| Album notes by Ian Underwood - August 2016
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| I played keyboards, saxes, clarinet and flute with Frank from late summer of 1967 to 1973. The start of that time included the recording of “We’re Only in It for the Money” and “Uncle Meat”. Hours and hours in the studio with Frank and on stage with Frank and the band, the “Mothers of Invention” at that time.
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| I like this album. I think it is worthwhile and has importance in this world because of the quality of the music and Frank’s social ideas.
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| But beyond that, on a personal note, I want to say that I have strong feelings about the music, Frank, and those years. I loved the constant flow of new music, ideas, humor, energy, turns of direction, band personalities. And especially beyond that, the heart of the matter, Frank’s guitar solos. That was where I felt all the many surface details fade and I was in the world of Frank’s musical heart. Warm, curious, interesting, loving. That heart is what matters most to me. That is what drives all the rest and makes it all so worthwhile.
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| Here are a couple of suggestions that I feel may improve the experience of listening to this album:
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| 1. Listen carefully and in a focused manner.
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| 2. Read Frank’s own words which are readily available in books or on the internet. Here are a few.
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| FZ quotes from “A Conversation with Frank Zappa” by Dave Rothman, in Oui - April 1979
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| “I think the music of the Fifties is really good. I suspect it’s much better musically than much of what’s available now. Not in terms of production, but in terms of content. One good believable song about some guy’s girlfriend and how they broke up - a sincere one - is better than twenty albums of English rock that’s ever been produced”.
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| “Everything on this planet has something to do with music. Music functions in the realm of sculptured air. Polluted as our atmosphere might be, air is the thing that makes music work. Since all other things that occur in the sound domain are transmitted to the ear through that swirling mass, depending on how wide you want to make your definition, you could perceive quite a bit of human experience in terms of music”.
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| “There isn’t anything weird about my music. Weird is a skeleton in the closet, wearing a rubber mask with warts all over its nose, and all that kind of shit. That’s not what I do. The thing that makes my music unusual is that people only hear one kind of music all the time over the radio. It’s wallpaper to their lives. Audible wallpaper. There’s one acceptable beat and there are three acceptable chord progressions. There are five acceptable words: baby, love, tears, yat yat. Just because I don’t deal in those terms doesn’t mean I’m weird. So tell these people: I ain’t weird, I’m rational. I’m a person who can choose to write stuff like that, or choose to write stuff that includes all the notes on the piano played at once, followed by a cement truck driving over the piano, followed by a small atomic explosion. Nothing weird about that as long as you do it in a meaningful way”.
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| “Just because somebody hears something you say, or reads something that you write, doesn’t mean you’ve reached them. With reading comprehension being what it is in the U.S., you can safely toss that one out the window. If you want to judge by the listening habits of people who buy records, the first thing they do is put it on and talk over it”.
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| AY-YEAH
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| AY-YEAH
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| AY-YEAH
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| AY-YEAH
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|
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| La la la la la wee-ooo
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| Ay!
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| La la la la la wee-ooo
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| Woo-pah!
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|
|
| Bom-bop-bom bom-bom-pa-paw
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| Bom-bop-bom bom-bom-pa-paw
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| Bom-bop-bom bom-bom-pa-paw
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| Bom-bop-bom bom-bom-pa-paw
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|
|
| La la la la la wee-ooo
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| Uh-uh-hey!
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| La la la la la wee-ooo
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| Yeah-pah-hey!
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|
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| Dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit
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|
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| Please hear my plea!
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|
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| Cucuroo carucha (Chevy ‘39 ▶)
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| Going to El Monte Legion Stadium ▶
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| Pick up on my weesa (she is so divine)
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| Helps me stealing hub caps, wasted all the time
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|
|
| [Nelcy Walker] Fuzzy dice, bongos in the back
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| My ✄ ship of love is ready to attack
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|
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| Primer mi carucha (Chevy ‘39)
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| Going to El Monte Legion Stadium
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| Pick up on my weesa (she is so divine)
|
| Helps me stealing hub caps, wasted all the time
|
|
|
| Fuzzy dice, bongos in the back
|
| My ship of love ready to attack
|
| Won’t you please hear my plea?
|
|
|
| Primer mi carucha (Chevy ‘39)
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| Drive me to El Monte Legion Stadium
|
| Pick up on my weesa (she is so divine)
|
| Helps me stealing hub caps, wasted all the time
|
|
|
| Fuzzy dice, bongos in the back
|
| My ship of love ready to attack
|
|
|
| [Instrumental]
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| Ow ow ow ow
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| Rundee rundee rundee dinny wop wop
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| Ow ow ow ow
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| Rundee rundee rundee dinny wop wop
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|
|
| Electric Aunt Jemima, Goddess of love
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| Khaki maple buckwheats frizzle on the stove
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| Queen of my heart, please hear my plea
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| Electric Aunt Jemima cook a bunch for me
|
|
|
| Tried to find a reason not to quit my job
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| Beat me till I’m hungry, found a punk to rob
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| Love me, Aunt Jemima, love me now & ever more
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| Love me Aunt Jemima
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|
|
| Dit-dit-dit-dit dit-dit-dit-dit
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| Dit-dit-dit-dit ditty-ditty
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| Dit-dit-dit-dit dit-dit-dit-dit
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| Dit-dit-dit-dit ditty-ditty
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| Dit-dit-dit-dit dit-dit-dit-dit
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| Dit-dit-dit-dit ditty-ditty
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| Dit-dit-dit-dit dit-dit-dit-dit dit
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|
|
| Tried to find a raisin, brownies in the basin
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| Monza by the street light, Aunt Jemima all night
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| Holiday & salad days & days of mouldy mayonnaise
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| Caress me
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| Ah!
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| Caress me
|
| Ah!
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| Caress me, Aunt Jemima
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| Caress me
|
| Ah!
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| Caress me, Aunt Jemima
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| Caress me
|
| Ah!
|
| Caress me, Aunt Jemima
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| Caress me
|
| Ah!
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| Caress me, Aunt Jemima
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| Caress me
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| Ah!
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| Caress me, Aunt Jemima
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|
|
| [?] Mmm, boy, my lips are gettin’ heavy
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| [Spider Barbour] I can’t tell when you’re telling the truth
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| [?] I’m not!
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| [Spider Barbour] How do I know, anything you’ve said to me is…
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| [?] You don’t!
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| Eat your greens, don’t forget your beans & celery
|
| Don’t forget to bring your fake I.D. ▶
|
| Eat a bunch of these magnificent
|
| With sauerkraut
|
| Mmmmmmmmmmm
|
| Sauerkraut
|
|
|
| Eat a grape, a fig, a crumpet too…
|
| You’ll pump ‘em right through
|
| Doo-wee-ooo
|
|
|
| [Instrumental]
|
|
|
| Eat your shoes, don’t forget the strings and sox
|
| Even eat the box you bought ‘em in
|
| You can eat the truck that brought ‘em in
|
| Garbage truck
|
| Mmmmmmmmmmmmouldy
|
| Garbage truck
|
| Eat the truck & driver and his gloves
|
| Nutritiousness!
|
| Deliciousness!
|
| Worthlessness!
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| [FZ] OK? Now if you still want to get your name in magazines he wants FIVE hundred dollars a month!
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| [Jimmy Carl Black] Where does it come from? We worked one gig this month. And now, so, what do we get, two hundred dollars for this gig up here, if we’re lucky. If we’re lucky, we’ll get two hundred. And it’ll be two weeks before we get it. Probably. I mean a— after all uh… what is all this shit in the uh… in the newspaper? We sh— if we got such a big name, how come uh… we’re…
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| [FZ] That shit in the news…
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| [Jimmy Carl Black] We’re STARVING, man! This fucking band is STARVING! And we’ve been starving for three years. I realize it takes a long time but, goddamn, does it take another five, ten years from now?
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| [FZ] There’s some months when you’re not gonna work as much as other months. There’s some months when you’re gonna make A LOT of money, and if you average it out, you do make more than two hundred dollars a month.
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| [Jimmy Carl Black] Expenses are sure high, too. If we’d all been living in California, it would’ve been different.
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| [FZ] If we’d all been living in California, we wouldn’t work at all!
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| [Jimmy Carl Black] Ah, that’s true. Well, we’re not working n-now anyway! We worked one gig this month, Frank! WHAT’S WRONG WITH GETTING TWO MONTHS IN A ROW of this good money? Or three months in a row? Then we can afford to take three or four months off and everybody can… After the first month I can get just enough ahead, but if I had two more months, man, I’ll get ahead. ‘Cause I’m not living very extravagantly, I’ll tell you for sure.
|
| AY-YEAH
|
| AY-YEAH
|
| AY-YEAH
|
| AY-YEAH
|
|
|
| La la la la la wee-ooo
|
| Ay!
|
| La la la la la wee-ooo
|
| Woo-pah!
|
|
|
| Bom-bop-bom bom-bom-pa-paw
|
| Bom-bop-bom bom-bom-pa-paw
|
| Bom-bop-bom bom-bom-pa-paw
|
| Bom-bop-bom bom-bom-pa-paw
|
|
|
| La la la la la wee-ooo
|
| Uh-uh-hey!
|
| La la la la la wee-ooo
|
| Yeah-pah-hey!
|
|
|
| Dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit-dit
|
|
|
| Please hear my plea!
|
|
|
| Cucuroo carucha (Chevy ‘39 ▶)
|
| Going to El Monte Legion Stadium ▶
|
| Pick up on my weesa (she is so divine)
|
| Helps me stealing hub caps, wasted all the time
|
|
|
| [Nelcy Walker] Fuzzy dice, bongos in the back
|
| My ✄ ship of love is ready to attack
|
|
|
| Primer mi carucha (Chevy ‘39)
|
| Going to El Monte Legion Stadium
|
| Pick up on my weesa (she is so divine)
|
| Helps me stealing hub caps, wasted all the time
|
|
|
| Fuzzy dice, bongos in the back
|
| My ship of love ready to attack
|
| Won’t you please hear my plea?
|
|
|
| Primer mi carucha (Chevy ‘39)
|
| Drive me to El Monte Legion Stadium
|
| Pick up on my weesa (she is so divine)
|
| Helps me stealing hub caps, wasted all the time
|
|
|
| Fuzzy dice, bongos in the back
|
| My ship of love ready to attack
|
|
|
| [Instrumental]
|
| Ow ow ow ow
|
| Rundee rundee rundee dinny wop wop
|
| Ow ow ow ow
|
| Rundee rundee rundee dinny wop wop
|
|
|
| Electric Aunt Jemima, Goddess of love
|
| Khaki maple buckwheats frizzle on the stove
|
| Queen of my heart, please hear my plea
|
| Electric Aunt Jemima cook a bunch for me
|
|
|
| Tried to find a reason not to quit my job
|
| Beat me till I’m hungry, found a punk to rob
|
| Love me, Aunt Jemima, love me now & ever more
|
| Love me Aunt Jemima
|
|
|
| Dit-dit-dit-dit dit-dit-dit-dit
|
| Dit-dit-dit-dit ditty-ditty
|
| Dit-dit-dit-dit dit-dit-dit-dit
|
| Dit-dit-dit-dit ditty-ditty
|
| Dit-dit-dit-dit dit-dit-dit-dit
|
| Dit-dit-dit-dit ditty-ditty
|
| Dit-dit-dit-dit dit-dit-dit-dit dit
|
|
|
| Tried to find a raisin, brownies in the basin
|
| Monza by the street light, Aunt Jemima all night
|
| Holiday & salad days & days of mouldy mayonnaise
|
| Caress me
|
| Ah!
|
| Caress me
|
| Ah!
|
| Caress me, Aunt Jemima
|
| Caress me
|
| Ah!
|
| Caress me, Aunt Jemima
|
| Caress me
|
| Ah!
|
| Caress me, Aunt Jemima
|
| Caress me
|
| Ah!
|
| Caress me, Aunt Jemima
|
| Caress me
|
| Ah!
|
| Caress me, Aunt Jemima
|
|
|
| [?] Mmm, boy, my lips are gettin’ heavy
|
| [Spider Barbour] I can’t tell when you’re telling the truth
|
| [?] I’m not!
|
| [Spider Barbour] How do I know, anything you’ve said to me is…
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| [?] You don’t!
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| [Patrolman LaFamine] Now, we don’t come up here because we feel like walkin’ four flights at three o’clock in the morning
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| [FZ] Yeah
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| [Patrolman LaFamine] We were up here last night. Now for us…
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| [FZ] Last night?
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| [Patrolman LaFamine] Yes
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| [FZ] I wasn’t here last night
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| [Patrolman LaFamine] For us to continually come up to this here place every night and not show no action other than to saying, yes, we corrected the condition…
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| [John Kilgore] Oh, sure, this is ridiculous
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| [Patrolman LaFamine] We look kinda bad. I mean, let’s be honest. Now, if you had to give me any kinda recommendation or… mark my words, you’d say: “Who the hell’s kiddin’ who? This guy’s a mistake”.
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| [Patrolman LaFamine] It’s like doing nothing.
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| [FZ] You mean they grade your work at the office?
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| [Patrolman LaFamine] Well, the idea was like this. Let me tell you something. If every day a captain would go into that […] and telephone […] make a record of this.
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| [Patrolman LaFamine] Every night, 3 to 4, 2 to 4, between those hours you guys are at 53 E 10 street, what are you doin’ there every night? You mean, you… you permit this condition to continue on without once giving a summons?
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| [Other cop] Alright, your lawyer said to knock it off!
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| [Patrolman LaFamine] I mean, without once giving a summons? What are we doing here?
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| [Other cop] Uh… We’re puttin’ ourselves over backwards with these people. Do you know what we’re doin’?
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| [Patrolman LaFamine] Do you know what we’re doin’?
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| [FZ] No, tell me. Please tell me.
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| [Patrolman LaFamine] Alright. Well, this is, if we’re up here once we’re up here twenty times. I know that little guy, like a… the guy in there like a long-lost brother. Now if we ever get called down, if this ever goes to a big explosion, and they say: “Officer, what did you do? Did you issue summonses?” They get, this is all in the rekkid book, how many times we’ve been up here. This is all rekkids.
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| [FZ] M-hmm
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| [Patrolman LaFamine] Now if these people wanna subpoena these rekkids, they can subpoena these rekkids. An’ they can find out how many times we’ve been. This is us on, wait! This is us alone! An’ they say: “Officer, what did you do? Warn ‘em? You mean to tell me you were up here about twenty times an’ you never issued a summons?”
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| [Other cop?] So all we’ve done is […]
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| [Patrolman LaFamine] Why? Why? Yes!
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| [John Kilgore] There have been summonses
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| [Patrolman LaFamine] Well, WE never issued ‘em!
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| [Other cop] How many summonses have you gotten for noise?
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| [Dick Kunc] What, me personally or the studio?
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| [Patrolman LaFamine] The studio!
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| [Other cop] Studio
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| [Dick Kunc] I don’t know how many, but there’s a court case pending right now
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| [John Kilgore] We’ve gotten one
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| [Patrolman LaFamine] ONE! ONE! And how many times have I uh… hey, listen! As I say, if I’ve been up here once I’ve been up here twenty times already.
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| [?] Yeah, but… can I just bring out…
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| [Patrolman LaFamine] What? Yes, you can bring out any of what you want.
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| [?] I just work here
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| [Patrolman LaFamine] I know that
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| [?] I take my orders
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| [Patrolman LaFamine] Right
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| [?] Do a session
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| [Patrolman LaFamine] Right
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| [?] And do a session, right?
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| [Patrolman LaFamine] Right
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| [?] Now I understand your… your annoyance for having to climb the stairs all these times…
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| [Patrolman LaFamine] No! We aren’t annoyed for climbing the stairs. We’ve just have been annoyed of coming back here one more time. You know what I’m talking about? The stairs is nothing to us.
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| [?] See, I’m annoyed for not being able to come back to my work…
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| [Patrolman LaFamine] Right! I’m sorry!
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| [?] Because someone said it’s too loud…
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| [Patrolman LaFamine] Listen…
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| [FZ] Hey look, stop it, pack that stuff up, stop making NOISE, you guys!
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| [Dick Kunc] Yeah, well, I understand, he didn’t know…
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| [Patrolman LaFamine] We don’t make the laws. We don’t make ‘em.
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| [Patrolman LaFamine] Well, who’s in charge here at this time?
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| [John Kilgore] Here he is
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| [Dick Kunc] In charge?
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| [Patrolman LaFamine] In charge
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| [John Kilgore] He’s more or less in charge
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| [Patrolman LaFamine] Are you in charge?
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| [Dick Kunc] I don’t run the studio, I just…
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| [Patrolman LaFamine] Alright, listen, lemme tell you one thing…
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| [Dick Kunc] I’m in… I’m in charge
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| [Patrolman LaFamine] You’re in charge at this point
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| [Dick Kunc] Right
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| [Patrolman LaFamine] My name is Patrolman LaFamine
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| [FZ] Here, have a bun
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| [Patrolman LaFamine] Now, as of tonight…
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| [Dick Kunc] Right
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| [FZ] You want a bun?
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| [Patrolman LaFamine] If I come back here, and every night that I do come back here, I don’t care who says he’s in charge, I will issue a summons
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| [John Kilgore] I’m issuing you a bun
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| [Patrolman LaFamine] And I would meet that person in the court
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| [FZ] OK
|
| [Patrolman LaFamine] And everytime the judge says […] yes, sir. And that will be it. And I’m telling you this. Whether it’s be you or anyone else in charge. If I have to come up here and hear noise, I will issue you a summons.
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| An’ anybody thinks it’s a great joke, you can all laugh in the court
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| [?] You know what’s gonna happen?
|
| [Patrolman LaFamine] And your lawyer either have it to a head, or he’ll lose the whole case
|
| [?] You know what I’m talking about? It’s gonna be somebody next door. Really. […]
|
| [?] Well, they’re reasonable trying to soundproof some way
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| [Patrolman LaFamine] I realize that. Listen, why can’t these sessions take place at one o’clock in the afternoon?
|
| […]
|
| [Patrolman LaFamine] Then you guys rather make different arrangements so…
|
| […]
|
| [FZ] This’s quite New York. What the fuck?
|
| […]
|
| [John Kilgore] Yeah, it isn’t
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| [Dick Kunc] But uh…
|
| [Patrolman LaFamine] You guys ain’t got one hit record by now, my goodness
|
| [Dick Kunc] We have to… We have a…
|
| [John Kilgore] It takes a long time
|
| […]
|
| [Patrolman LaFamine] You know what I mean. This is ridiculous! This is like you’re trying to tell your boss… This is like you’re trying to tell your boss that you’ve been cutting a record for four months and you didn’t do nothing. He wouldn’t keep you too long.
|
| [?] Not too long
|
| [?] They won’t believe you
|
| [?] No… and like I say, if they wanna make it they could subpoena them records and find out how many times we’ve been up here and didn’t issue a summons! We never even issued a summons! Hey, we’ll be fired out, we’ll… we’ll be cutting records with you up here! […] put us on in collusion with you guys.
|
| [FZ] In collusion! Hah hah hah
|
| […]
|
| [?] For 25 bucks, I’d do anything!
|
| [Patrolman LaFamine] You laugh. I don’t when I have four kids to support. We’re done on record, everytime we come up to this place and never once take anything…
|
| [FZ] Why don’t you tell ‘em the condition has been cleared up?
|
| [?] Tomorrow night they’re gonna be […]
|
| [FZ] Whoever complains, just tell them everything there’s OK
|
| [Patrolman LaFamine] Oh, but tomorrow night they’re gonna meet with the landlord…
|
| [?] […] number two downstairs, we never had this guy two floors down
|
| [?] No, this is first time. Used to be the other guy.
|
| [Patrolman LaFamine] Well, there you go. Right? I tell you before and I tell you again, I come back here and everytime I come back here, if there is noise, I will give you a summons or whoever else is in charge.
|
| [?] Right
|
| [FZ] Are you sure you don’t want one of those breakfast rolls on your way down the stairs?
|
| [Dick Kunc] Yeah
|
| [Patrolman LaFamine] You better believe that I don’t want nuthin’
|
| [Dick Kunc] Who gets… Who gets the summonses, is the… the organization?
|
| [Patrolman LaFamine] Whoever it is in charge at the time.
|
| [Patrolman LaFamine] Whoever tells me he’s in charge at the time I will issue him the summons.
|
| [?] […] off tonight?
|
| [?] He’s off tonight
|
| [Patrolman LaFamine] He could say Joe Blow, I don’t care what kind of a name he gives me.
|
| [?] But it’s not actually in fact against… will be against him… it will be against the studio he became representative, right
|
| [Patrolman LaFamine] […]
|
| [Patrolman LaFamine] Then if the courts decide that they wanna know who he’s takin’ orders from, they’ll summons that person to court. That’s all there is to it.
|
| [John Kilgore] Alright. Take care.
|
| [Dick Kunc] Right
|
| [John Kilgore] OK
|
| [FZ] Nighty night!
|
| Eat your greens, don’t forget your beans & celery
|
| Don’t forget to bring your fake I.D. ▶
|
| Eat a bunch of these magnificent
|
| With sauerkraut
|
| Mmmmmmmmmmm
|
| Sauerkraut
|
|
|
| Eat a grape, a fig, a crumpet too…
|
| You’ll pump ‘em right through
|
| Doo-wee-ooo
|
|
|
| [Instrumental]
|
|
|
| Eat your shoes, don’t forget the strings and sox
|
| Even eat the box you bought ‘em in
|
| You can eat the truck that brought ‘em in
|
| Garbage truck
|
| Mmmmmmmmmmmmouldy
|
| Garbage truck
|
| Eat the truck & driver and his gloves
|
| Nutritiousness!
|
| Deliciousness!
|
| Worthlessness!
|
| [FZ] Bizarre!
|
| [Pamela Zarubica] Bizarre, he he
|
| No one could ever understand our bizarre relationship because I was your intellectual frigid housekeeper. Especially when you’d be going to bed with one chick at night and I wake up in the morning and find another one there, screaming at me, heh. Asked me what the fuck that chick was doing in your bed and I’d walk in and you weren’t with the same one you were in the night before. Oh, I’ll never forget that, as long as I live. That house, well, it had your shit all over, and we had a cat and we had fleas and we had lots of crabs that we proceeded to give to everyone in Laurel Canyon except for Elmer and Phil, because they were too sick to ball.
|
| Ha ha. Elmer has a mentality of approximately one peanut. Possibly. As a matter of fact, I can remember Elmer telling me that you really had a lot of talent, but he didn’t see how anyone could ever make it that insisted on saying “fuck” on stage.
|
|
|
| But Elmer gave you your first chance to work. He gave you a chance to work at the Trip, you know.
|
| And he used to drive by in his gold Cadillac and peer in the window, ha ha, ‘cause he never could get over the amount of groupie status that… that you had and he didn’t. Possibly because he’s 50 years old and wretched.
|
| [FZ] HA HA HA!
|
| [FZ] OK? Now if you still want to get your name in magazines he wants FIVE hundred dollars a month!
|
| [Jimmy Carl Black] Where does it come from? We worked one gig this month. And now, so, what do we get, two hundred dollars for this gig up here, if we’re lucky. If we’re lucky, we’ll get two hundred. And it’ll be two weeks before we get it. Probably. I mean a— after all uh… what is all this shit in the uh… in the newspaper? We sh— if we got such a big name, how come uh… we’re…
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| [FZ] That shit in the news…
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| [Jimmy Carl Black] We’re STARVING, man! This fucking band is STARVING! And we’ve been starving for three years. I realize it takes a long time but, goddamn, does it take another five, ten years from now?
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| [FZ] There’s some months when you’re not gonna work as much as other months. There’s some months when you’re gonna make A LOT of money, and if you average it out, you do make more than two hundred dollars a month.
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| [Jimmy Carl Black] Expenses are sure high, too. If we’d all been living in California, it would’ve been different.
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| [FZ] If we’d all been living in California, we wouldn’t work at all!
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| [Jimmy Carl Black] Ah, that’s true. Well, we’re not working n-now anyway! We worked one gig this month, Frank! WHAT’S WRONG WITH GETTING TWO MONTHS IN A ROW of this good money? Or three months in a row? Then we can afford to take three or four months off and everybody can… After the first month I can get just enough ahead, but if I had two more months, man, I’ll get ahead. ‘Cause I’m not living very extravagantly, I’ll tell you for sure.
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| [FZ] Yeah
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| [?] Is that thing on in there?
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| [FZ] What? Yeah.
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| [?] Is that thing being on all the time?
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| [FZ] No. Don’t worry about it.
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| [Ian Underwood] My name is Ian Underwood and I’m the straight member of the group.
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| [Pamela Zarubica] Wowie Zowie ▶
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| [Ian Underwood] One month ago I heard the Mothers of Invention at the theater. I heard them on two occasions, and on the second occasion I went up to Jim Black and I said: “I like your music, and I’d like to come down and play with you”. Two days later I came up to the recording session, and Frank Zappa was sitting in the control room. I walked up and said: “How do you do, my name is Ian Underwood and I like your music and I’d like to play with your group”. Frank Zappa says: “What can you do that’s fantastic?” I said: “I can play alto saxophone and piano”. He said: “All right, whip it out”.
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| [Jimmy Carl Black, on the right] I put that really get my mouth, I know it gets its rock off when I do that. Ah, this… Well, anyway uh… the reason I did this is because I felt that I’ve never done it before and nobody else that I know of has ever done this before so I thought I would do it just once, just to see how it felt. And actually it turned out that, well, it felt so good that I had to do it at least five or six more times. Would you pardon me a second, I think I will try one more time… ahhh.
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|
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| You know, it really gets down all the way down to your uh… tonsils. And it massages the tonsils, you know, the… the coffee is just a little bit warmer than luke warm. And it really suits the membranes in the… in the tonsils and the uh… the vocal chords and the muscles in your vocal chords, you know. Uh… I think it…
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|
|
| Mmmmh-mmmmh… mmmmh…
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| [Jim Sherwood, on the left] I figured, oh, you know, just a beautiful chick. I might as well take her home and wine her and dine her and see what happens. So I took her home and we had a big dinner and uh… you know, have a few drinks to see what would happen, and then we both get a little… heh… both get a little stoned. I figured we’d go flying a bit. So uh…
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|
|
| After a few drinks uh… I could hardly stand up. I figured, wow, now it’s as good a time to do some numbers with this chick. So we took the… the records off and we get into the nice dark bedroom to get some uh… and uh… you know it was kind of a… the thrill for me to really get it on with this beautiful blonde which was uh… you know, for a dream, it was really a fantastic chick. So we got in there and started making it, ripped out a big giant boob, playing around with it. So… heh…
|
| Ow ow ow ow
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| Rundee rundee rundee dinny wop wop
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| Ow ow ow ow
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| Rundee rundee rundee dinny wop wop
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|
|
| Electric Aunt Jemima, Goddess of love
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| Khaki maple buckwheats frizzle on the stove
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| Queen of my heart, please hear my plea
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| Electric Aunt Jemima cook a bunch for me
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|
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| Tried to find a reason not to quit my job
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| Beat me till I’m hungry, found a punk to rob
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| Love me, Aunt Jemima, love me now & ever more
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| Love me Aunt Jemima
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|
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| Dit-dit-dit-dit dit-dit-dit-dit
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| Dit-dit-dit-dit ditty-ditty
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| Dit-dit-dit-dit dit-dit-dit-dit
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| Dit-dit-dit-dit ditty-ditty
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| Dit-dit-dit-dit dit-dit-dit-dit
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| Dit-dit-dit-dit ditty-ditty
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| Dit-dit-dit-dit dit-dit-dit-dit dit
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|
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| Tried to find a raisin, brownies in the basin
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| Monza by the street light, Aunt Jemima all night
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| Holiday & salad days & days of mouldy mayonnaise
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| Caress me
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| Ah!
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| Caress me
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| Ah!
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| Caress me, Aunt Jemima
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| Caress me
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| Ah!
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| Caress me, Aunt Jemima
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| Caress me
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| Ah!
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| Caress me, Aunt Jemima
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| Caress me
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| Ah!
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| Caress me, Aunt Jemima
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| Caress me
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| Ah!
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| Caress me, Aunt Jemima
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| Eat your greens, don’t forget your beans & celery
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| Don’t forget to bring your fake I.D. ▶
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| Eat a bunch of these magnificent
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| With sauerkraut
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| Mmmmmmmmmmm
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| With sauerkraut
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|
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| Eat a grape, a fig, a crumpet too…
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| You’ll pump ‘em right through
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| Doo-wee-ooo
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|
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| [Instrumental]
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|
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| Eat your shoes, don’t forget the strings and sox
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| Even eat the box you bought ‘em in
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| You can eat the truck that brought ‘em in
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| Garbage truck
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| Mmmmmmmmmmmmouldy
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| Garbage truck
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| Eat the truck & driver and his gloves
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| Nutritiousness!
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| Deliciousness!
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| Worthlessness!
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| [Roy Estrada?] Ay!
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| [FZ] Yeah
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| [Jimmy Carl Black] Herbie’s not starving! He makes more than we do. That’s for damn sure.
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| [FZ] But he DOES more than you do! I’m telling you, if he has income and he… and he lives the way he lives, it’s not all coming from YOUR pocket.
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| [Jimmy Carl Black] No. But some of it is.
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| [FZ] Not enough to be dangerous, I’ll tell you.
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| [Jimmy Carl Black] It’s not? Where in the hell is all the money going?
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|
|
| [FZ] I’ll make a propos—
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| [Ian Underwood] Nobody’s listening to it in here. The monitor’s off.
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| [FZ] I’ll make a proposal to you, if you want to earn more money that’ll mean that you’ll have to tour all the time. Now I can’t do that.
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| [FZ] Do you mean, “What happens to the name of the group?” It’s still the Mothers…
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| [Jimmy Carl Black] You don’t care how…
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| [FZ] You made…
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| [Jimmy Carl Black] This is the first…
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| [FZ] You made more FUCKING money this year that you’ve made for a LONG TIME
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| [Jimmy Carl Black] Three months? Three month… Two months?
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| [FZ] I’m s—… Look…
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| [Jimmy Carl Black] Out of the year? At… At… But back to back?
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| [FZ] I’m talking about the possibility that if you guys wanna tour without me, then we would…
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| [Jimmy Carl Black] We didn’t say…
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| [FZ] Listen!
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| [Jimmy Carl Black] You’re part of the band… You’re the MAIN part of the band!
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| [FZ] Listen! I CAN’T tour right now. I’ve got too fucking much work to do in the studio. I’ve got a bunch of stuff that has to be done. Alright?
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| [Jimmy Carl Black] It ain’t gonna be the same, man
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| [FZ] Ain’t gonna be the same but you’re gonna earn a fucking living! And you can tour…
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| [Jimmy Carl Black] What happens to the name of the group? You don’t have care how the group sounds?
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| [FZ] Look. Listen carefully, I’ll start again. You get together, and you rehearse. And you compensate for the part that I play. You know, give it to the piano, or give it to the organ, or put it on the horns or something. OK? Change the things around so you don’t need a guitar in there.
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| [Bunk Gardner?] The thing is that we need your mouth and we need your face up there. That’s the thing.
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| [Jimmy Carl Black] You’re the group, man. You’re the group.
|
| [FZ] Look
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| [Bunk Gardner?] No, it’s… it’s not… The thing is, man…
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| [Jimmy Carl Black] And you know you are
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| [Bunk Gardner?] That it’s… That it’s been built around you… you made it…
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| [Jimmy Carl Black] It’s been built for the last three years, it’s been YOU, man. You’re the group! Now how can you expect us to go off and record without you… I mean, to do a tour without you?
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| [FZ] I think… I think you can do it. I think you can do it.
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| [Jimmy Carl Black] Oh, we could do it
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| [Bunk Gardner?] Under a different name?
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| [FZ] No you don’t have to do it under a different name. You can do it as the Mothers and you can do it without me.
|
| [Jimmy Carl Black] It won’t be the same. I don’t know if anybody…
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| [FZ] Well, who cares…
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| [Jimmy Carl Black] They might come the first time, but I’ll bet they won’t come a second time
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| [FZ] Look. They’ll come TEN times if the music sounds good. And that’s up to you to play it.
|
| [Jimmy Carl Black] They come to see you, Frank. That’s who they come to see.
|
 Art by Theo Holdt.jpg "(Front) Art by Theo Holdt")
.jpg "(Back)")
Songs list
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Title origin
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Listen original song on YouTube
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