Uncle Meat - Frank Zappa

(LP Rechts Innen) Kunst von Cal Schenkel

DIESE SEITE MUSS ÜBERPRÜFT WERDEN

Soundtrack

Verknüpfte Material:

Video “Uncle Meat”

Uncle Meat	Onkel Fleisch

Platte 1

1 Uncle Meat: main title theme	1 Onkel Fleisch: Titelthema
2 The voice of cheese	2 Die Stimme des Käses
3 Nine types of industrial pollution	3 Neun Arten industrieller Verschmutzung
4 Zolar czakl	4 Zolar czakl
5 Dog breath, in the year of the plague	5 Hundeatem, im Jahr der Pest
6 The legend of the golden arches {A pound for a brown + Uncle Meat}	6 Die Legende der goldenen Bögen
7 Louie Louie (At the Royal Albert Hall in London) [Richard Berry]	7 Louie Louie (In der Royal Albert Hall in London)
8 The dog breath variations	8 Die Variationen über Hundeatem
9 Sleeping in a jar	9 Schlafen in einem Einmachglas
10 Our bizarre relationship	10 Unsere bizarre Beziehung
11 The Uncle Meat variations {+ Exercise #4}	11 Die Variationen über Onkel Fleisch
12 Electric Aunt Jemima	12 Elektrische Tante Jemima
13 Prelude to King Kong	13 Vorspiel zu King Kong
14 God bless America (Live at the Whisky a Go Go) [Irving Berlin]	14 Gott, segne Amerika (live im Whisky a Go Go)
15 A pound for a brown on the bus	15 Ein Pfund, um den Hintern aus dem Reisebus zu zeigen
16 Ian Underwood whips it out (Live on stage in Copenhagen) {King Kong}	16 Ian Underwood macht sich an die Arbeit (live auf der Bühne in Kopenhagen)
17 Mr. Green Genes	17 Herr Grüne Gene
18 We can shoot you	18 Wir können dich erschießen
19 “If we’d all been living in California…”	19 „Wenn wir all’ in Kalifornien leben würden…“
20 The air	20 Die Luft
21 Project X	21 Projekt X
22 Cruising for burgers	22 Rumzuhängen zu Burgern

Platte 2

1 Uncle Meat film excerpt - Part 1 [CD bonus track]	1 Auszug aus dem Film „Onkel Fleisch“ - Erste Teil
2 Tengo na minchia tanta [CD bonus track]	2 Hab’ so ‘nen großen Schwanz
3 Uncle Meat film excerpt - Part 2 [CD bonus track]	3 Auszug aus dem Film „Onkel Fleisch“ - Zweite Teil
4 King Kong itself (as played by the Mothers in a studio)	4 King Kong selbst (wie gespielt von den Mothers im Studio)
5 King Kong (its magnificence as interpreted by Dom DeWild)	5 King Kong (in seiner Pracht wie gespielt von Dom DeWild (Don Preston))
6 King Kong (as Motorhead explains it)	6 King Kong (wie von Motorhead erklärt)
7 King Kong (the Gardner Varieties)	7 King Kong (die Varianten von Bunk Gardner)
8 King Kong (as played by 3 deranged Good Humor Trucks)	8 King Kong (wie gespielt von 3 verrückten gut gelaunten Trucks)
9 King Kong (live on a flat bed diesel in the middle of a race track at a Miami Pop Festival… the Underwood ramifications)	9 King Kong (live auf der Ladefläche eines Diesel-Trucks mitten auf einer Rennstrecke bei einem Pop-Festival in Miami… die Verzweigungen von Ian Underwood)

Alle Kompositionen stammen von Frank Zappa, außer wie oben angegeben.

Front side text	Text auf Albumcover
(MOST OF THE MUSIC FROM THE MOTHERS’ MOVIE OF THE SAME NAME WHICH WE HAVEN’T GOT ENOUGH MONEY TO FINISH YET)	(FAST DIE GESAMTE MUSIK AUS DEM GLEICHNAMIGEN MOTHERS-FILM, FÜR DEN ZU FERTIGSTELLEN WIR NOCH IMMER NICHT GENUG GELD HABEN)

This film is stashed away in my basement, while we scheme on how to raise $300,000 to finish it and make it spiffy so it can be shown in your local teenage neighborhood theater. This is an album of music from a movie you will probably never get to see.

Dieser Film lagert in meinem Keller, während wir herausfinden, wie wir 300.000 Dollars aufbringen können, um ihn fertigzustellen und machen schick, damit wir ihn in ihrem örtlichen Teenagerkino zeigen können. Dieses Album enthält Musik aus einem Film, den ihr wahrscheinlich nie zu Gesicht bekommen werdet.

Album notes by FZ	Liner Notes von FZ
THE MOTHERS at the time of this recording were:	Die MOTHERS zum Zeitpunkt dieser Aufnahme waren:
FRANK ZAPPA - guitar, low grade vocals, percussion	FRANK ZAPPA - Gitarre, tiefer Gesänge, Schlaginstrumente
RAY COLLINS - swell vocals	RAY COLLINS - spitzer Gesänge
JIMMY CARL BLACK - drums, droll humor, poverty ▶	JIMMY CARL BLACK - Schlagzeug, witziger Humor, Bedürftigkeit ▶
ROY ESTRADA - electric bass, cheeseburgers, Pachuco falsetto	ROY ESTRADA - E-Bass, Cheeseburger, Falsett im Pachuco-Stil
DON (Dom De Wild) PRESTON - electric piano, tarot cards, brown rice	DON PRESTON (Dom De Wild) - E-Piano, Tarotkarten, brauner Reis
BILLY (The Oozer) MUNDI - drums on some pieces before he quit to join RHINOCEROS	BILLY MUNDI (Derjenige, der schwitzt) - Schlagzeug auf einigen Tracks, bevor er ging, um sich RHINOCEROS anzuschließen
BUNK (Sweetpants) GARDNER - piccolo, flute, clarinet, bass clarinet, soprano sax, alto sax, tenor sax, bassoon (all of these electric and/or non-electric depending)	BUNK GARDNER (Shorts) - Piccoloflöte, Flöte, Klarinette, Bassklarinette, Sopransaxofon, Altsaxofon, Tenorsaxofon, Fagott (jeweils elektrisch und/oder nicht elektrisch, je nach Fall)
IAN UNDERWOOD - electric organ, piano, harpsichord, celeste, flute, clarinet, alto sax, baritone sax, special assistance, copyist, industrial relations & teen appeal	IAN UNDERWOOD - elektrische Orgel, Klavier, Cembalo, Celesta, Flöte, Klarinette, Altsaxofon, Baritonsaxofon, besondere Assistenz, Kopist, Gewerkschaftsbeziehungen und Teenager-Charme
ARTIE (With the Green Mustache) TRIPP - drums, timpani, vibes, marimba, xylophone, wood blocks, bells, small chimes, cheerful outlook & specific enquiries	ARTHUR TRIPP (Mit dem grünen Schnurrbart) - Schlagzeug, Timpani, Vibrafon, Marimba, Xylofon, Holzblock, Schellen, Glocken, Heiterkeit und spezifische Anfragen
EUCLID JAMES (Motorhead/Motorishi) SHERWOOD - pop star, frenetic tenor sax stylings, tambourine, choreography, obstinance & equipment setter upper when he’s not hustling local groupies	EUCLID JAMES SHERWOOD (Motorhead/Motorishi) - Popstar, frenetische Kultiviertheit auf Tenorsaxofon, Tamburin, Choreografie, Eigensinn und Stimmung des Instrumentes, wenn er nicht gerade örtliche Groupies abgeschleppt
Special thanks to:	Besonderer Dank an:
RUTH KOMANOFF who plays marimba and vibes with Artie on many of the tracks, and	RUTH KOMANOFF, die bei vielen Stücken mit Arthur Marimba und Vibrafon spielt, und
NELCY WALKER the soprano voice with Ray & Roy on “Dog breath” & “The Uncle Meat variations”	NELCY WALKER, die Sopranstimme mit Ray und Roy bei „Hundeatem“ und „Die Variationen über Onkel Fleisch“

The music on this album was recorded over a period of about 5 months from October 1967 to February 1968. Things that sound like a full orchestra were carefully assembled, track by track through a procedure known as overdubbing. The weird middle section of “Dog breath” (after the line “ready to attack”) has forty tracks built into it. Things that sound like trumpets are actually clarinets played through an electric device made by Maestro with a setting labeled Oboe d’Amore and sped up a minor third with a V.S.O. (variable speed oscillator). Other peculiar sounds were made on a Kalamazoo electric organ. The only equipment at our disposal for the modification of these primary sounds was a pair of Pultec filters, two Lang equalizers, and three Melcor compressors built into the board at Apostolic Studios in New York. The board itself is exceptionally quiet and efficient (the only thing that allowed us to pile up so many tracks) and is the product of Mr. Lou Lindauer’s imagination and workmanship. The material was recorded on a prototype Scully 12 track machine at 30 ips.	Die Musik auf diesem Album wurde in etwa 5 Monaten aufgenommen, von Oktober 1967 bis Februar 1968. Was wie ein komplettes Orchester aussieht, wurde sorgfältig Spur für Spur zusammengestellt, wobei eine als Overdub bekannt Technik verwandt wurde. Der seltsame Mittelteil von „Hundeatem“ (nach der Zeile „Mein Schiff der Liebe ist bereit zum Angriff“) besteht aus vierzig Spuren. Was wie Trompeten aussieht, sind in Wirklichkeit Klarinetten, die durch ein elektrisches Gerät gespielt werden, das vom Maestro hergestellt wurde, auf ‚Oboe d’Amore’ gesetzt und mit einem V.S.O. (Oszillator mit variabler Geschwindigkeit) um eine Moll-Terz beschleunigt wurde. Andere spezifische Klänge wurden mit einer elektrischen Kalamazoo Orgel erzeugt. Um diese Grundsounds zu modifizieren, waren die einzigen Geräte, die uns in den Apostolic Studios in New York zur Verfügung standen, ein paar Pultec-Filter, zwei Lang-Equalizer und drei Melcor-Kompressoren, die in die Karte eingebaut waren. Die Karte selbst ist außergewöhnlich leiser und effizient (das einzige System, mit dem wir so viele Spuren überlappen konnten) und ist das Produkt des Erfindungsreichtums und der Arbeit von Herrn Lou Lindauer. Das Material wurde mit einem 12-Spur-Prototyp Scully aus 76 Zentimetern pro Sekunde aufgenommen.
The whole project was engineered by Richard Kunc or “Dynamite Dick”, as he is known to the trade. Special engineering credits go to Jerry Hansen for the percussion effects added later at Sunset Sound in L.A., and to our friend Mike in Copenhagen for the tapes he sent us.	Das gesamte Projekt wurde von Richard Kunc oder „Dick Dynamite“, wie er in der Branche genannt wird, entwickelt. Besondere Anerkennung gebührt dem Techniker Jerry Hansen für die später im Sunset Sound in Los Angeles hinzugefügten Percussion-Effekte und unserem Freund Mike in Kopenhagen für die Bänder, die er uns geschickt hat.

The words to the songs on this album were scientifically prepared from a random series of syllables, dreams, neuroses and private jokes that nobody except the members of the band ever laugh at, and other irrelevant material. They are all very serious and loaded with secret underground candy-rock psychedelic profundities.	Die Texte zu den Songs auf diesem Album wurden nach wissenschaftlicher Methode hergestellt aus einer zufälligen Serie von Silben, Träumen, Neurosen und privaten Witzen, über die, abgesehen von den Mitgliedern der Band, nie jemand lacht, und aus sonstigem vernachlässigbarem Material. Sie sind alle sehr ernst zu nehmen und befrachtet mit geheimem, unterirdischem, karamellartigem, psychedelischem Tiefsinn.
(Basically this is an instrumental album)	(Im Grunde ist dies ein Instrumentalalbum)

The story of Uncle Meat	Die Geschichte von Onkel Fleisch
An evil scientist lusts for revenge after being laid off at a missile plant in the valley when the government contract is cancelled. Using equipment stolen from the plant over a period of years (assembled in a deserted Van Nuys garage) and some recipes for mystical potions from an old book, Uncle Meat and his Mexican slave, Bimbo, prepare to rule the universe with an army of mutant monsters.	Ein böser Wissenschaftler plant Rache dafür, dass er von einer Raketenbasis im Tal gefeuert wurde, nachdem die Regierung einen Vertrag gekündigt hatte. Mit Werkzeugen, die im Laufe der Jahre aus der Basis gestohlen wurden (montiert in einer verlassenen Garage in Van Nuys), und Zaubertrankrezepten aus einem alten Buch bereiten sich Onkel Fleisch und Bimbo, sein mexikanischer Sklave, darauf vor, das Universum mit einer Armee mutierter Monster zu beherrschen.

A rock & roll combo is kidnapped from the Whisky a Go Go. Disguised as groupies, Uncle Meat and Bimbo lure the unsuspecting victims to their garage on the pretext of giving them a chance to expand their consciousness. They arrive at the garage and are given paper cups full of Kool-Aid, which is drugged.	Im Whisky a Go Go Nachtclub wird eine Rock & Roll-Combo entführt. Als Groupies verkleidet locken Onkel Fleisch und Bimbo die ahnungslosen Opfer unter dem Vorwand, ihnen die Möglichkeit zu geben, ihr Gewissen zu erweitern, in ihre Garage. Sie kommen in der Garage an und bekommen Pappbecher voll mit drogenhaltigem Kool-Aid-Drink.
Uncle Meat and Bimbo place the victims on little mechanic’s carts from under an old Nash in the corner and cover the limp bodies with the psychedelic posters they have used to conceal the lab equipment. They prepare to administer the serum.	Onkel Fleisch und Bimbo legen die Opfer auf Mechanikerskarren, die unter einem alten Nash in der Ecke hervorgeholt wurden, und bedecken ihre kraftlosen Körper mit den psychedelischen Postern, mit denen sie die Laborgeräte versteckt hatten. Sie bereiten sich darauf vor, ihm das Serum zu geben.
Each victim is given a blast from a nasal mist squeezer. Uncle Meat (who never really cared for Bimbo) takes him by surprise, grabs his head and stuffs the unit up his nose. Bimbo collapses, unconscious on the floor. Uncle Meat explains to the audience that when he throws the switch on the wall, the minds of his victims will be completely reprogrammed with the details of his master plan. He pulls out a roll of computer tape and places it in the machine. The tape will be played directly into the brain through head gear placed on the victims. When the process is completed not only will their consciousness be expanded, their brains will actually be enlarged. He explains that the human skull (a hard bone) doesn’t really leave much room for the type of tissue growth the victims will experience here, and that the enlarged brain will extend through the sinus cavity into the noses of the group. This area has been softened by the nasal mist and will reshape itself to accommodate the extra brain cells.	Jedem Opfer wird eine nasale Inhalation verabreicht. Onkel Fleisch (der sich in Wirklichkeit nie um Bimbo gekümmert hat) überrascht ihn, packt seinen Kopf und steckt ihm den Inhalator in die Nase. Bimbo bricht bewusstlos zu Boden. Onkel Fleisch erklärt dem Publikum, dass, wenn er den Schalter an der Wand umlegt, die Gehirne seiner Opfer gemäß den Details seines Masterplans komplett neu programmiert werden. Er nimmt eine Spule Computerband heraus und legt sie in das Gerät ein. Das Band wird durch Helme direkt in die Gehirne der Opfer eingespielt. Wenn der Prozess abgeschlossen ist, wird nicht nur ihr Bewusstsein erweitert, sondern ihr eigenes Gehirn wird tatsächlich vergrößert. Er erklärt, dass der menschliche Schädel (ein nicht verformbarer Knochen) eigentlich nicht viel Platz für das Gewebewachstum lässt, dem die Opfer unterzogen sind, und dass sich das vergrößerte Gehirn in ihren Nasen durch die Nasennebenhöhlen ausdehnt. Die dank des Nasensprays aufgeweicht wurden und sich umformen werden, um Platz für die zusätzlichen Gehirnzellen zu schaffen.
He throws the switch. Under the posters, the noses become erect. Uncle Meat explains further that the mutants have been equipped with a secret mind-destroying vocal drone mechanism. The sounds attack the glandular system of the victim, destroying his will and forcing his body to quiver helplessly, while crazed fantasies race through his mind.	Onkel Fleisch dreht den Schalter. Unter den Plakaten stehen die Nasen auf. Er erklärt, dass die Mutanten auch mit einem geheimen akustischen Mechanismus ausgestattet waren, der ihr Gehirn zerstören kann. Die Geräusche greifen das Drüsensystem der Opfer an, heben ihren Willen auf und zwingen ihre Körper, hilflos zu zittern, während verrückte Fantasien durch ihre Gehirne rasen.
Uncle Meat drinks a potion that will make him immortal. The screen is lit with a stereotyped bolt of lightning. The rustle of the posters is heard off screen… the mutants are rising.	Onkel Fleisch trinkt einen Zaubertrank, der ihn unsterblich macht. Der Bildschirm wird von stereotypen Blitzen beleuchtet. Aus dem Off hört man das Rascheln der Plakate… die Mutanten stehen auf.

We see the streets of a city, (high angle shot) filled with conservatively dressed people bustling about. Suddenly, a woman screams, drops her purse and points into the sky. People gather around her and look up to see what’s going on. A greenish shadow covers them… they are frozen with terror.	Wir sehen die Straßen einer Stadt (von oben eingerahmt) voller geschäftiger Menschen, die klassisch gekleidet sind. Plötzlich schreit eine Frau auf, lässt ihre Handtasche fallen und zeigt zum Himmel. Die Leute versammeln sich um sie und schauen nach oben, um zu sehen, was los ist. Ein grünlicher Schatten legt sich über sie… sie sind vor Schreck erstarrt.
We see a reverse angle shot from their point of view… looking out toward the city’s skyline. Towering above it, swaying titanically, snatting immense white-gloved fingers and lip-syncing their latest hit, Ruben & The Jets ▶ prepare to destroy everything that contemporary civilization stands for.	Wir sehen eine entgegengesetzte Aufnahme aus ihrer Sicht… in Richtung der Skyline der Stadt. Darüber obliegend, titanisch schwankend, mit riesigen, weißen behandschuhten Fingern schnippend und lippensynchron zu ihrem neuesten Hit bereiten sich Ruben & The Jets ▶ darauf vor, alles zu zerstören, wofür die zeitgenössische Zivilisation steht.
The crowd is hypnotized. They begin to writhe and quiver and huddle closer together. The moon and the stars come out. Brightly colored crepe paper streamers descend from the buildings all around. Men and women hug each other close and begin to dance in the street (super teen-age romantic 1950 style). Zoom in on a couple as they kiss and dance… dissolve through distortion glass to a dream sequence of 1950’s drive-ins, make out parties, high schools, the Korean War and “I like Ike”, intercut with the titanic Ruben & The Jets; brain-snouts flopping in slow motion.	Die Menge ist hypnotisiert. Sie beginnt sich zu winden, zu zittern und sich zu umarmen. Der Mond und die Sterne gehen auf. Rundherum fallen bunte Krepppapierschlangen von den Gebäuden herab. Die Männer und Frauen umarmen sich und beginnen auf der Straße zu tanzen (in einem superromantischen Teenagerstil der 50er Jahre). Zoom auf ein Paar, das sich beim Tanzen küsst… Überblendung durch eine verzerrende Linse in Richtung einer Traumsequenz aus den 50er Jahren; Drive-ins, Knutschpartys, High Schools, der Koreakrieg und „Ich mag Ike“ wechseln sich ab mit den gigantischen Ruben & The Jets; hirngefüllte Nasen flattern in Zeitlupe.

Cut abruptly to an extreme close-up of Uncle Meat speaking directly to the audience: “Certain sounds at certain intensities have amazing effects on plants and vegetables. They’ll never take me alive! Ha ha ha!” His laughter fades in echo as we dissolve to a starry night in the desert.	Abrupter Übergang zu einer extremen Nahaufnahme von Onkel Fleisch, der zum Publikum spricht: „Bestimmte Geräusche haben bei bestimmten Intensitäten überraschende Auswirkungen auf Pflanzen und Gemüse. Sie werden mich nie lebend kriegen! Ha ha ha!“ Sein Lachen verklingt im Echo, während die Szene zu einer sternenklaren Nacht in der Wüste verblasst.

It is quiet except for a little light wind. We are traveling across the wasteland toward a huge hydro-electric dam.	Bis auf eine leichte Brise ist es ruhig. Wir durchqueren das Ödland auf unseren Weg zu einem riesigen Wasserkraftwerk.
Dynamo hum increases as we near it. We cruise over the dam itself and appear to land on the top of one of the high voltage towers nearby. A shot from the ground level reveals a mysterious ice box white ‘39 Chevy ▶ taco wagon helicopter has come to rest at the top of the tower. The door opens and a white gloved hand reaches out with a giant snipper. It cuts THE BIG WIRE. Sparks fly all over and the wire falls to the ground.	Dynamos Brummen wird lauter, je näher wir kommen. Wir gleiten über den Damm selbst und landen anscheinend auf einem der Hochspannungstürme in der Nähe. Eine Aufnahme vom Boden zeigt, dass ein mysteriöser weißer Helikopter, gebaut mit einem 39er Chevrolet ▶ Taco-Kühlwagen, oben auf dem Turm gelandet ist. Die Tür öffnet sich und eine Hand in einem weißen Handschuh streckt eine riesige Schere aus. Sie schneidet DAS GROSSE KABEL. Überall fliegen Funken und das Kabel fällt zu Boden.
The camera moves in to an E.C.U. of the hot wire as footsteps come crunching up out of the darkness. A gnarly hand reaches for the wire, picks it up and drags it away as the camera follows. The wire is dragged quite a distance until finally the dragger of the wire whips a giant ready-to-go electric plug out of his pocket, attaches it to the wire, and plugs it into an enormous female socket built into the ground. The sun is beginning to come up. We pull back for a wider view. Standing by the big wire and big plug and big socket is Uncle Meat. In the distance we can see the taco wagon helicopter lift off and float toward him in the sunrise.	Die Kamera bewegt sich zu einer Nahaufnahme des rotglühenden Kabels, während sich ein Schrittgeräusch aus der Dunkelheit nähert. Eine knorrige Hand greift nach dem Kabel, hebt es auf und zerrt es weg, während die Kamera ihm folgt. Das Kabel wird sehr weit gezerrt, bis der Kabelzerrer einen riesigen Stromstecker einsatzbereit aus der Tasche zieht, ihn am Kabel verbindet und ihn in eine riesige, im Boden eingebaute Steckdose steckt. Die Sonne beginnt aufzugehen. Wir treten zurück für eine breitere Sicht. Neben dem großen Kabel, dem großen Stromstecker und der großen Steckdose steht Onkel Fleisch. In der Ferne sehen wir den Helikopter gebaut mit einem Taco-Kühlwagen, der in der Morgendämmerung abhebt und auf ihn zu kreist.

Over the shoulder of the Chevy helicopter driver, through the chopped front windshield, we see Uncle Meat, surrounded by a lot of big wires, all plugged into the ground, some gigantic science fiction type electrical switches nearby, and a truckload of large hotel lobby flower pots with leafy green plants in them. All this is poised on the edge of the Grand Canyon. The helicopter settles in the nest of plants. Uncle Meat runs over with a pair of microphones on short stands. He places them behind each of the Chevy’s crimped exhaust pipes, and throws a big switch, converting the Grand Canyon into a gigantic amplifier. Ruben revs up the engine and backs off the pipes. Uncle Meat jumps in the Chevy. The sound of the pipes (amplified like the roar of a rocket engine) causes the plants to grow like “Jack and the Beanstalk”, lifting the Chevy into outer space. As the vines streak upward, large grotesque pods grow under the leaves and flop off on the ground near the big switches and into the canyon.	Hinter dem Piloten des Chevrolet-Helikopters sehen wir durch die zerschmetterte Frontscheibe Onkel Fleisch, umgeben von einem Haufen großer Kabel, die alle im Boden miteinander verbunden sind, neben riesigen Science-Fiction-Schaltern und einer Menge großer Blumentöpf für Hotellobbys mit dicken grünen Pflanzen im Inneren. Alles balanciert am Rande des Grand Canyons. Der Helikopter landet im Schutz der Pflanzen. Onkel Fleisch kommt mit zwei auf niedrigen Stativen montierten Mikrofonen angerannt. Er platziert einen hinter jedem den gelockten Auspuffen des Chevrolets und legt einen großen Schalter um, der den Grand Canyon in einen riesigen Verstärker verwandelt. Ruben heult den Motor auf und trennt die Rohre. Onkel Fleisch springt in den Chevrolet. Das Geräusch der Auspuffe (verstärkt wie das Dröhnen eines Raketentriebwerks) lässt Pflanzen wachsen wie in „Hans und die Bohnenranke“ und hebt den Chevrolet in den Sternenraum. Während sich die Stängel nach oben strecken, sprießen grotesk große Schoten unter den Blättern und fallen in der Nähe der großen Switches zu Boden und im Canyon.

Platte 1

1. Uncle Meat: main title theme

1. Onkel Fleisch: Titelthema

[Instrumental]

2. The voice of cheese

2. Die Stimme des Käses

[Pamela Zarubica] Hello, teen-age America, heh. My name is Suzy Creamcheese ▶.	Hallo, Teenager Amerika, heh. Mein Name ist Suzy Frischkäse ▶.
SNORK	OINK
I’m Suzy Creamcheese because I’ve never worn fake eyelashes in my whole life and I never made it on surfing set and I never made it on beatnik set and I couldn’t cut the groupie set either and uh… actually I really fucked up in Europe.	Ich bin Suzy Frischkäse, weil ich in meinem ganzen Leben noch nie falsche Wimpern aufgesetzt hab’ und es nie in der Surfszene geschafft hab’ und es nie in der Beatnik-Welt geschafft hab’ und nicht einmal in der Groupie-Welt erfolgreich war und äh… in Europa, um die Wahrheit zu sagen, hab’ ich Scheiße gebaut.
SNORK	OINK
Now that I’ve done it all over and nobody else will accept me.	Nachdem ich es überall versucht hab’, wird mich niemand mehr akzeptieren.
SNORK	OINK
I’ve come home to my Mothers.	Ich kam nach Hause bei meinen Mothers.

3. Nine types of industrial pollution

3. Neun Arten industrieller Verschmutzung

[Instrumental]

4. Zolar czakl

[Instrumental]

5. Dog breath, in the year of the plague

5. Hundeatem, im Jahr der Pest

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!	Ich flehe dich an, erhöre meine Bitte!

Cucuroo carucha (Chevy ‘39 ▶)	Mit meiner Schrottkiste (39er Chevrolet ▶)
Going to El Monte Legion Stadium	Auf dem Weg zum El-Monte-Legion-Stadion
Pick up on my weesa (she is so divine)	Ich hol’ meine Guapa ab (sie ist einfach hinreißend)
Helps me stealing hub caps, wasted all the time	Hilft mir Radkappen stehlen, ständig bekifft

[Nelcy Walker] Fuzzy dice, bongos in the back	Plüschwürfel, Bongos auf der Heckscheibe
My ✄ ship of love is ready to attack	Mein ✄ Schiff der Liebe ist bereit zum Angriff

Primer mi carucha (Chevy ‘39)	Grundierung auf meine Schrottkiste (39er Chevrolet)
Going to El Monte Legion Stadium	Auf dem Weg zum El-Monte-Legion-Stadion
Pick up on my weesa (she is so divine)	Ich hol’ meine Guapa ab (sie ist einfach hinreißend)
Helps me stealing hub caps, wasted all the time	Hilft mir Radkappen stehlen, ständig bekifft

Fuzzy dice, bongos in the back	Plüschwürfel, Bongos auf der Heckscheibe
My ship of love ready to attack	Mein Schiff der Liebe, bereit zum Angriff
Won’t you please hear my plea?	Ich flehe dich an, willst du meine Bitte nicht hören?

Primer mi carucha (Chevy ‘39)	Grundierung auf meine Schrottkiste (39er Chevrolet)
Drive me to El Monte Legion Stadium	Bring mich zum El-Monte-Legion-Stadion
Pick up on my weesa (she is so divine)	Ich hol’ meine Guapa ab (sie ist einfach hinreißend)
Helps me stealing hub caps, wasted all the time	Hilft mir Radkappen stehlen, ständig bekifft

Fuzzy dice, bongos in the back	Plüschwürfel, Bongos auf der Heckscheibe
My ship of love ready to attack	Mein Schiff der Liebe, bereit zum Angriff

[Instrumental]	[Instrumental]

6. The legend of the golden arches {A pound for a brown + Uncle Meat}

6. Die Legende der goldenen Bögen

[Instrumental]	[Instrumental]

[Pamela Zarubica] The first thing that attracted me to Mothers’ music was the fact that they played for twenty minutes and everybody was hissing and booing and falling off the dance floor.	Das Erste, was mir an der Musik der Mothers auffiel, war die Tatsache, dass sie zwanzig Minuten lang gespielt hatten, während alle pfiffen, buhten und die Tanzfläche verließen.
And Elmer was yelling at them to get off stage and turn down their amplifiers.	Und Elmer schrie sie an, von der Bühne zu geh’n und die Verstärker leiser zu stellen.

7. Louie Louie (At the Royal Albert Hall in London)

7. Louie Louie (In der Royal Albert Hall in London)

[Notes by Terry Gilliam on “Strictly Commercial” album - 1995 - abridged]	[Notizen von Terry Gilliam in „Aus einem Werbespot Gesogen“-Album - 1995 - gekürzt]
No matter how much my body decays, I have been unable to remove one particular shard of memory that remains firmly stuck - festering in my brain as a result of Frank Zappa.	Auch wenn mein Körper gealtert ist, war ich nicht in der Lage, einen bestimmten Erinnerungssplitter zu löschen, der dank Frank Zappa fest eingepflanzt geblieben ist, infiziert in meinem Gehirn.
It was 1967. I had just left America for England. One autumn evening, wandering through Hyde Park, I bumped into Frank’s manager whom I knew from my former life in Los Angeles. The Mothers were performing at the Albert Hall the following night. Did I want to see them? You bet.	Es war 1967. Ich hatte gerade Amerika verlassen und ging nach England. Als ich eines Herbstabends durch den Hyde Park spazierte, traf ich Franks Manager, den ich in meinem früheren Leben in Los Angeles kennengelernt hatte. Am nächsten Abend würden die Mothers in der Albert Hall auftreten. Wollte ich sie sehen? Na klar, ja.
The Royal Albert Hall is a great Victorian monument… all red and gold and encrusted with elaborate decoration. With its tasteful boxes ringing the vast domed amphitheatre it represented to me all that was cultured, refined, and civilised… the product of generations of decent British citizens and their gracious rulers. But that night this proud testimonial to respectability had been usurped by the Mothers of Invention… a hairy three-ringed circus with Frank as the ringmaster.	Die Royal Albert Hall ist ein großes viktorianisches Monument… ganz in Rot und Gold, mit stillvollen Dekorationen übersät. Mit ihren eleganten Tribünen, die das riesige gewölbte Amphitheater umgeben, repräsentierte sie für mich die Welt der Kultur, Raffinesse und Zivilisation… das Produkt von Generationen respektabler britischer Bürger und ihrer großmütigen Herrscher. Aber dieses glorreiche Ehrbarkeitstribut an jenem Abend war von den Mothers of Invention an sich gerissen worden… ein dreispuriger langhaariger Zirkus, der von Frank präsentiert wurde.
The band roared and crashed about the stage. They were blasting out their familiar raucous songs with Frank controlling it all with his cool, knowing smile.	Die Band brüllte lautstark auf der Bühne. Ihre bekannten ruppigen Songs explodierten, als Frank das Ganze mit seinem kalten, schlauen Lächeln kontrollierte.
The audience, by American standards, was subdued and Frank seemed frustrated by his inability to get them on their feet. Whether it was planned or an inspired act of desperation I’ll never know but suddenly in the middle of a song the keyboard player abandoned his ivories and began to clamber up and over the speakers and other piles of electronic gear. An expectant ripple spread through the crowd. For a moment he disappeared - lost in the darkness. Then a spotlight managed to pick him out - a small motley figure climbing onwards and upwards - up the back of the auditorium - towards the gigantic mountain of brass pipes that comprised the great Albert Hall organ. The audience cheered him as Frank cranked up the band: “You can do it! Climb you bastard! Yes! Yes!” With the mob chanting and clapping this musical Quasimodo gained the summit and plunked himself down at the keyboard. There was a momentary hush as he grappled with the stops. And then the most glorious, outrageous sound ever heard erupted… no… it wasn’t Elgar or Bach or even Saint-Saens…	Das Publikum war für amerikanische Verhältnisse schlapp, und Frank schien frustriert darüber zu sein, dass er konnte es nicht aufstehen. Ich werde nie wissen, ob es geplant war oder eine von Verzweiflung inspirierte Tat, aber plötzlich, mitten in einem Song, verließ der Keyboarder Don Preston seine Keyboards und begann, über die Lautsprecher und die anderen Haufen von elektronischen Geräten zu klettern. Ein gespanntes Gemurmel breitete sich in der Menge aus. Für einen Moment verschwand er im Dunkeln. Dann gelang es einem Scheinwerfer, ihn zu finden - ein kleiner Hofnarr, der im hinteren Teil des Auditoriums immer weiter kletterte, steuerte auf den gigantischen Berg von Messingpfeifen zu, aus denen die große Albert-Hall-Orgel besteht. Während Frank die Band animierte, regte ihm das Publikum an: „Du schaffst das! Steig, du Bastard! Ja! Ja!“ Während die Menge sang und applaudierte, erreichte dieser Quasimodo der Musik die Spitze und stürzte sich auf die Tastatur. Es gab einen Moment der Stille, als er mit den Orgeltasten bewies. Und dann brach der glorreichste und unverschämteste Ton aus, den man je gehört hat… nein… es war nicht Elgar oder Bach oder gar Saint-Saens…
It was a great thundering musical nose-thumbing fart.	Es war ein großer, donnernder lange-Nase-Furz in Musik.
He was pounding out “Louie Louie” on that great Victorian organ. The barbarians had taken over! It probably felt like that the day they hoisted the hammer and sickle over the Winter Palace. The cobwebs were being blown away. The iconoclasts were king! It was utterly silly and wonderful… and we laughed and cheered and Frank’s cool, knowing smile widened ever so slightly.	Er hämmerte „Louie Louie“ auf jener berühmten viktorianischen Orgel. Die Barbaren hatten übernommen! An dem Tag, an dem Hammer und Sichel auf dem Winterpalast erhoben wurden, wahrscheinlich gab es eine ähnliche Reaktion. Die Spinnweben waren weggefegt worden. Bilderstürmer regierten! Es war unglaublich absurd und wunderbar… und wir lachten und jubelten, und Franks kaltes, schlaues Lächeln wurde breiter, kaum merklich.
(…)	(…)


[FZ] Ah! I know the perfect thing to accompany this man’s trumpet. None other than… the mighty and majestic Albert Hall pipe organ!	Ah! Ich weiß, was es braucht, um die Trompete dieses Mannes zu begleiten. Nichts weniger als… die mächtige und majestätische Albert-Hall-Pfeifenorgel!
[Guy in the audience] Right!	Richtig!

[FZ] You understand that you won’t be able to hear the organ once we turn the amplifiers up	Wisset, dass die Orgel nicht hören könnt, nachdem wir die Verstärker eingeschaltet haben

[FZ] Awright. Don? Whip it on ‘em!	OK. Don? Zeig’s ihnen!

[FZ] “Louie Louie”! They like it loud too, you know?	„Louie Louie“! Auch sie mögen’s in voller Lautstärke, weißt du?

[Instrumental]	[Instrumental]

[FZ] Let’s hear again for the London Philharmonic Orchestra!	Geben wir der London Philharmonic Orchestra noch eine Runde Applaus!

8. The dog breath variations

8. Die Variationen über Hundeatem

[Instrumental]

9. Sleeping in a jar

9. Schlafen in einem Einmachglas

It’s the middle of the night and your mommy & your daddy are sleeping	Es ist mitten in der Nacht und deine Mama und dein Daddy schlafen
It’s the middle of the night and your mommy & your daddy are sleeping	Es ist mitten in der Nacht und deine Mama und dein Daddy schlafen

Sleeping	Schlafen
Mom and dad are sleeping	Mama und Daddy schlafen
Sleeping in a jar	Schlafen in einem Einmachglas
The jar is under the bed	Das Einmachglas steht unterm Bett

10. Our bizarre relationship

10. Unsere bizarre Beziehung

[FZ] Bizarre!	Bizarr!
[Pamela Zarubica] Bizarre, he he	Bizarr, heh heh
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.	Niemand konnte jemals unsere bizarre Beziehung versteh’n, weil ich dein kalter intellektueller Babysitter war. Vor allem, wenn du abends mit ‘nem Hühnchen ins Bett gingst und ich wachte am nächsten Morgen auf und ich ein anderes fand, das schrie mich an, heh heh. Ich fragte mich, was zum Teufel jenes Hühnchen in deinem Bett macht, ich kam rein und du warst nicht mit dem gleichen wie in der Nacht zuvor. Oh, das kann ich nie vergessen, solange ich leb’. In diesem Haus, na ja, da war überall euer Krempel, wir hatten eine Katze und wir hatten Läuse und wir hatten viele Krabben, die dann haben wir jedem in Laurel Canyon Stadtteil übertragen, außer Elmer und Phil, denn sie zu eklig zum Ficken waren.
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.	Ha ha ha. Elmer hat eine Mentalität von ungefähr der Größe einer Erdnuss. Höchstens. Tatsächlich erinner’ ich mich, dass er mir sagte, dass du wirklich sehr talentiert seist, aber er verstand nicht, wie jemand, der auf der Bühne immer wieder „Scheiß drauf“ sagte, jemals erfolgreich sein konnte.
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.	Und er fuhr in seinem goldenen Cadillac herum und guckte aus dem Fenster, ha ha ha, weil er nie kam die Popularität hinweg, die… die du bei Groupies hattest und er nicht hatte. Vielleicht, weil er ‘n schäbiger Fünfzigjähriger war.
[FZ] HA HA HA!	HA HA HA!

11. The Uncle Meat variations {+ Exercise #4}

11. Die Variationen über Onkel Fleisch

[Instrumental]	[Instrumental]

Ya ya ya ya ya
[Nelcy Walker] Ahhhahahhhh
Ya ya ya ya ya
[Nelcy Walker] Ahhhahahhhh
Fuzzy dice & bongos, fuzzy dice	Plüschwürfel und Bongos, Plüschwürfel
[Nelcy Walker] I got ‘em at the Pep Boys at the BOYYYYYYYYS	Ich hab’ sie von Pep Boys gekauft
Fuzzy dice & bongos, brodie knob & spinners chromium plated	Plüschwürfel und Bongos, Lenkradknauf und verchromte Puppen
Ha ha ha!	Ha ha ha!

[Instrumental]	[Instrumental]

12. Electric Aunt Jemima

12. Elektrische Tante Jemima

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	Elektrische Tante Jemima, Göttin der Liebe
Khaki maple buckwheats frizzle on the stove	Buchweizen im kakifarbenen Ahorn brutzelt auf dem Herd
Queen of my heart, please hear my plea	Königin meines Herzens, ich flehe dich an, erhöre meine Bitte
Electric Aunt Jemima cook a bunch for me	Elektrische Tante Jemima, back mir einen ganzen Stapel davon

Tried to find a reason not to quit my job	Suchte nach einem Grund, weshalb ich meinen Job nicht aufstecken soll
Beat me till I’m hungry, found a punk to rob	Wichste bis ich Hunger bekam, fand einen Trottel, der sich ausrauben ließ
Love me, Aunt Jemima, love me now & ever more	Liebe mich, Tante Jemima, liebe mich jetzt und immerdar
Love me Aunt Jemima	Liebe mich, Tante 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	Suchte nach einer Rosine, nach Keksen in der Schüssel
Monza by the street light, Aunt Jemima all night	Monza-Auto an der Ampel, Tante Jemima die ganze Nacht
Holiday & salad days & days of mouldy mayonnaise	Feiertage und Jugendtage und Tage wo die Mayonnaise schimmelig war
Caress me	Streichle mich
Ah!	Ah!
Caress me	Streichle mich
Ah!	Ah!
Caress me, Aunt Jemima	Streichle mich, Tante Jemima
Caress me	Streichle mich
Ah!	Ah!
Caress me, Aunt Jemima	Streichle mich, Tante Jemima
Caress me	Streichle mich
Ah!	Ah!
Caress me, Aunt Jemima	Streichle mich, Tante Jemima
Caress me	Streichle mich
Ah!	Ah!
Caress me, Aunt Jemima	Streichle mich, Tante Jemima
Caress me	Streichle mich
Ah!	Ah!
Caress me, Aunt Jemima	Streichle mich, Tante Jemima

[?] Mmm, boy, my lips are gettin’ heavy	Mhm, Mann, meine Lippen werden immer größer
[Spider Barbour] I can’t tell when you’re telling the truth	Ich versteh’ nicht, wenn du die Wahrheit sagst
[?] I’m not!	Ich nicht!
[Spider Barbour] How do I know, anything you’ve said to me is…	Wie find’ ich das heraus, alles, was du zu mir gesagt hast, ist…
[?] You don’t!	Du nicht!

13. Prelude to King Kong

13. Vorspiel zu King Kong

[Instrumental]	[Instrumental]

[Dick Kunc] Here’s one with your father’s moustache, your old cookie jar, rubbers, sneakers, galoshes, belt buckles, and book covers with the name of your high-school neatly imprinted in crimson and gold on the front with a picture of the goalpost and last year’s queen.	Hier ist eine mit dem Schnurrbart deines Vaters, deine alte Keksdose, Gummistiefel, Turnschuhe, Galoschen, Schnallen und Buchumschläge mit deinem High-School-Namen, auf der Vorderseite in Dunkelrot und Gold ordentlich aufgedruckt, mit einem Foto der Schönheitskönigin das Jahr zuvor inmitten des Fußballtores.

14. God bless America (Live at the Whisky a Go Go)

14. Gott, segne Amerika (live im Whisky a Go Go)

God bless America, land that I love	Gott, segne Amerika, das Land, das ich liebe
Stand beside her and guide her	Bleib an seiner Seite und fahr es
Through the night with the light from above	Durch die Nacht, mit deinem Licht von oben
Yeah!	Ja!

[Instrumental]	[Instrumental]

15. A pound for a brown on the bus

15. Ein Pfund, um den Hintern aus dem Reisebus zu zeigen

[Instrumental]	[Instrumental]

[Dick Kunc] Fade!	Überblendung!

16. Ian Underwood whips it out (Live on stage in Copenhagen) {King Kong}

16. Ian Underwood macht sich an die Arbeit (live auf der Bühne in Kopenhagen)

[Ian Underwood] My name is Ian Underwood and I’m the straight member of the group.	Mein Name ist Ian Underwood und ich bin der seriöse Exponent der Gruppe.
[Pamela Zarubica] Wowie Zowie ▶	Wowie Zowie ▶
[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”.	Vor einem Monat hörte ich die Mothers of Invention im Garrick Theatre. Ich habe sie zweimal gehört, und das zweite Mal ging ich zu Jimmy Black und sagte: „Ich mag euere Musik und ich würde gerne mit euch spielen“. Zwei Tage später erschien ich zur Aufnahmesession und Frank Zappa saß im Kontrollraum. Ich ging auf ihn zu und sagte: „Schön, Sie kennenzulernen, mein Name ist Ian Underwood, ich mag euere Musik und ich würde gerne in euerer Gruppe spielen“. Frank Zappa hat mich gefragt: „Was kannst du Außergewöhnliches?“ Ich antwortete: „Ich spiele Altsaxofon und Klavier“. Er sagte: „Gut, mach dich an die Arbeit“.

[Instrumental]	[Instrumental]

17. Mr. Green Genes

17. Herr Grüne Gene

Eat your greens, don’t forget your beans & celery	Iss dein Grünzeug, vergiss auch deine Bohnen und Sellerie nicht
Don’t forget to bring your fake I.D. ▶	Vergiss nicht, deinen gefälschten Personalausweis ▶ mitzubringen
Eat a bunch of these magnificent	Iss davon eine Portion großartig
With sauerkraut	Mit Sauerkraut
Mmmmmmmmmmm	Mhm
Sauerkraut	Sauerkraut

Eat a grape, a fig, a crumpet too…	Iss eine Weintraube, eine Feige, einen Teekuchen dazu…
You’ll pump ‘em right through	Das wird dir glatt runtergehen
Doo-wee-ooo

[Instrumental]	[Instrumental]

Eat your shoes, don’t forget the strings and sox	Iss deine Schuhe, vergiss auch die Schnürsenkel nicht und die Socken
Even eat the box you bought ‘em in	Iss sogar die Schachtel, in der sie drin waren
You can eat the truck that brought ‘em in	Du kannst den Lieferwagen essen, der sie gebracht hat
Garbage truck	Der Müllwagen
Mmmmmmmmmmmmouldy	Schimmeliger Müll
Garbage truck	Der Müllwagen
Eat the truck & driver and his gloves	Friss es auf und den Fahrer dazu und seine Handschuhe
Nutritiousness!	Nahrhaftigkeit!
Deliciousness!	Köstlichkeit!
Worthlessness!	Wertlosigkeit!

18. We can shoot you

18. Wir können dich erschießen

[Instrumental]	[Instrumental]

[Ian Underwood] Dee… dee BAH dam… eeeeh-dam pa-pa-pa-pa-pam… tee-pa pa-pa-pa-pa-pam!
And just wail out the last one	Und verzerre einfach den letzten
[Bunk Gardner] Mmm, let’s start here, then	[Bunk] Mhm, fangen wir also hier an
[Ian Underwood] Yeah	[Ian] Ja
[Bunk Gardner] Three, four	[Bunk] Drei, vier

19. “If we’d all been living in California…”

19. „Wenn wir all’ in Kalifornien leben würden…“

[FZ] OK? Now if you still want to get your name in magazines he wants FIVE hundred dollars a month!	[FZ] OK? Um den Bandnamen in den Magazinen zu halten, will er fünfhundert Dollar im Monat!
[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…	[JCB] Was ist der Grund? Wir ham diesen Monat nur ‘nen Gig gespielt. Und was ham wir bis jetzt gemacht, zweihundert Dollars für diesen Gig, wenn alles gut geht. Wenn alles gut geht, machen wir zweihundert. Und bis zum Erhalt vergeh’n zwei Wochen. Wohl. Ich mein’, schließlich äh… wozu dieser ganze Scheißer in den äh… in den Zeitungen? Wenn wir ‘nen guten Ruf ham, warum äh… wir…
[FZ] That shit in the news…	[FZ] Diese Scheiße in den Zeitungen…
[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?	[JCB] Wir verhungern, Mann! Diese verdammte Band verhungert! Und wir verhungern seit drei Jahren. Ich versteh’, dass es Zeit braucht, aber, gottverdammt, wird’s noch fünf, zehn Jahre dauern?
[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.	[FZ] Es gibt Monate, in denen ihr weniger arbeitet als in anderen Monaten. Es gibt Monate, in denen ihr viel Geld macht, und im Durchschnitt macht ihr über zweihundert Dollars im Monat.
[Jimmy Carl Black] Expenses are sure high, too. If we’d all been living in California, it would’ve been different.	[JCB] Außerdem sind die Ausgaben wirklich hoch. Wenn wir all’ in Kalifornien leben würden, wäre’s anders.
[FZ] If we’d all been living in California, we wouldn’t work at all!	[FZ] Wenn wir all’ in Kalifornien leben würden, würden wir überhaupt nicht arbeiten!
[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.	[JCB] Ah, du hast recht. Naja, jetzt arbeiten wir sowieso nicht! Wir ham diesen Monat nur ‘nen Gig gespielt, Frank! Was ist falsch daran, zwei Monate in Folge viel Geld zu mach’n? Oder drei Monate in Folge? Dann könnten wir es uns leisten, drei oder vier Monate frei zu nehm’n, und wir könnten alle… Der erste Monat reicht mir kaum, um über die Runden zu kommen, aber wenn ich noch zwei Monate hätt’, Mann, könnt’ weitermachen. Da ich sicherlich kein ausschweifendes Leben führ’, glaub mir.

20. The air

20. Die Luft

The air escaping from your mouth	Die Luft, die aus deinem Mund entweicht
The hair escaping from your nose	Das Haar, das aus deiner Nase entweicht
My heart escaping from the scraping and the shaping of the draping…	Mein Herz, das entweicht aus der Lache und der Mache seiner Rache…

I’m awaking in a T-shirt, in a Chevy	Ich erwache in einem T-Shirt, in einem Chevrolet
At the beach	Am Strand
And I’m freezing	Und ich fröstle
And I’m wheezing	Und ich keuche
And I know you were only teasing	Und ich weiß du hast mich nur veralbert

I hit you	Ich gab dir Hiebe
Then I beat you	Dann habe dich geschlagen
Then I told you	Dann sagte ich dir
That I love you	Dass ich dich liebe
In my car	In meinem Auto
In a jar	In einem Einmachglas
In my car	In meinem Auto
In a jar	In einem Einmachglas

The air escaping from your pits	Die Luft, die aus deinen Achselhöhlen entweicht
The hair escaping from my teeth	Das Haar, das aus meinen Zähnen entweicht
My hands are gripping but they’re slipping and they’re dripping ‘cause I’m tripping	Meine Fäuste sind geballt, aber glitschig und verschwitzt, weil ich stehe kurz vor High

I got busted	Ich wurde erwischt
Wasted	Zugedröhnt
Coming through customs	Als ich durch den Zoll ging
I’m so wasted	Ich bin wirklich zugedröhnt
With a suitcase	Mit einem Koffer
Wasted	Zugedröhnt
Full of tapes	Voll Tonbänder
I’m so wasted	Ich bin wirklich zugedröhnt
It was a special	Es ging um eine spezielle
Tape recording	Tonbandaufnahme
And they grabbed me	Und sie erwischten mich
While I was boarding	Als ich grade an Bord gehen wollte

Yes, they grabbed me, then they beat me, then they told me they don’t like me	Ja, sie erwischten mich, und vermöbelten mich, und sagten zu mir, ‚wir mögen dich nicht‘
And I crashed	Und ich pennte mich aus
In my Nash	In meinem Nash
We can crash	Wir können pennen
In my Nash	In meinem Nash
We can crash	Wir können pennen
In my Nash	In meinem Nash
We can crash	Wir können pennen
In my Nash	In meinem Nash
We can crash	Wir können pennen
In my Nash	In meinem Nash

21. Project X

21. Projekt X

[Instrumental]

22. Cruising for burgers

22. Rumzuhängen zu Burgern

I must be free	Ich muss frei sein
My fake I.D.	Mein gefälschter Personalausweis
Freeeeeees me	Bringt mir die Freiheit

Gotta do a few things to make my life complete	Mir fehlen noch ein paar Sachen, um mein Leben vollkommen zu machen
I gotta live my life out on the street	Ich muss mein Leben draußen auf der Straße leben

The difference between us is not very far	Wir sind nicht sehr verschieden
Cruising for burgers in daddy’s new car	Während wir rumhängen zu Burgern in Daddys neuem Wagen

My phony freedom card brings to me	Meine gezinkte Freiheitskarte verschafft mir
Instantly	Augenblickliche
Ecstasy!	Ekstase!

[Instrumental]	[Instrumental]

Platte 2

1. Uncle Meat film excerpt - Part 1 [CD bonus track]

1. Auszug aus dem Film „Onkel Fleisch“ - Erste Teil

[VHS notes by FZ]	[Notizen von FZ auf der VHS]
Work began on “Uncle Meat” in New York City during the summer of 1967. The early footage of the Mothers of Invention was shot during that period, in and around the Garrick Theater (on Bleecker Street in the West Village) by Ed Seeman, Ray Favata and Tom Mangrevede.	Die Arbeit an „Onkel Fleisch“ begann im Sommer 1967 in New York. Die ersten Filmaufnahmen der Mothers of Invention wurden von Ed Seeman, Ray Favata und Tom Mangrevede im Garrick Theatre und in der Nähe (auf der Bleecker Street im West Village) zu dieser Zeit verfilmt.
The original plot, as described in the “Uncle Meat” album booklet was never shot, and relates to this film only as a subtext.	Die ursprüngliche Handlung, wie sie im Booklet des Albums „Onkel Fleisch“ beschrieben wird, wurde nie verfilmt und erscheint in diesem Film nur als Subtext.
Over the last 20 years, whenever there was enough money to allow for it, sections of “story continuity” were added (1968, 1970 and 1982), until the whole blob of raw footage was transferred to video tape, and the film in its final form was realized in the spring of 1987 at Pacific Video in Los Angeles.	In den letzten 20 Jahren, wann immer es genug Geld gab (1968, 1970, 1982), wurden Abschnitte der „Handlungskontinuität“ hinzugefügt, dann wurde der ganze Haufen Rohmaterial auf Videoband überspielt, und im Frühjahr 1987 war der Film in seiner endgültigen Form bei Pacific Video in Los Angeles hergestellt.
Admittedly, this is sort of a weird movie, and, for some viewers, helpful hints on how to watch it might be in order. As with many of my other projects, “Uncle Meat” and its themes derive from “folk-lore”. Part of the problem with this technique lies in the fact that the “folks” involved are “non-standard behavioral types” and their “lore” tends to be somewhat arcane. In spite of this, just as folk songs and legends record people and events deemed “unworthy” of consideration by Serious Historians, this film, and other Honker releases provide a record for future generations that during this part of the 20th century there actually were people who did not think or act like the plasticized caricatures that will survive to represent us in TV re-runs or “Real World” history books.	Es ist nicht zu leugnen, dass dies in gewisser Weise ein seltsamer Film ist und dass für einige Zuschauer ein Sehführer nützlich wäre. Wie bei vielen meinen anderen Projekten leiten sich „Onkel Fleisch“ und seine Themen von „der Folklore / den Überlieferungen des Volkes“ ab. Eines der Probleme bei diesem Ansatz besteht darin, dass das fragliche „Volk“ zu „nicht standardmäßigen Verhaltenstypen“ gehört und ihre „Überlieferungen“ möglicherweise nicht vollständig verständlich sind. Nichtsdestotrotz, genauso wie Volkslieder und Legenden Menschen und Ereignisse dokumentieren, die von seriösen Historikern als „unwürdig“ erachtet werden, werden dieser Film und andere Honker-Home-Video-Veröffentlichungen zukünftigen Generationen die Tatsache dokumentieren, dass in dieser Zeit des zwanzigsten Jahrhunderts es gab tatsächlich jemanden, der nicht dachte und sich nicht so verhielt wie die plastifizierten Karikaturen, die überleben werden, um uns in Fernsehwiederholungen oder in Geschichtsbüchern über der „realen Welt“ zu darstellen.


[FZ] We’re shooting the uh… title sequence for “Uncle Meat” right now, which is the name of the Mothers of Invention movie that we’ve been working on for about three years… without too much success	[FZ]
[Don Preston] Boy, we really need a hit single. Just think, I mean, the way the world’s going today, with all the problems in it. I bet I could actually change the world, because it’s the young people that really need to be changed, and… and you could really do that through music and everything. This was our last hit single, it was really a bummer, they wouldn’t even play it on the radio. Oh, well, gotta come up with something better than that.	[Don]

[Don Preston] Good evening, this is Biff Debris…	[Don]
[Phyllis Smith] You know, it’s too much, I know	[Phyllis]
[Don Preston] … coming to you from the motel…	[Don]
[Phyllis Smith] Look at that monster	[Phyllis]
[Don Preston] … where…	[Don]
[FZ] Ha ha ha ha!	[FZ] Ha ha ha!
[Phyllis Smith] What are they laughing about? He looks so beautiful when they laugh.	[Phyllis]
[Don Preston] That’s what my psychiatrist used to say	[Don]
[Phyllis Smith] Twelve years. It’s the same story though with that song, I don’t know what I’m doing, but look, look at the way he’s changing. Oh, I remember that in the shower, the first time with the hamburger. Oh, that was good, but, I don’t know, twelve years marriage, you get tired of the same thing. But I don’t know, I can try it again sometime. Oh, look there’s Minnesota! He was a great guy, Minnesota Tishman.	[Phyllis]
[Don Preston] We’re coming to the beginning of a new era	[Don]
[Phyllis Smith] He was a nice guy	[Phyllis]
[Don Preston] Don’t you feel it coming?	[Don]
[Phyllis Smith] He was… He was OK in this time. He’s washed up now, I heard about him though.	[Phyllis]

[Ray Collins] What is it you’re doing, Mr. Tishman?	[Ray]
[Carl Zappa] I’m using the chicken to measure it	[Carl]
[Aynsley Dunbar] Pool?	[Aynsley]
[Phyllis Smith] You know what I used to do? I used to watch him eat, and while he was eating I would ask him what he’s doing.	[Phyllis]
[Haskell Wexler] What the hell are we doing in this bathroom?	[Haskell]
[FZ] I’m going to… While you stand there and take pictures of that, I’m gonna tell you the… the plot of the movie. Alright. Basically what we’re going to do, today, is spend some time around the house while you meet the people that you’re going to be photographing for the rest of the week… and we discuss some of the absurdities.	[FZ]
[Haskell Wexler] Absurdities?	[Haskell]
[FZ] Yes, we’re just dealing with the… the absurdities of making the movie in the first place and especially about the Mothers of Invention	[FZ]

[Guy from Alabama] You wanna have a circle-jerk?	[Typ aus Alabama]
[Aynsley Dunbar] The who?	[Aynsley]
[Guy from Alabama] Circle-jerk	[Typ aus Alabama]
[Aynsley Dunbar] A circle-jerk? What’s that?	[Aynsley]
[Guy from Alabama] That’s where you get everybody around and beat yer meat and see who can get it the fastest	[Typ aus Alabama]
[Aynsley Dunbar] Yeah?	[Aynsley] Ja?
[Guy from Alabama] Yeah, and whoever wins gets nineteen kegs	[Typ aus Alabama]
[Aynsley Dunbar] Nineteen who?	[Aynsley]
[Guy from Alabama] Kegs, you know	[Typ aus Alabama]
[Aynsley Dunbar] Cakes of what?	[Aynsley]
[Meredith Monk] Gee, Jimmy, that’s cool!	[Meredith]
[Aynsley Dunbar] Cakes. Cheers. Yeah, anyway…	[Aynsley]

[FZ] What could that possibly mean? Hmmm, I wonder what happens if you go like this.	[FZ]
[Ray Collins] What is it that you’re doing with this?	[Ray]
[Carl Zappa] I’m using the…	[Carl]
[FZ] You know what I used to do? I used to watch him eat. And while he was eating, I would talk to him while he was eating, and I would ask him what he’s doing. And he would say: “I’m using the chicken to measure it”.	[FZ]
[Phyllis Smith] OK	[Phyllis] OK
[Don Preston] Can I borrow your comb?	[Don]
[Phyllis Smith] You know what I used to do?	[Phyllis]
[Ray Collins] What are you doing with that?	[Ray]
[Phyllis Smith] I used to watch him eat	[Phyllis]
[Carl Zappa] I’m using the chicken to measure it	[Carl]
[Phyllis Smith] You know… You know what I used to do? I used to watch him eat. And while he was eating, I would ask him: “What are you doing?”	[Phyllis]
[FZ] Do it again	[FZ]
[Ray Collins] Why is he using a chicken to measure it?	[Ray]
[Phyllis Smith] And he would say: “I’m using the chicken to measure it”. What did he mean by that?	[Phyllis]
[Ray Collins] He’s using the chicken to measure it	[Ray]
[Phyllis Smith] Till this day I don’t know what he’s talking about!	[Phyllis]
[FZ] Do it again	[FZ]
[Phyllis Smith] That Tishman. That Minnesota Tishman. What a guy.	[Phyllis]

[Guy from Alabama] Eight inches or less?	[Typ aus Alabama] Zwanzig Zentimeter oder weniger?
[Aynsley Dunbar] Uh… Eight inches	[Aynsley]
[Guy from Alabama] Eight inches? Well, I can get you all kind of women, there, man.	[Typ aus Alabama]
[Aynsley Dunbar] You can? Yes, it’s cool.	[Aynsley]
[Guy from Alabama] Oh, they got some whores there you wouldn’t believe!	[Typ aus Alabama]
[Meredith Monk] Gee, Jimmy, that’s cool!	[Meredith]
[Guy from Alabama] You can just fall right in	[Typ aus Alabama]
[Aynsley Dunbar] But do they play pool?	[Aynsley]

[Phyllis Smith] What a guy, what a sense of humour. The way he used to… Let me get back to that.	[Phyllis]
[FZ] Look at the way he hands that chicken	[FZ]
[Aynsley Dunbar] Do you want another ball?	[Aynsley]
[FZ] He had a way with that chicken	[FZ]
[Phyllis Smith] He… Look at the way he handles that chicken, he had a way… look at the way he holds it, and fondles it, and he put it right near his privates	[Phyllis]
[Aynsley Dunbar] But that’s cool, still	[Aynsley]
[Guy from Alabama] That’s cool, yeah	[Typ aus Alabama]
[Aynsley Dunbar] That’s cool, yeah, I sort of followed the…	[Aynsley]
[Guy from Alabama] I’m using the chicken to measure it, though	[Typ aus Alabama]
[Aynsley Dunbar] You were?	[Aynsley]
[Guy from Alabama] Yeah	[Typ aus Alabama] Ja
[Aynsley Dunbar] Yeah, where’s the shit or the white dove?	[Aynsley]
[Guy from Alabama] I’m up to my knees in shit, man	[Typ aus Alabama]
[Aynsley Dunbar] Really	[Aynsley]
[Guy from Alabama] There’s all kind of shit, now about, all smokin’ shit	[Typ aus Alabama]

[Notes by FZ in the movie] 12 years later

[Notizen von FZ im Film]


[Massimo Bassoli] And now, we are going to translate: “This is my left hand”. Repeat after me: “Questa è la mia mano sinistra”. And now: “This is my right hand”. Repeat after me: “Questa è la mia mano destra”	[Massimo]
[Ray Collins] What is it you’re doing?	[Ray]
[Carl Zappa] I’m using the chicken to measure it. Have you ever used a chicken to measure it?	[Carl]
[Meredith Monk] Gee, Jimmy, that’s cool!	[Meredith]
[Guy from Alabama] I fucked a chicken	[Typ aus Alabama]

[Don Preston] We’re coming to the beginning of a new era, wherein the development of the inner self is the most important thing. We have to train ourselves. So that we can improvise on anything: a bird, a sock, a fuming… beaker. This is… This too can be music. Anything can be music.	[Don]

[FZ] Hello? Yeah, are you busy? Well, I was wondering, this is Frank. Can you come… Yeah, can you come over here and be in our uh… teen-age movie? OK, well, I’ll tell you what the action is.	[FZ]
[Phyllis Smith] He’s eating	[Phyllis]
[FZ] OK, he’s eating, you see. Don Preston. Well, it depends, mostly it’s a hamburger, sometimes, well, he doesn’t wanna eat the hamburger, ‘cause he’s a vegetarian. OK now Phyllis is here. Phyllis.	[FZ]
[Phyllis Smith] Who’s Phyllis?	[Phyllis]
[FZ] No, no, no, Phyllis is the girl that’s the… my assistant editor on the… on the film. Yeah, she used to be Tom Wilson’s secretary. OK. You remember Tom Wilson? We were gonna run for President.	[FZ]

[Aynsley Dunbar] You’re Tom Wilson?	[Aynsley]
[Carl Zappa] Yeah	[Carl] Ja
[Aynsley Dunbar] Yeah?	[Aynsley] Ja?
[Carl Zappa] Then she came out here work on the Woodstock Festival…	[Carl]
[Ray Collins] What are you doing with that chicken?	[Ray]
[Carl Zappa] … and then uh… then…	[Carl]
[Ray Collins] I was measuring the ball	[Ray]
[Carl Zappa] … then Frank hired her to work on the Mothers movie	[Carl]

[Notes by FZ in the movie] Wadleigh Maurice edit room - Hollywood, California, 1970

[Notizen von FZ im Film]


[Phyllis Smith] Hi, I’m Phyllis Altenhaus, and I’m working with Frank Zappa on his film “Uncle Meat” in Hollywood. I’m a little nervous doing this ‘cause it’s the first time I’ve ever been a star in a film. I originally started working for Frank as his assistant editor on the film “Uncle Meat” and one day we were sitting around watching the Festival Hall shots, the rushes, and I saw Don come on the screen, Don Preston plays the monster, and I said: “Frank, look at Don! He’s turning into a monster! I’m gonna vomit!”	[Phyllis]
[FZ] When she sees him turning into a monster she has to vomit	[FZ]
[Phyllis Smith] Frank said: “That’s it, that’s the opening of the line, that… that… I mean, that’s the opening of the picture”. I said: “Frank, I can’t be in your picture, first of all, I have such a bad Brooklyn accent, I’m embarrassed by the whole thing!” And he said: “Don’t worry, you’ll do it”. So, you know, with Frank, he has a certain way about him, I mean he just gets people to do these things.	[Phyllis]
[Don Preston] He just makes me sick when he changes into a monster	[Don]
[Phyllis Smith] Why? Why does he make you sick?	[Phyllis]
[Don Preston] Oh, can’t you see it how… how ugly it is that, being that monster? Oh, just, I can’t stand it, I… I think I’m gonna be sick, I have to vomit.	[Don]

[FZ] She just… She tells me she has to vomit, see. She’s trying to make me believe that it makes her sick when he turns into a monster.	[FZ]
[Phyllis Smith] There’s something about that that gets me so nauseous, I don’t know what it is. Look at that, look at that.	[Phyllis]
[FZ] Yeah, but it’s not true. Well, you see, it gets her hot.	[FZ]
[Phyllis Smith] There’s something so sexy about him. When he comes on that stage, I get so hot just looking at him drinking that… that smoke stuff, I don’t know what it is. I don’t even care if he turns into a monster, I love it.	[Phyllis]
[Don Preston] Oh dear!	[Don]
[Phyllis Smith] Look at that, oh, him with the cape, but he doesn’t… he walks away. It’s such a hot move and he… he’s so terrific when he goes back to that gong, oh, that’s so nice. Boy, I hope no one ever finds out I love it so much, that hot monster… oh… ooh.	[Phyllis]
[Don Preston] You’re really good at those dials, baby. You’re the most manipulating person I’ve ever seen.	[Don]
[Phyllis Smith] I don’t like to be called manipulating, that’s for sure, but I like to think of myself as being hot	[Phyllis]
[FZ] She gets hot. And then she runs into the toilet, and she stands in front of the mirror and she makes faces to herself so she can turn into a monster. Isn’t it cute? That’s right, then, when she does that, and she’s having a fantasy that she’s turning into a monster, the monster comes out of the toilet from behind her.	[FZ]

[Phyllis Smith] Oh… a little lower, please	[Phyllis]
[Don Preston] How do you work all those controls in there? That’s really fantastic…	[Don]
[Phyllis Smith] Oh, it’s nothing	[Phyllis]
[Don Preston] … all of those buttons and switches	[Don]
[Phyllis Smith] It’s nothing. Look, look what’s going on there! Oh… oh, wow, this…	[Phyllis]
[Don Preston] I just can’t see how a girl could do all that	[Don]
[Phyllis Smith] Oh, now with the… the Women’s Liberation Front we can do anything. You’re kidding? Oh… oh! It’s so good!	[Phyllis]
[Don Preston] This girl obviously has some sort of demented problem in where she… she likes uh… monsters that drink foamy vile liquid and uh… transform. It must be some uh… connection in her past, in her childhood or something. Maybe her father didn’t demonstrate enough uh… affection for her. It’s a…	[Don]
[Phyllis Smith] Oh, it’s been so long…	[Phyllis]
[Don Preston] Tell me, did your father demonstrate any affection for you?	[Don]
[Phyllis Smith] I’ve been watching you on the screen for four weeks. Finally, my monster. Is it real? Is it really you? Oh, that feels… Oh, monster, can I have a bite off of your apple?	[Phyllis]
[Don Preston] Mm… I think that uh…	[Don]
[Phyllis Smith] It’s so nice to be here with a monster finally	[Phyllis]
[Don Preston] … it must be uh… her mother and father probably told her that she’s real ugly and awkward and dumb and everything…	[Don]
[Phyllis Smith] It’s a good apple, monster	[Phyllis]
[Don Preston] … and so she relates to people that are ugly, dumb and awkward	[Don]
[Phyllis Smith] Let me take off your hat so I can really see what’s happening underneath there. Just what I thought: a monster head.	[Phyllis]
[Don Preston] You’ll find this is quite common in uh… today’s society	[Don]
[Phyllis Smith] It’s like Adam and Eve and the apple. Finally, here’s my monster… after all this time…	[Phyllis]
[Don Preston] That’s why monster movies are so popular, you know?	[Don]
[Phyllis Smith] … I’d waited and waited…	[Phyllis]
[Don Preston] D’you know how many a monster movie costs to make?	[Don]
[Phyllis Smith] … and there he is, he’s right here…	[Phyllis]
[Don Preston] Monster movies really cost a lot of money	[Don]
[Phyllis Smith] … sitting with me, I can’t believe it! Is it really you, monster?	[Phyllis]
[Don Preston] And our young society today goes to all these monster movies and they see them on television night after night	[Don]
[Phyllis Smith] It’s so terrific to be with the monster	[Phyllis]
[Don Preston] We’re raising a new generation of monster lovers	[Don]
[Phyllis Smith] I’ve been waiting so long for the monster. Maybe this’ll be the real thing.	[Phyllis]

[Don Preston] He’s changing into a monster! You should see this! God, I get so hot!	[Don]
[Aynsley Dunbar] Would you like a quick vibrator? Now you’ve ruined the whole thing.	[Aynsley]
[Carl Zappa] Have I? I’ll take one down!	[Carl]
[Aynsley Dunbar] Oh, cheers	[Aynsley]
[Carl Zappa] I thought you get the walking four-balls	[Carl]
[Aynsley Dunbar] No, no	[Aynsley] Nee, nee
[Carl Zappa] It’s difficult to walk on three…	[Carl]
[Don Preston] I’m using the chicken to measure it	[Don]
[Carl Zappa] Don?	[Carl]
[Don Preston] I’m using the chicken to measure it	[Don]
[Aynsley Dunbar] Charles	[Aynsley]
[Phyllis Smith] Aynsley Dunbar, who’s playing with Frank now, this real English pop-star, very attractive guy, and he’s like into a whole groupie thing with whips and things, don’t ask me, and Frank got this great idea, actually he gets this great idea for me, to have Aynsley in the Hollywood Ranch market, which we just did last night, hit him with toilet brushes. It’s… It’s a little dumb but I went along with it, you know, what else are you gonna do? You’re getting paid and uh… you do these things.	[Phyllis]

[Phyllis Smith] Cleanser… cleanser… cleanser… cleanser… cleanser…	[Phyllis]
[Aynsley Dunbar] Hello, there!	[Aynsley] Hallo!
[Phyllis Smith] Cleanser… cleanser…	[Phyllis]
[Aynsley Dunbar] Say, could you do me a favor? Could you beat me with a toilet brush?	[Aynsley]
[Phyllis Smith] Beat you with a toilet brush?	[Phyllis]
[Aynsley Dunbar] Shhh, someone might hear. Yes, beat me with a toilet brush.	[Aynsley]
[Phyllis Smith] What’s your name?	[Phyllis]

[Aynsley Dunbar] Ah, hello, my name is Aynsley Dunbar and I… I’m very interested in whips and canes, et cetera. I’m gonna fill… fill you in about uh… my background.	[Aynsley]
[FZ] Are you absolutely serious about this? You really like whips and canes?	[FZ]
[Aynsley Dunbar] Oh yeah, yeah	[Aynsley]
[FZ] And you like…	[FZ]
[Aynsley Dunbar] I didn’t have too much chance to use ‘em here, as yet, because it’s, you know, the screams and that, would most likely wake the kids up! No, actually I’m moving on though to toilet brushes and things, ‘cause I think they’ll be coming in this year, definitely.	[Aynsley]

[Phyllis Smith] You want me to beat you with the toilet brush?	[Phyllis]
[Aynsley Dunbar] Yes	[Aynsley] Ja
[Phyllis Smith] I mean like uh… I’m ready!	[Phyllis]

[Phyllis Smith] You know, I’ll tell you something, I find myself saying “I’m ready”, you know, and like, I slap my face when I’m saying “I’m ready”, because it’s like uh… in the house I’m saying “I’m ready”, you know? And there has to be a limit.	[Phyllis]

[Phyllis Smith] That’s a whip, I guessed right, you know I saw this handle sticking up here and I like, I… I guessed it right on first, you know? Like I know…	[Phyllis]
[FZ] Beat him while you’re talking	[FZ]
[Phyllis Smith] You know, like… I tell you something, I hope it’s not getting your kidney or anything like that.	[Phyllis]
[Aynsley Dunbar] Oh look, keep… keep… just keep it high, just keep it high	[Aynsley]
[Phyllis Smith] You know what I mean? I got worried about those things, I got… You know I’m humane, Aquarius and all this…	[Phyllis]
[Aynsley Dunbar] That’s great… That’s…	[Aynsley]
[Phyllis Smith] Venus is arising, you know, I’m humane	[Phyllis]
[Aynsley Dunbar] Just keep it high. Oh, love it, yeah, right.	[Aynsley]
[Phyllis Smith] Uh… Well, let’s see	[Phyllis]
[FZ] Ask him: “Does it get you hot?”	[FZ]
[Phyllis Smith] Is it getting you hot?	[Phyllis]
[Aynsley Dunbar] Oh, maybe it would do if I had another ‘bout fifteen people	[Aynsley]

[Don Preston] I know what gets you hot. Hamburgers get you hot, ‘cause I picked you up in the pool hall!	[Don]
[Phyllis Smith] You don’t know what gets me hot, you don’t have the faintest idea what gets me hot!	[Phyllis]
[Don Preston] Sure! Hamburgers! Look at this.	[Don]
[Phyllis Smith] I can’t take it	[Phyllis] Ich kann nicht widerstehen
[Don Preston] See that?	[Don]
[Phyllis Smith] I can’t take it. Oh God, that hamburger!	[Phyllis]
[Don Preston] But you don’t know what gets me hot	[Don]
[Phyllis Smith] I’d bet I know what gets you hot. Sticks, sticks on your body on a table get you hot.	[Phyllis]

[Don Preston] I’m getting hot! When I was drinking the potion. And that hat and that cape and everything, just incredible! I’d… wonder what it’s like to… to change into a monster, it must be really great.	[Don]
[Phyllis Smith] It’s just so wonderful. Give me a bite of the apple there. Mmm, oh, my monster! Oh, that’s so terr— Oh! I love that, when a monster does that, mm. Well, I’ve just been thinking, monster, we can take rides in the country in the Volkswagen, and… My monster, you’re feeling me up, my monster.	[Phyllis]

[FZ] It does get you hot	[FZ]
[Phyllis Smith] Well, it doesn’t get me hot	[Phyllis]
[FZ] I saw you laying on the floor in the corner with him!	[FZ]
[Phyllis Smith] I… It wasn’t me laying in the corner! That was… That wasn’t me!	[Phyllis]
[FZ] Ha ha. Who was it?	[FZ]
[Phyllis Smith] That was Sheba! It wasn’t me!	[Phyllis]
[FZ] Who is Sheba? Ha ha!	[FZ]
[Phyllis Smith] Sheba is the one that’s in love with Don	[Phyllis]

[Don Preston] And why… why do you like monsters?	[Don]
[Phyllis Smith] It’s… It’s not their looks, it’s the intellectual thing that comes across, you know, you could tell that… I… Looks aren’t important to me, it’s something about the intelligence. When you mix that potion, you know when I’ve seen you mix that potion, I don’t know, it’s the intellectual way I get hot.	[Phyllis]
[Don Preston] Yeah, but what causes this?	[Don]
[Phyllis Smith] You know what I mean?	[Phyllis]
[Don Preston] I mean, well…	[Don]
[Phyllis Smith] It’s… It’s hotness	[Phyllis]

[Phyllis Smith] It used to be very… it was really nice and quiet in this place, that’s why I came here, because of the feeling like… like a place to get away from things, and now what’s going on, it’s like all noise and I don’t know, it doesn’t… Wherever you go nowadays it’s the same thing, all these guys they’re so disgusting, I can’t stand it.	[Phyllis]
[Don Preston] Look, anybody… anybody sitting here?	[Don]
[Phyllis Smith] No! Go right ahead, sit down!	[Phyllis]
[Don Preston] Thanks. Anybody drinking this beer in here?	[Don]
[Phyllis Smith] No, I don’t know what the bartender… he just left it there, I don’t know what’s going on	[Phyllis]
[Don Preston] My name is Biff Debris	[Don]
[Phyllis Smith] Oh, hi! Sheba Flieschman.	[Phyllis] Oh, hi! Sheba Flieschman.
[Don Preston] How d’you do?	[Don] Schön, dich kennenzulernen
[Phyllis Smith] So and uh… your name is Biff Debris	[Phyllis]
[Don Preston] Yeah	[Don] Ja
[Phyllis Smith] You know, funny thing, if we got married my name would be Sheba De Biff	[Phyllis]
[Don Preston] My name is Biff Debris, not Debris De Biff	[Don]
[Phyllis Smith] Debris?	[Phyllis]
[Don Preston] Yeah	[Don] Ja
[Phyllis Smith] Biff Debris! Well, I’ll tell you something, I once knew someone whose name was Dubois. It… It sort of sounds like Debris, you know what I mean? Like, is that French, or what?	[Phyllis]
[Don Preston] Well, actually I’m part Mohawk and part Norwegian	[Don]
[Phyllis Smith] Excuse me. Is the hamburger ready yet?	[Phyllis]
[Don Preston] What sign are you?	[Don]
[Phyllis Smith] Uh… I’m Aquarius with Venus rising on my past	[Phyllis]
[Don Preston] Really?	[Don]
[Phyllis Smith] Yeah. It’s really good sign because it’s the Aquarian age now, you know? And like, it’s all coming together. You know what I mean by coming together?	[Phyllis]
[Don Preston] Yeah	[Don] Ja
[Phyllis Smith] I think since I came from New York, you know, I’m really…	[Phyllis]
[Don Preston] Are you from New York?	[Don]
[Phyllis Smith] Yeah, you can’t tell! Huh?	[Phyllis]
[Don Preston] No!	[Don] Nein!
[Phyllis Smith] I tell you something, so it really means that I’m losing my accent, you know, because the other day I was talking to someone and they couldn’t guess either, well, I asked them, I said to them: “Where do you think I’m from?” And you know they said, they said: “New Jersey”, you know, so, and New Jersey accent is really completely different, you know? Like, it depends so, if you come from Patterson, it’s different from Trenton and Orange County, but you know, I say “Orange” like this: “Orange”, ‘cause that’s in California they say: “Orange”, you know?	[Phyllis]
[Don Preston] What’s the… What’s the matter with uh… Debris?	[Don]
[Phyllis Smith] That’s one thing I stayed away from	[Phyllis]
[Don Preston] Alright, you’re free	[Don]
[Phyllis Smith] I think that you can really be high on your own intellectual stratification	[Phyllis]
[Don Preston] Hamburgers	[Don]
[Phyllis Smith] Don’t say hamburgers, it gets me so hot	[Phyllis]

[Don Preston] But you don’t know what gets me hot, you see	[Don]
[Phyllis Smith] I know what gets you hot!	[Phyllis]
[Don Preston] No, no	[Don] Nee, nee
[Phyllis Smith] I saw it in the pool hall	[Phyllis]
[Don Preston] You saw that?	[Don]
[Phyllis Smith] Yeah!	[Phyllis] Ja!
[Don Preston] That isn’t what does it, you see. It really isn’t.	[Don]
[Phyllis Smith] Well, well, what is it? You know, like if it’s not that, then what is it?	[Phyllis]
[Don Preston] Well…	[Don]
[Phyllis Smith] Well, don’t be embarrassed! You can tell me, you know. Like I’m…	[Phyllis]
[Don Preston] Showers	[Don]
[Phyllis Smith] Showers?	[Phyllis]
[Don Preston] Showers	[Don]
[Phyllis Smith] Well, OK, you know, I can go see that, I can see, I can understand showers	[Phyllis]
[Don Preston] Not, not nude showers	[Don]
[Phyllis Smith] What you mean not nude showers?	[Phyllis]
[Don Preston] It’s gotta be a special shower, you know	[Don]
[Phyllis Smith] What kind of shower?	[Phyllis]
[Don Preston] With these special clothes on it	[Don]
[Phyllis Smith] You mean, you wear clothes when you…?	[Phyllis]
[Don Preston] These clothes! These are the clothes.	[Don]
[Phyllis Smith] These are the clothes that you…?	[Phyllis]
[Don Preston] Right here	[Don]
[Phyllis Smith] There are clothes in there for me for the shower?	[Phyllis]

[Phyllis Smith] Say he devised this plan, this is how this clothes and the shower thing all came by, because I was too embarrassed to stand in the shower. First role, you know, I’m not gonna be standing there naked with the whole thing sticking out, so I figured: “OK, I’ll wear dungarees and a shirt”. And… And anyway to tell you the truth I think it’s sexier because, you see, like just a little outline… tiny little bit, you know, like, poinnnng!	[Phyllis]

[Phyllis Smith] I don’t understand it, but it’s like…	[Phyllis]
[Don Preston] I mean…	[Don]
[Phyllis Smith] It’s your trip, man! You know? Like, it’s alright with me, you know? I don’t care.	[Phyllis]
[Don Preston] And this children’s belt with the little holes in it. Look at those pants!	[Don]
[Phyllis Smith] Ooh, but what has this… do with the holes! I mean, you know, like I hope they fit up.	[Phyllis]
[Don Preston] It’ll be good	[Don]
[Phyllis Smith] You know, like, OK, I’ll try, I don’t care, I’ll try anything!	[Phyllis]

[FZ] Hi, Phyllis, why don’t you want to take your clothes off with the monster?	[FZ]
[Phyllis Smith] Because I’m embarrassed to	[Phyllis]
[FZ] What’s there to be embarrassed about?	[FZ]
[Phyllis Smith] Well, I’ve never done that before, and I don’t wanna do it now!	[Phyllis]
[FZ] But why don’t you wanna do it?	[FZ]
[Phyllis Smith] I’d rather not. There’s no reason, I’d just rather not.	[Phyllis]
[FZ] But what’s the matter? You got an ugly body?	[FZ]
[Phyllis Smith] No, I have a great body. I just don’t wanna do it.	[Phyllis]
[FZ] But why don’t you wanna do it if you’ve got a great body? Don’t you wanna share it with the world?	[FZ]
[Phyllis Smith] No, I don’t wanna share it with the world	[Phyllis]

[Phyllis Smith] So I did it, and it was… I tell you, I was getting hot, see my shirt?	[Phyllis]

[Phyllis Smith] I’m ready! I got the shirt, I got the pants, and I got the belt with that little yellow holes, you know? And I’m hot!	[Phyllis]
[Don Preston] And I got the bun and the hamburger and the relish and the orange and I’ve got my clothes off and I’m hot!	[Don]
[Phyllis Smith] Oh, come on!	[Phyllis] Oh, komm schon!
[Don Preston] You know how many times we, guy… I go down to Mr. Pockets three times a week, trying to find somebody that’ll wear these clothes in the shower.	[Don]
[Phyllis Smith] How do they look on me?	[Phyllis]
[Don Preston] Oh	Oh
[Phyllis Smith] You like it?	[Phyllis]
[Don Preston] They’re great, you know. I had those clothes in the refrigerator for about two months now.	[Don]
[Phyllis Smith] Where is the hamburger? Just give me a bite. Mmh, it’s so great, you don’t meet guys…	[Phyllis]
[Don Preston] Oh, it’s disgusting	[Don]
[Phyllis Smith] You don’t meet guys who get you off with hamburgers, I’m saying I’m really happy that mmmm…	[Phyllis]
[Don Preston] Oh, the two of us really make a great couple!	[Don]
[Phyllis Smith] I know, me with my clean clothes and the hamburger and everything like that, well, you know, we can go places	[Phyllis]
[Don Preston] Yeah	[Don] Ja
[Phyllis Smith] You want me to wash your hair? While you, just hold the hamburger first, you know, while I wash your hair.	[Phyllis]
[Don Preston] Do you want me to wash it to you?	[Don]
[Phyllis Smith] Well, I don’t know, I wasn’t planning on it, it’s alright, you can wash my back. Mm, so nice the shower.	[Phyllis]
[Don Preston] I can’t bear it	[Don] Ich kann nicht widerstehen
[Phyllis Smith] Especially, especially, especially if you…	[Phyllis]
[Don Preston] Some people are really weird	[Don]
[Phyllis Smith] Pull it on my back, just a little bit, it won’t… it won’t hurt, just a little bit over there, this side, it’s terrific, with the hamburger	[Phyllis]

[Phyllis Smith] Hamburger meat. Oh.	[Phyllis]
[FZ] Wouldn’t that be better if you had your clothes off then you can uh… enforce him on your arms?	[FZ]
[Phyllis Smith] No, I don’t need my clothes off, I can get the gratification that I want just like this	[Phyllis]

[Phyllis Smith] Oh, doesn’t that feel good, oh, it’s so great. I’m so glad that I met you today.	[Phyllis]
[Don Preston] Mmmm	[Don] Mhm
[Phyllis Smith] And this hamburger…	[Phyllis]
[Don Preston] Do you mind if I rub some of this in your hair?	[Don]
[Phyllis Smith] Oh, I don’t mind, let me just take out that little thing here, mmm	[Phyllis]
[Don Preston] Oh boy	[Don] Oh, dufte
[Phyllis Smith] A little bit, wait, it’s… But I don’t know, do you have cream rinse here? This strip I won’t be able to…	[Phyllis]
[Don Preston] Cream rinse?	[Don]
[Phyllis Smith] Yeah, ‘cause I…	[Phyllis]
[Don Preston] Eugh!	[Don] Hey!
[Phyllis Smith] I won’t be… Let me see how it feels with the soap	[Phyllis]
[FZ] Wha— wha— what part gets you the hottest if you brush it with the hamburger?	[FZ]
[Phyllis Smith] Well, I think uh… what part!	[Phyllis]
[Don Preston] Oh, I love this with hamburgers under the clothes	[Don]

[Don Preston] You’re getting hot, come on	[Don]
[Phyllis Smith] Oh, am I hot, over this hamburger! Oh, I think of my uh…	[Phyllis]
[Don Preston] For a hundred dollars you’re getting hot	[Don]
[Phyllis Smith] Oh, am I hot! I’m so hot! Hhh… I’m so hot from this hamburger, oh.	[Phyllis]
[FZ] Get hot!	[FZ]
[Phyllis Smith] I’m so hot!	[Phyllis]
[FZ] Under, under, ha ha ha ha!	[FZ]
[Don Preston] Undulate	[Don]
[FZ] Look!	[FZ]

[Don Preston] Eww! It’s getting better.	[Don]
[Phyllis Smith] Where’s the hamburger? Just those…	[Phyllis]
[FZ] Hamburgers with soap are good	[FZ]
[Phyllis Smith] Ha-a… let me take a little bite, mmm… delicious! Let me put it in here so I don’t lose it. I don’t wanna in case I wanna little piece after… Could you do my back?	[Phyllis]
[Don Preston] Oh yeah	[Don] Oh ja
[Phyllis Smith] Underneath the shirt, don’t be bashful, I… oh, I know it makes you hot, like if you keep…	[Phyllis]
[Don Preston] Yeah, I like the shirt better. I’ll wash the shirt.	[Don]
[Phyllis Smith] Oh, let me take a little bit of the hamburger	[Phyllis]
[FZ] Ha ha!	[FZ] Ha ha ha!
[Phyllis Smith] You know, the last guy that I was with he just had ground chuck, you know what ground chuck tastes like in the shower, man	[Phyllis]
[FZ] Ha ha ha ha!	[FZ] Ha ha ha!
[Don Preston] Oh!	[Don] Oh!
[Phyllis Smith] This is odd meat, where did you get this?	[Phyllis]
[FZ] Ha ha ha!	[FZ] Ha ha ha!
[Phyllis Smith] Just like the health food stuff, are you a health food person? You know, like…	[Phyllis]
[Don Preston] No, I am Uncle Meat!	[Don]
[Phyllis Smith] You are Uncle Meat?	[Phyllis]

[Phyllis Smith] And because you’re the main man with the burgers…	[Phyllis]
[FZ] “And the burger’s my trip”	[FZ]
[Phyllis Smith] … and the burger’s my trip and is such a groove, I wanna show my appreciation and I wanna clean your bathroom… the cleanser…	[Phyllis]
[FZ] “I am going to the Hollywood Ranch…”	[FZ]
[Phyllis Smith] … I’m going to the Hollywood Ranch market and I’m gonna buy the cleanser	[Phyllis]

[Don Preston] And because you have worn the clothes…	[Don]
[Phyllis Smith] Cleanser	[Phyllis]
[Don Preston] … that got me hot, the shirt…	[Don]
[Phyllis Smith] Cleanser	[Phyllis]
[Don Preston] … the pants and the little brown belt, children’s belt with the holes in it…	[Don]
[Phyllis Smith] Cleanser	[Phyllis]
[Don Preston] … I will…	[Don]
[Phyllis Smith] Cleanser	[Phyllis]
[Don Preston] … accept your offer to go to the Hollywood Ranch market…	[Don]
[Phyllis Smith] Cleanser	[Phyllis]
[Don Preston] … and get the cleanser and clean my bathroom	[Don]

[Janet] He’s from that group “Cleanser”. He looks pretty kinky. Too bad we didn’t have our garters on.	[Janet]
[Janet & Lucy] EEEEEEEUH!
[Janet] Oh, what do you expect from work in this joint?	[Janet]
[Lucy] Ooh, Janet, he has a vibrator! Now, ooh… eeeuhh! Ha ha ha! Ah ah… aaaaaa AAAAH! Ooh wha—… ooh! Hhh… aaahhh.	[Lucy]

[Don Preston] We’re coming to the beginning of a new era at the motel, where we have been working secretly on a new composition in the back room, in our secret chambers. ‘Cause everything is secret. We’re trying to get the secret karma change for the whole world, you see, like this whole karma thing, it’s really what’s causing all the problems, so we have to get a composition and I’m sure that it’s going to be a hit single, because everyone is going out and buying our new hit single, for this group that uh…	[Don]
[FZ] You remember our other single “The bun”?	[FZ]
[Don Preston] Yeah, you remember our other single, “The bun”? See, this… this was our last composition.	[Don]
[Aynsley Dunbar] Plugging it in	[Aynsley]
[Don Preston] And uh… it was pretty hard to play because uh… some of the members of the group couldn’t read music, you see? But we got it all straightened out and, some of them quit and everything but…	[Don]
[Aynsley Dunbar?] A few holes in the […]	[Aynsley?]
[Don Preston] Uh… With our new arrangement we really hope to do big things, you know? Like we hope to change every single person’s karma and that in turn will change and upgrade all the ecology problems, all the pollution and all the air and everything, you know? And this right here is the composition I was speaking of and uh… this is the guitar part, this is the vocal, this is the bass part, and this little section over here could be for the dancer, but she keeps quitting all the time so we don’t really know uh… if she’s gonna be in it. If she’s not, we’ll just take it out like that. Now, it’s very difficult to compose this type of thing, because like, the slightest movement that you can make of one single article could define whether it’s underground or real commercial, see? If we put the sock over here it’s more commercial than if it were over here, then it’s real underground, you understand? So we take you now to the motel, where the group is deep in… just deep.	[Don]

[Jim Sherwood] Straightest member is the writer, you know what I…	[Jim]
[Don Preston] Hey, listen you guys, I would like just…	[Don]
[Meredith Monk] These guys can work together	[Meredith]
[Don Preston] … talk about the arrangement here	[Don]
[Aynsley Dunbar] How about that new drum solo you just worked out?	[Aynsley]
[Don Preston] I’ve got a new composition	[Don]
[Meredith Monk] It’s rhythmic, huh?	[Meredith]
[Jim Sherwood] Now, that’s beautiful	[Jim]
[Don Preston] Listen… Silence, fools! SILENCE, FOOLS! DON’T YOU BELIEVE IN PROGRESS?	[Don]
[Carl Zappa] I’m using the chicken to measure it	[Carl]
[FZ?] Take that progress and stick it under a rock!	[FZ?]
[Carl Zappa] I’m using the chicken to measure it. I’m using the chicken to measure it. I’m using the chicken to measure it. I’m using the chicken to measure it. I’m using the chicken to measure it. I’m using the chicken to measure it. I’m using the chicken to measure it.	[Carl]
[FZ] What are you doing with the chicken?	[FZ]
[Carl Zappa] I’m using the chicken to measure it	[Carl]
[FZ] What are you doing with the chicken?	[FZ]
[Carl Zappa] I’m using the chicken to measure it	[Carl]
[Jim Sherwood] Outta site! That’s outta site!	[Jim]
[Meredith Monk] That’s beautiful!	[Meredith]
[FZ] What are you doing with the chicken?	[FZ]
[Carl Zappa] I’m using…	[Carl]
[Don Preston] That’s what we need for our new song	[Don]
[Meredith Monk] That was a good composition!	[Meredith]
[Jim Sherwood] We got it!	[Jim]
[Aynsley Dunbar] Can you write one like that then?	[Aynsley]
[Don Preston] I did! Well…	[Don]
[Ray Collins?] You would? I mean…	[Ray?]
[Don Preston] At last night, that’s…	[Don]
[Ray Collins] That’s when he starts in with the guitar…	[Ray]
[Don Preston] Now look…	[Don]
[Ray Collins] … then he comes in with his guitar solo?	[Ray]
[Don Preston] You guys, do you see this over here?	[Don]
[Ray Collins] Why does he have this?	[Ray]
[Don Preston] Can you see this over here? This is the new composition that we’re going to make a hit single with.	[Don]
[Aynsley Dunbar] What’s it called, “Juncture”?	[Aynsley]
[Don Preston] No	[Don] Nein
[Ray Collins] “Juncture”	[Ray]
[Aynsley Dunbar] What’s it called?	[Aynsley]
[Carl Zappa] I’m using the chicken to measure it	[Carl]
[FZ] It’s called “We’re using the chicken to measure it”	[FZ]
[Carl Zappa] I’m using the chicken to measure it	[Carl]
[Don Preston] Right: “We’re using the chicken to measure it”. Well, I couldn’t get a chicken, I… all I got was…	[Don]
[Jim Sherwood] That’s a weird title. Ray’s got a chicken.	[Jim]
[Aynsley Dunbar] Yeah!	[Aynsley] Ja!
[Jim Sherwood] You can use Ray’s chicken to measure it	[Jim]
[Don Preston] But uh…	[Don]
[FZ] No, no, that’s part of the concept. You’re using the chicken to measure the bitchin’!	[FZ]
[Aynsley Dunbar] It’s what I choose	[Aynsley]
[Don Preston] Oh, I see, yeah, are we using the chicken to measure it?	[Don]
[Jim Sherwood] Or drumming?	[Jim]
[Don Preston] I’ll show you, this is…	[Don]
[Ray Collins] How about a sock?	[Ray]
[Jim Sherwood] I thought it was cooler	[Jim]
[Don Preston] … this is the guitar part, right here	[Don]
[Jim Sherwood] Then let me see	[Jim]
[Aynsley Dunbar] Pull her	[Aynsley]
[Jim Sherwood] It’s that what I play? That’s my part.	[Jim]
[Don Preston] That’s your part	[Don]
[Jim Sherwood] Oh, that A…	[Jim]
[Don Preston] And this is a new concept	[Don]
[Jim Sherwood] I can’t learn that by tomorrow, man, there’s no way	[Jim]
[Don Preston] Tonight	[Don]
[Jim Sherwood] I can’t learn it tonight!	[Jim]
[Don Preston] Listen, I got the time booked…	[Don]
[Jim Sherwood] I can’t even…	[Jim]
[Aynsley Dunbar] Tonight? OW!	[Aynsley]
[Don Preston] … at the Hollywood Ranch market tonight, man!	[Don]
[Meredith Monk] That’s pretty heavy, man	[Meredith]
[Aynsley Dunbar] But tonight?	[Aynsley]
[Meredith Monk] That’s pretty heavy	[Meredith]
[Jim Sherwood] My strings are flat, my pickups are shot, do Herbie wouldn’t give us an advance so I can buy some new strings and an amp?	[Jim]
[Don Preston] Listen, I’ll take care of everything	[Don]

[Don Preston] You see, Countess, the problem is uh… it’s very hard to talk about but, the guys need equipment, you know, like, he needs batteries and uh… and… and uh… needs strings for his guitar, you know? And… And some of the electronic equipment needs boosting and uh… we have a good prog and everything, you know? I just wanted to find out if we could get any… awr… nng… gnn… Do you have a pencil and a paper? Uh-huh, thanks.	[Don]
[Francesca Fisher] Royalties?	[Francesca]
[Don Preston] GNG! MM nnnngrg GGL! Sorry, would you mind not using that word? It’s a…	[Don]
[Francesca Fisher] Who cares about royalties?	[Francesca]
[Don Preston] Grrah!	[Don]
[Francesca Fisher] Look, I’ve seen everybody around, the Beatles, the Rolling Stones, Arthur Brown, and his fire on his head. Oh, man, I’ve never got so hot as long… I’ve ever got so hot until I started to… to use the chicken head to measure it with it.	[Francesca]

[Guy from Alabama] We must say it in Alabama language, man, I can’t understand	[Typ aus Alabama]
[Another guy from Alabama] Playing that kind of music and eating meat, you’ll never…	[Anderer Typ aus Alabama]
[Aynsley Dunbar] I say… I say…	[Aynsley]
[Guy from Alabama] […]	[Typ aus Alabama]
[Aynsley Dunbar] I say, old boy, you speak English?	[Aynsley]
[Guy from Alabama] Hey man, you got any peas or beans or anything like that?	[Typ aus Alabama]

[Don Preston] You have to admit, this is different	[Don]
[Jim Sherwood] Oh, I hate… That’s a drum, that’s gotta be a drum	[Jim]
[Don Preston] I mean… I know what it’s like, to me the idea of being commercial is doing something different	[Don]
[Meredith Monk] Bet that one’s a heavy one	[Meredith]
[Carl Zappa] The way they feed…	[Carl]
[Don Preston] You know? Something people can… can…	[Don]
[Carl Zappa] WAH!	[Carl] WOW!
[Don Preston] It’s not the same old thing	[Don]
[Aynsley Dunbar] Hey, but that… that isn’t a…	[Aynsley]
[Meredith Monk] Have to practice…	[Meredith]
[Aynsley Dunbar] No!	[Aynsley] Nein!
[Carl Zappa] WAH!	[Carl] WOW!
[Don Preston] NO!	[Don] NEIN!
[Jim Sherwood] Look out!	[Jim] Beachtung!
[Ray Collins] Oh	[Ray] Oh
[Don Preston] That’s it, Ray	[Don]
[Jim Sherwood] Chicken’s in the…	[Jim]
[Don Preston] Now, use the chicken to measure it	[Don]
[Jim Sherwood] Chicken’s in the…	[Jim]
[Aynsley Dunbar] Biff, man, how does that fit into the part, though, heavy like that	[Aynsley]
[Meredith Monk] And where does that fit into that… my part there?	[Meredith]
[Don Preston] This is the music	[Don]
[Meredith Monk] Where? Where?	[Meredith]
[Don Preston] This, the whole thing is the music	[Don]
[Meredith Monk] Ah, but how does that one fit into all…	[Meredith]
[Aynsley Dunbar] But there’s no head, man	[Aynsley]
[Meredith Monk] But how does that fit into all that?	[Meredith]
[Aynsley Dunbar] Oh yeah, there’s…	[Aynsley]
[Ray Collins] Are you using a chicken to measure it?	[Ray]
[Meredith Monk] What’s the concept of this…	[Meredith]
[Jim Sherwood] There’s no way we can play it	[Jim]
[Meredith Monk] What’s the concept of this number?	[Meredith]
[Don Preston] Look, look…	[Don]
[Jim Sherwood] Not by tonight, man! It can’t be done.	[Jim]
[Aynsley Dunbar] Let me… Anyway, man, I’m going out tonight, you know, I’ve got a few chicks to meet	[Aynsley]
[Jim Sherwood] I’m going to hear the Fudge	[Jim]
[Don Preston] You guys, if you wanna make a hit single and I mean, a hit single…	[Don]
[Aynsley Dunbar] Yeah, but what I’m saying is, how would you pay me? I just wanna know.	[Aynsley]
[Don Preston] Well, you’ll get royalties	[Don]
[Jim Sherwood] You gotta get some royalties, man!	[Jim]
[Aynsley Dunbar] Royalties?	[Aynsley]
[Don Preston] Listen, you can’t…	[Don]
[Ray Collins] A monster!	[Ray]
[Phyllis Smith] I’m wet… hamburger…	[Phyllis]
[Meredith Monk] This is turning too confusing, I just can’t understand what all this is about, it’s so confusing!	[Meredith]
[Phyllis Smith] My monster!	[Phyllis]
[Don Preston] WARRRGH!	[Don] ARGH!
[Phyllis Smith] My monster! I’m ready! I got the pants, I got the shirt, I got the belt with the little yellow holes!	[Phyllis]

[Phyllis Smith] I can’t get enough of that stuff, mmm!	[Phyllis]
[FZ] We’re coming to the beginning of a new era at the motel	[FZ]
[Phyllis Smith] Look at this over there, look… mmm mm	[Phyllis]
[Don Preston] We’re coming to the beginning of a new era at the motel, we have been working secretly…	[Don]
[Phyllis Smith] Obviously still… still the best	[Phyllis]
[Don Preston] On a new composition in the back room…	[Don]
[Phyllis Smith] I love when he always did that…	[Phyllis]
[Don Preston] In our secret chambers	[Don]
[Phyllis Smith] Then changed into… I remember that…	[Phyllis]
[Don Preston] ‘Cause everything is secret	[Don]
[Phyllis Smith] For twelve year he’s still working on the same song, I don’t know what I’m gonna do	[Phyllis]
[Don Preston] We’re trying to get the secret karma change for the whole world	[Don]
[Phyllis Smith] Still kinda get that “The bun” thing. I gotta stop this, it’s not good anymore.	[Phyllis]
[Don Preston] You see, like this whole karma thing, it’s really what’s causing all the problems	[Don]
[Phyllis Smith] Because after all we’ve got kids now	[Phyllis]
[Don Preston] So we have to get a composition	[Don]
[Phyllis Smith] And we can’t… he can’t do this anymore, it’s another whole life	[Phyllis]
[Don Preston] And, I’m sure that it’s going to be a hit single	[Don]
[Phyllis Smith] But, I can’t help it, I mean he’s irresistible. The guy is irresistible.	[Phyllis]
[Don Preston] Because everyone is going out and buying our new hit single, for this group that uh…	[Don]
[Phyllis Smith] Look at that face, over there	[Phyllis]
[FZ] You remember our other single “The bun”?	[FZ]
[Don Preston] Yeah, you rem—	[Don]
[Phyllis Smith] Look at that, right that, right there… mmm	[Phyllis]
[Don Preston] Our other single, “The bun”? See, this… this was our last composition.	[Don]
[Phyllis Smith] Oh God! Oh, I remember that too… yeah.	[Phyllis]
[Don Preston] And uh… it was pretty hard to play because uh…	[Don]
[Phyllis Smith] Look at this, when he did that at the fair…	[Phyllis]
[Don Preston] Some of the members of the group couldn’t read music, you see?	[Don]
[Phyllis Smith] No… it’s better, I’ll tell you something…	[Phyllis]
[Don Preston] But we got it all straightened out	[Don]
[Phyllis Smith] I don’t know, I have to think about this, ‘cause I gotta tell him. Ah! I’ll go back! I can’t be bother ‘cause my mind it’s too… it’s too crazy, it’s going… it’s driving me nuts already, I have to think about work, I have to think about him, I have to think about…	[Phyllis]

[Bill Nugent] Maybe I oughta face it, after twelve years “The bun” just isn’t a hit. Maybe I’m approaching it wrong. Look at him, a musician, a natural musician. His mother said he was a serious little boy. Liked to pull down the shades before helping her with the dishes.	[Bill]

[Massimo Bassoli] And that’s why it didn’t sell. Look at this…	[Massimo]

[Phyllis Smith] Oh, look at that! I remember… Let me stop that and see how the foam was coming out of his mouth, and the way the lips, the lips, so beautiful and the hamburger…	[Phyllis]

[Massimo Bassoli] Try to do something like that	[Massimo]
[Bill Nugent] Like that?	[Bill]
[Massimo Bassoli] Maledetto figlio di puttana	[Massimo]
[FZ] He’s on television set	[FZ]
[Massimo Bassoli] E non cagarmi il cazzo	[Massimo]
[Bill Nugent] A non cacarmil catzo	[Bill]
[Massimo Bassoli] ‘Cause I have a big bunch of minchia!	[Massimo]
[Bill Nugent] A big bunch of minchia!	[Bill]
[Phyllis Smith] It’s great you’re learning Italian, I love… that’s what I want! More, a little culture, it’s enough already with “The bun”!	[Phyllis]
[Bill Nugent] I had… I had to change it. It wasn’t right.	[Bill]
[Massimo Bassoli] These fucking things didn’t work, I don’t know why. Maybe… Can you see all these little points, white points, on these fucking things? You have to know that…	[Massimo]
[Bill Nugent] Can you see?	[Bill]
[Massimo Bassoli] … all this stuff…	[Massimo]
[Bill Nugent] Everybody’s using the chicken to measure it with nowadays, even my kids!	[Bill]
[Massimo Bassoli] … come from my nose, and maybe people didn’t like it…	[Massimo]
[Bill Nugent] No more the sock…	[Bill]
[Massimo Bassoli] … and I just don’t know why…	[Massimo]
[Bill Nugent] … but “The bun”, the placement of “The bun”. It has seeds. It’s different.	[Bill]
[Massimo Bassoli] … I just can’t imagine why they didn’t like these balls that come from my nose, you know? This way, tshh! And I spent a lot of years of my life to do something like that, these fucking things, and it didn’t work. What can I say?	[Massimo]

[Guy from Alabama] Far fucking out! Far fucking out!	[Typ aus Alabama]

[Linda Ronstadt] Hee hee hee hee	[Linda Ronstadt] Heh heh heh
[Rodney Bingenheimer] Ah! I can dig it!	[Rodney Bingenheimer]

[Guy from Alabama] DONG! DONG! I mean dong, that’s what your minchia is!	[Typ aus Alabama]
[Aynsley Dunbar] Your which?	[Aynsley]
[Guy from Alabama] A minchia!	[Typ aus Alabama]
[Aynsley Dunbar] You mean your dick?	[Aynsley]
[Guy from Alabama] You put your minchia in the stinky-a	[Typ aus Alabama]

[Massimo Bassoli] And you know why? ‘Cause I have a big bunch of dick!	[Massimo]
Tengo una minchia tanta	Hab’ so ‘nen großen Schwanz
And this part of the lesson, I’m sorry, but you can’t learn, ‘cause Mother Nature didn’t make you Italian

2. Tengo na minchia tanta [CD bonus track]

2. Hab’ so ‘nen großen Schwanz

[Massimo Bassoli] Ah, tengo ‘na minchia tanta	[Massimo] Ah, hab’ so ‘nen großen Schwanz
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Devi usare un pollo	Du musst ein Huhn verwenden
Devi usare un pollo	Du musst ein Huhn verwenden
Se me la vuoi tastar	Wenn du ihn befummeln willst

Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Devi usare un pollo	Du musst ein Huhn verwenden
Se me la vuoi misurar	Wenn du ihn messen willst
Devi usare un pollo	Du musst ein Huhn verwenden
Se me la vuoi tastar	Wenn du ihn befummeln willst

Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Guarda che se la mangia	Sieh mal, wie sie ihn isst
E mentre se la sta a pappa’	Und während sie ihn verdrückt
Chiedimi che cosa fa	Frag mich, was sie tut
Se la sta a succhia’	Sie saugt ihn

Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia…	Hab’ ‘nen Schwanz…
Devi usare un pollo	Du musst ein Huhn verwenden
Devi usare… se la vuoi misurar	Du musst… wenn du ihn messen willst
Devi usare un pollo	Du musst ein Huhn verwenden
Se me la vuoi tastar	Wenn du ihn befummeln willst

Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
[Phyllis Smith] That Tishman…	[Phyllis] Dieser Tishman…
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
[Phyllis Smith] Till this day I don’t know what he’s talking about!	[Phyllis]
Tengo ‘na minchia da tastar	Hab’ ‘nen Schwanz zu befummeln
Mmmmm	Mhm
Come on, baby	Komm schon, Baby
Come on, baby, suck my fire!	Komm schon, Baby, sauge mein Feuer!
Oh yeah!	Oh ja!

Guarda che se la mangia	Sieh mal, wie sie ihn isst
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Guarda che se la mangia	Sieh mal, wie sie ihn isst
Mentre se la sta a pappa’	Während sie ihn verdrückt
Chiedimi che cosa fa	Frag mich, was sie tut
Ma è chiaro! Se la sta a succhia’!	Aber es ist klar! Sie saugt ihn!

Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Guarda che se la mangia	Sieh mal, wie sie ihn isst
Guarda che se la mangia e se la sta a succhia’	Sieh mal, wie sie ihn isst und saugt
Darling	Schatz
Darling	Schatz
Darling	Schatz
Look at your sister	Schau dir deine Schwester an
Do something like that, thanks	Du musst’s ihr gleichtun

Devi usare un pollo	Du musst ein Huhn verwenden
Devi usarlo per misurar	Du musst’s zum Messen verwenden
[Phyllis Smith] Frank!	[Phyllis] Frank!
[Aynsley Dunbar] This is the Mothers of Invention movie!	[Aynsley] Das ist der Mothers of Invention-Film!
[Phyllis Smith] But…	[Phyllis] Aber…
Così me la potrai succhiar	Damit du ihn an mir saugen kannst
You both suck in stereo	Ihr zwei, saugt in Stereo
Jesus!	Jesus!

Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia accussì	Hab’ so ‘nen Schwanz
Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz
Tengo ‘na minchia…	Hab’ ‘nen Schwanz…

Tengo ‘na minchia tanta	Hab’ so ‘nen großen Schwanz

3. Uncle Meat film excerpt - Part 2 [CD bonus track]

3. Auszug aus dem Film „Onkel Fleisch“ - Zweite Teil

[Phyllis Smith] I used to watch him eat, and while he was eating I would talk to him, and while he was eating I would ask him what he was doing, and all he would say was: “I’m using the chicken to measure it”. Till this day I still don’t know what he was talking about! That Minnesota Tishman, he was some guy, but I still never understood what he meant. The chicken to measure it, I don’t know, probably some secret thing.	[Phyllis]

[Phyllis Smith] “I’m getting hot. You’re really good at those dials, baby. You’re the most manipulating person I’ve ever seen. What’s he eating? Is he turning into a monster? Frank: but you’re just making things out of it. Don: put it in your mouth then your eyes. Frank: you’re getting hot, come on! The last that…”. I don’t like this page, it’s not so funny.	[Phyllis]
[FZ] What’s the difference?	[FZ]
[Phyllis Smith] I don’t like this page, it’s not so funny. “Oh, this gets me hot! Oh, this gets me hot!” Well, get hot, I can’t get hot over this! Get hot over the hamburger, I can’t get it! “You’re getting hot, oh, am I hot over this hamburger! Think am I hot, for a hundred dollars you’re getting hot, oh, am I hot, I’m so hot, I’m so hot from this hamburger, I’m hot”	[Phyllis]

[Phyllis Smith] Well, I’ll just continue on with my work, I can’t be thinking about such things, gets me too confused. I think I need a shower, I’m tired, I’m hot, the room air-conditioning is not working. If you don’t pay the bills, how does the air-conditioning gonna work? I’m going.	[Phyllis]

[Massimo Bassoli] And now, dear friends, we are going to translate: “This is my left hand”	[Massimo]

[Phyllis Smith] This is…	[Phyllis]
[Meredith Monk] Violence!	[Meredith]
[Bill Nugent] This is my left hand, non?	[Bill]
[Meredith Monk] Violence! Ooh, I just… ooh!	[Meredith]
[Guy from Alabama] You have an orgasm?	[Typ aus Alabama]
[Aynsley Dunbar] No, but it just feels good!	[Aynsley]
[Guy from Alabama] Can I watch?	[Typ aus Alabama]
[Don Preston] That’s what we need, progress!	[Don]
[Aynsley Dunbar] Actually I think that’s uh… that’s cool	[Aynsley]
[Guy from Alabama] Get the girl here in the red […]	[Typ aus Alabama]
[Aynsley Dunbar] Yeah	[Aynsley] Ja

[Massimo Bassoli] Repeat after me:	[Massimo]
“Questa è la mia mano destra”
[Bill Nugent] “Questa è mia mano destra”	[Bill]
[Don Preston] Progress!	[Don]
[Phyllis Smith] Where’s the prostate gland?	[Phyllis]
[Massimo Bassoli] Look out!	[Massimo] Beachtung!
[Don Preston] Progress is our most important product	[Don]
[Massimo Bassoli] Guardalo che mangia! E mentre sta mangiando, parlami mentre mangia, e chiedimi cosa sta facendo.	[Massimo]
[Bill Nugent] Parle mi	[Bill]
[Massimo Bassoli] Che cosa sta facendo? Sta mangiando. Adesso chiedimi cosa sta facendo. Sta mangiando.	[Massimo]
[Bill Nugent] Guarda sta facendo!	[Bill]
[Massimo Bassoli] Ma non lo posso fare	[Massimo]
[Bill Nugent] Sta mangiando!	[Bill]
[Massimo Bassoli] Me ne devo andare	[Massimo]
[Bill Nugent] Me ne debo andare	[Bill]
[Massimo Bassoli] Devo tornare	[Massimo]
[Bill Nugent] Dere tocnare	[Bill]
[Massimo Bassoli] Era un senatore a trentasette anni	[Massimo]
[Bill Nugent] Era un senatore de setreste año	[Bill]

[Guy from Alabama] What type of band do you play in?	[Typ aus Alabama]
[Aynsley Dunbar] I play in a blues band	[Aynsley]
[Guy from Alabama] Blues band, so do I!	[Typ aus Alabama]
[Aynsley Dunbar] Blues	[Aynsley]
[Guy from Alabama] Blues!	[Typ aus Alabama]
[Aynsley Dunbar] Blues avant-garde though, you know?	[Aynsley]
[Guy from Alabama] Yeah, I know what you mean	[Typ aus Alabama]

[Massimo Bassoli] And this is my last single	[Massimo]

[Phyllis Smith] Oh, what is he doing? You still carrying on with that song? It’s the same thing? I can’t… I can’t do it anymore. I’m making this louder so I don’t have to hear about him. Forget the past!	[Phyllis]
[Don Preston] I’m sure that it’s going to be a hit single	[Don]
[Phyllis Smith] We’re coming to the beginning of a new era, wherein the development of the inner self… but you, what do you do? You watch television and you play with “The bun”, driving me crazy. Leave me alone.	[Phyllis]
[Bill Nugent] But this is twelve years later	[Bill]
[Phyllis Smith] I know	[Phyllis] Ich weiß
[Bill Nugent] Have a new “Bun”	[Bill]
[Phyllis Smith] I know	[Phyllis] Ich weiß
[Bill Nugent] A better “Bun”	[Bill]
[Phyllis Smith] What kind of new “Bun”? You…	[Phyllis]
[Bill Nugent] A brown “Bun”	[Bill]
[Phyllis Smith] Every year you tell me it’s a new “Bun”, I’m tired of this. I’m gonna… I’m gonna give it all up, I’m gonna go back to New York, I’ve had it with you already. Finish! I can’t. No, no, no, no. Go! Can you show me?	[Phyllis]

[FZ] I wanna do another take of the same situation from the other side	[FZ]
[Carl Zappa] Let me go on the other side	[Carl]
[FZ] And Mr. Tishman, it’s… you’ve gotta find…	[FZ]
[Phyllis Smith] When I remember this…	[Phyllis]
[FZ] Yeah	[FZ] Ja
[Carl Zappa] Let me just see uh… “Bun”	[Carl]
[FZ] Minnesota Tishman	[FZ]
[Phyllis Smith] Right here	[Phyllis]
[Carl Zappa] Uh… Give me the… Give me first…	[Carl]
[Phyllis Smith] I remember that guy	[Phyllis]
[FZ] Isn’t he handsome?	[FZ]
[Phyllis Smith] Yeah	[Phyllis] Ja
[FZ] He was using the chicken to measure it	[FZ]
[Haskell Wexler] Can I stop now, Frank?	[Haskell]
[FZ] Sure	[FZ] Na klar
[Haskell Wexler] OK, cut the cam	[Haskell]

4. King Kong itself (as played by the Mothers in a studio)

4. King Kong selbst (wie gespielt von den Mothers im Studio)

[Instrumental]

5. King Kong (its magnificence as interpreted by Dom DeWild)

5. King Kong (in seiner Pracht wie gespielt von Dom DeWild (Don Preston))

[Instrumental]

6. King Kong (as Motorhead explains it)

6. King Kong (wie von Motorhead erklärt)

[Instrumental]

7. King Kong (the Gardner Varieties)

7. King Kong (die Varianten von Bunk Gardner)

[Instrumental]

8. King Kong (as played by 3 deranged Good Humor Trucks)

8. King Kong (wie gespielt von 3 verrückten gut gelaunten Trucks)

[Instrumental]

9. King Kong (live on a flat bed diesel in the middle of a race track at a Miami Pop Festival… the Underwood ramifications)

9. King Kong (live auf der Ladefläche eines Diesel-Trucks mitten auf einer Rennstrecke bei einem Pop-Festival in Miami… die Verzweigungen von Ian Underwood)

[Instrumental]

Songtexte in englischer Sprache aus der Webseite Information Is Not Knowledge.

Erste Übersetzungen von Carl Weissner