’s a thousand know that’s true
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| He’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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|
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| [Ray Collins] 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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| Whoa-oh
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| [Ray Collins] Plastic people
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| You gotta go
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| Chee poppa doodly woppa
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|
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| Plastic people
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| You gotta go
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| Yeah!
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|
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| [FZ] A fine little girl, she waits for me
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| She’s as plastic as she can be
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| She paints her face with plastic goo
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| And wrecks her hair with some shampoo
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|
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| [Ray Collins] Plastic people
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| You gotta go
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| Chee poppa doodly woppa
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|
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| Plastic people
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| You gotta go
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| [FZ] Three nights and days I walk the streets
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| This town is full of plastic creeps
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| Their shoes are brown ▶ to match their suits
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| They got no balls, they got no roots
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| Because they’re…
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| [Ray Collins] Plastic people
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| You gotta go
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| Wop wop wop doody wop wop
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|
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| Plastic people
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| You gotta go
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| O-oh!
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| [FZ] Take a day, walk around
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| Watch the plastics run your town
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| Then go home and check yourself
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| You think I’m singing ‘bout someone else
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| But you’re…
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| [Ray Collins] Plastic people
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| You gotta go
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| Bye-bye! Bye-bye!
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|
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| Plastic people
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| You gotta go
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|
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| Chee poppa doodly woppa
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| Chee poppa doodly woppa
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| Chee poppa doodly woppa
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| Chee poppa doodly
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| This is fun!
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| Doodly doodly doodly doodly woppa
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| Chee poppa doodly woppa
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| Hey hey hey!
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| Poppa doodly woppa
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| Chee poppa doodly woppa
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| YOU’RE THE FREAKS!
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| [FZ] This is the sensitive part…
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| [Ray Collins] ✄ Me see a neon moon above
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| I searched for years and found no love
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| I’m sure that love will never be
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| A product of plasticity
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| Plastic people
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| You gotta go
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| Bye-bye! Bye-bye!
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|
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| Plastic people
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| You gotta go
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| And I’m not fooling you
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|
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| Plastic people
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| I said, you gotta go
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| Bop bop bop
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|
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| Plastic people, bop, bop
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| Plastic people, bop, bop
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| Made it out and bop bop bop
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| And you can fade it, da da da
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| [Ray Collins] Any way the wind blows, is-a fine with me
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| Any way the wind blows, it don’t matter to me
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| ‘Cause I’m thru with the fussin’ and the fightin’ with you
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| I went out and found a woman that treats me, oh, so true
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| She treats me like she loves me, now I’m never ever blue
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| Any way the wind blows
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| Any way the wind blows
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| Any way the wind blows
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| Now that I am free from my troubles of the past
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| Took me much too long to see that our romance couldn’t last
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| Now I’m gonna go away and leave you standing at the door
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| ‘Cause you don’t even know what love is for
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| I’ll tell you, pretty baby, I won’t be back no more
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| Any way the wind blows
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| Any way the wind blows
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| Any way the wind blows
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| [Instrumental]
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| Any way the wind blows
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| Any way the wind blows
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| Any way the wind blows
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| She is my heart and soul and she loves me tenderly
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| Now ✄ my story can be told, just how good she is to me
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| Yeah, she treats me like she loves me and she never makes me cry
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| I’m gonna stick with her till the day I die
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| She’s not like you, baby, she would never ever lie
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| Any way the wind blows
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| Any way the wind blows
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| Any way the wind blows
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| [Paul Buff?] OK, ready?
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| [FZ] OK, yeah
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| [Paul Buff?] Here we go, take five
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| [FZ] All right. Sounds like a hit already. One, two, one, two, three, four.
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| [Instrumental]
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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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|
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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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|
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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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| Boogie!
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| [Instrumental]
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| [Interviewer] How did the group get together?
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| [FZ] They were working uh… the lead singer Ray, the bass player Roy, and a uh… one of the drummers, Jim, were all working in a bar, in a small town in California, with some other players, and uh… there was a fight between Ray and the guitar player they had at that time, and uh… they needed a substitute guitar player and they called me up. I went down there, and I started working with ‘em, and I thought it sounded pretty good.
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| [FZ & Roy Estrada] I’m talkin’ ‘bout my baby, not your baby, say my babe
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| She’s so fine
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| I’m talkin’ ‘bout my baby, not your baby, say my babe
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| She’s so fine
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| She’s right there to love me, people, come rain or shine
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|
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| Well, I love her, don’t you love her, say I love her
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| You hear
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| Well, I love her, don’t you love her, say I love her
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| You hear
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| She upsets my soul when she whispers sweet things in my ear
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|
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| I love the way she walk
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| I love the way she talk
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| She makes me feel so good
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| Just like a grown man should
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| She never make me cry
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| And here’s why
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| She’s my babe
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| She’s my babe
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|
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| Well, nothing could be better than to see her in a sweater and a real tight skirt
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| That won’t quit
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| Nothing could be better than to see her in a sweater and a tight skirt
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| That won’t quit
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| She walks to the phone, people, let me tell you, that’s it
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|
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| WOW! Go!
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|
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| [Instrumental]
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|
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| Nothing could be better than to see her in a sweater and a real tight skirt
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| That won’t quit
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| Nothing could be better than to see her in a sweater and a tight skirt
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| That won’t quit
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| She walks to the phone, people, let me tell you, that’s it
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|
|
| My-y-y-y-y babe
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| Oh oh-oh-oh, my babe
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| My-y-y-y-y babe
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| Oh oh-oh-oh, my babe
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| My-y-y-y-y babe
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| She’s my babe
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| She’s my babe
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|
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| My-y-y-y-y babe
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| Oh oh-oh-oh, my babe
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| My-y-y-y-y babe
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| Oh oh-oh-oh, my babe
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| My-y-y-y-y babe
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| She’s my babe
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| She’s my babe
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| WOW!
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| Gracias
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| Well, I’m goin’ to Chicago that’s the last place my baby stayed (Hitch hike)
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| Hitch hike (Hitch hike, baby)
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| I’ve got my bags all packed and ready, gonna leave this old town right away (Hitch hike)
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| Hey hey
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| I’ve got to find that girl if I have to hitch hike ‘round the world
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| Hitch hike, baby
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| Mmm, Chicago city, that’s what the sign on the highway read (Hitch hike)
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| Hitch hike (Hitch hike, baby)
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| I’ve got to make it to that street corner down to 6th and 3rd (Hitch hike)
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| Hey hey
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| (Hitch hike, baby)
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| I’ve got to find that girl if I have to hitch hike ‘round the world
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| Hitch hike, baby
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| Hitch hike (Hitch hike)
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| Hitch hike, baby (Hitch hike, baby)
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| Hitch hike (Hitch hike)
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| Hitch hike, baby (Hitch hike, baby)
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| Hitch hike (Hitch hike)
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| Hitch hike, baby (Hitch hike, baby)
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| Hitch hike
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| Aw, hitch hike, come on now
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| Well, I’m going to St. Louis but my next stop just might be L.A. (Hitch hike)
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| What I say (Hitch hike, baby)
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| I’ve got no money in my pocket so I’m gonna have to hitch hike all the way (Hitch hike)
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| Hey hey
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| (Hitch hike, baby)
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| I’ve got to find that girl if I have to hitch hike ‘round the world
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| Hitch hike
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|
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| Hitch hike (Hitch hike)
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| Hitch hike, baby (Hitch hike, baby)
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| Hitch hike (Hitch hike)
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| Hitch hike, children (Hitch hike, baby)
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| Hitch hike
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| Hitch hike, baby
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| Aw, hitch hike
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| Aw, hitch hike, come on now
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|
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| Yeah, I’m going to St. Louis but my next stop just might be L.A. (Hitch hike)
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| What I say (Hitch hike, baby)
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| I’ve got no money in my pocket so I’m gonna have to hitch hike all the way (Hitch hike)
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| Hey hey
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| (Hitch hike, baby)
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| I’ve got to find that girl if I have to hitch hike ‘round the world
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| Hitch hike, baby
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|
|
| Hitch hike (Hitch hike)
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| Hitch hike, baby (Hitch hike, baby)
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| Hitch hike (Hitch hike)
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| Hitch hike, children (Hitch hike, baby)
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| Hitch hike (Hitch hike)
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| Hitch hike, baby (Hitch hike, baby)
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| Hitch hike
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| Aw, hitch hike
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| Come on now
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| [FZ] Going back again to see that girl I left behind me when I went out to see this great big world
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| I hope that she feels the same about me as she did before I went out to see this great big world
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| I know I love that girl and I hope that she still wants me to be her one and only guy
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| Going back to see that girl I love and I’m so happy I could cry
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|
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| Going back to take her in my arms again and tell her that I’m not gonna leave her anymore
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| I love her so much I just can’t wait until I touch her and I’m not gonna leave her anymore
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| I know I love that girl and I hope that she still wants me to be her one and only guy
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| Going back to see that girl I love and I’m so happy I could cry
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|
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| I’m looking forward to that day
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| When she will love me in her way
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| All day long I sit and pray
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| Someday soon I’ll hear her say…
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|
|
| [Instrumental]
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|
|
| Looking forward to that day
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| When she will love me in her way
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| All day long I sit and pray
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| Someday soon I’ll hear her say:
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|
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| “You have been away so long I missed you so much since you’ve gone and now you are standing at my door
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| I love you so much I just can’t wait until I touch you, dear, and now you are standing at my door
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| Please let me take you in my arms and squeeze you, baby, and don’t mind the tear that’s in my eye
|
| ‘Cause, darling, you’ve come back with me, I’m so happy I could cry
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| I’m so happy I could cry
|
| I’m so happy I could cry”
|
| A year ago today is when you went away
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| And now you come back knockin’ on my door
|
| And you say you’re back to stay
|
| But I say…
|
|
|
| Go cry on somebody else’s shoulder
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| I’m somewhat wiser now, one whole year older
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| I sure don’t need you now, I don’t love you anymore
|
|
|
| You cheated me, baby, and told some dirty lies about me
|
| Fooled around with all those other guys
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| That’s why I had to set you free
|
| I sure don’t need you now, I don’t love you anymore
|
|
|
| A year ago today you went, went away
|
| Now you come knockin’, knockin’ on my door: “Oh, baby”
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| I don’t need you and I, I, I don’t love you
|
| So dry your eyes, go cry someplace else, who needs you?
|
|
|
| Go cry on somebody else’s shoulder
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| I’m somewhat wiser now, one whole year older
|
| I sure don’t need you now, I don’t love you anymore
|
| Yeah yeah oh oh
|
|
|
| Go ahead and cry
|
| Let the tears fall out of your eye
|
| Let ‘em fall on your dress
|
| Who cares if they make a mess?
|
| I took you to the root beer stand
|
| And then I held your hand
|
| We had a teen-age love
|
| And I thought it was charp, it was really so grand, but…
|
|
|
| You cheated me, baby, and told some dirty lies about me
|
| Fooled around with all those other guys
|
| That’s why I had to set you free
|
| I sure don’t need you now, I don’t love you anymore
|
| Anymore
|
| Whoa, oh, baby
|
| Anymore, mama
|
| I don’t need you
|
| I don’t want you
|
| I don’t love you
|
| I really don’t care for you
|
| I don’t love you anymore
|
| Oh yeah
|
| [Ray Collins] When I won your love I was very glad
|
| Every happiness in the world belonged to me
|
| Then our love was lost and you went away
|
| Now I shed my tears in lonely misery
|
|
|
| I know now that you never ever really loved me
|
| It hurts me now to think you never ever really cared
|
| I sit and ask myself a thousand times to try and find
|
| What really happened to the love that we shared
|
|
|
| How could I be such a fool?
|
| How could I believe all those lies you told me?
|
| How could I be taken in by your sweet face?
|
|
|
| You spoiled our love
|
| You ruined my life
|
| I’m so tore down
|
| I’m a terrible disgrace
|
|
|
| But there will come a time and you’ll regret the way
|
| You treated me as if I was a fool and didn’t know
|
| The many times you lied about your love for me
|
| Someone else is gonna know that your love was just a show
|
|
|
| How could I be such a fool?
|
| How could I believe all those lies you told me?
|
| How could I be taken in by your sweet face?
|
|
|
| You spoiled our love
|
| You ruined my life
|
| I’m so tore down
|
| I’m a terrible disgrace
|
|
|
| But there will come a time and you’ll regret the way
|
| You treated me as if I was a fool and didn’t know
|
| The many times you lied about your love for me
|
| Someone else is gonna know that your love was just a show
|
|
|
| How could I be such a fool?
|
| [FZ] The story of the… the music of the Mothers is the story of uh… a combination of what I knew about music from… from my studies plus the musical capabilities of the players in the group as I found them, you know, which had uh… somewhere along the line, I had to teach them a lot of what they didn’t know about music.
|
| I started out playing rhythm & blues when I was about 14 or 15 years old in San Diego. And uh… I was playing nothing but blues ‘til I was 18 and, you know, I was really honking and I started out playing drums with a band and got tired of listening to other people’s guitar solos. Took up a guitar and started playing lead right away. Then I spent… the early part of my musical teen childhood doing the same thing that most of the uh… white blues bands are uh… pulling down heavy bread for. But in those days it was, you know, it was the underground music uh… the unpopular underground music because the kids then wanted to hear uh… you know, sweeter, easier stuff. They didn’t go for hard, screaming blues or Chicago uh… you know, weirdness. Nobody knew who the Howlin’ Wolf was, nobody you know, Muddy Waters, what the fuck is that? And uh… so I grew up on that stuff but simultaneously buying classical albums and going to the library to study music. I had albums of Stravinsky and Varèse and Webern and Bartók. And I never bought anything el— I never bought any Beethoven or uh… Mozart or anything like that because I didn’t like the way it sounded, it was too weak.
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| So, eventually I started hearing a little folk music. I didn’t like most of the commercial folk music that was around. My taste in folk music was uh… sea shanties and uh… Middle Eastern stuff. I like Indian music, I like… Arab music. So, that… that was all my own personal taste-making influences.
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| The original guys in the band had been brought up on nothing but rhythm & blues. Now, rhythm & blues branches out into about four different categories the way we grew up with it. There was the ooh-wah ballad, you know, with the high falsetto and the grunting bass and all that stuff. That type. There’s a Chicago blues type with the harmonica and, you know, and the funky-ness. There was a Texas type with a, you know, rock, Bobby, “blue” bland type thing. And then there was the hard drive type James Brown shit. And offshoots of the uh… of each one of those, like in the ooh-wah classification you’ve got the uptempo singers where the… like Hank Ballard and the Midnighters and the Royales. They had a different type of a thing.
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| Uh… All the other guys in the group grew up with just that and had no knowledge whatsoever of any kind of classical music, or serious music, the uh… above and beyond Mozart or… Beethoven or, you know, standard concert hall… warhorses. And even that, they didn’t give a shit about and they weren’t interested at all in folk music. And uh… so I had quite a bit of trouble in the beginning, you know, just making them aware that there were other kinds of music that we could be playing. To top it off, we were in a uh… very sterile area. We… We kept getting fired because we’d playing anything other than ♫ “Wooly bully” or uh… you know, ♫ “Twist and shout” or the rest of that stuff. We’d lost job after job.
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| [Interviewer] When… When is this that you’re talking about exactly?
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| [FZ] Two years ago
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| [Interviewer] In ‘65?
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| [FZ] Yeah. And uh… so… it was rough keeping it together because there’s lots of times that, you know, the guys wanted to quit, I mean, everybody’s quit at least 200 times, you know.
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| So, we finally got a chance to come into L.A. and the reason we stood out from the bands in Los Angeles, you know, why we would attract any attention at all at that point, ‘cuz we were working out in the sticks, this whole thing was developing out away from any uh… you know, urban civilization. We were really, you know, just out there with the Okies.
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| And we got to town, we expected to find all kinds of… you know, all the bands gotta be really far-out. Well, they weren’t, they were bullshit and they had no balls, you know, they weren’t funky, they weren’t tasteful, they weren’t nothin’. They were just, you know, plastic, folk-rock, teen-age puker bands. And they were making a lot of bread. And we came on the scene and uh… we were loud and we were coarse and we were strange and if anybody in the audience ever gave us any trouble, we’d tell ‘em to fuck off. And, you know, we made our reputation doing it that way.
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