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Applications Engagingbaresingers Fa Category Ilustracoes Eroticas Themes Cascade Images Daphene Rosen Anal Joe My Love Lyrics Engaging Bare Singers 1973-07 The Zappa Interview

Applications Engagingbaresingers Fa Category Ilustracoes Eroticas Themes Cascade Images Daphene Rosen Anal Joe My Love Lyrics Engaging Bare Singers

I'd got tired of trying to sing and started playing instead. Then we got Mark and Howard in the group to sing – they sounded fine but as the tour's progressed they started screaming their lungs out and Mark's voice blew out completely. The reason they were screaming their lungs out wasn't because that was the way I was writing the material for them. I could've have written them anything and it still would have happened because they didn't, Mark especially, look after their health. So I was becoming a little dissatisfied. I was writing a part that wasn't getting sung in tune on stage, but in terms of what they did on stage, they were very spectacular. They jumped around a lot and when you consider that an audience goes to a concert more to be entertained than anything else, they were the ideal thing.

"The Fillmore" is actually based on incidents that happened to the people in the band. I didn't invent those situations, they really happened. "Magdalena" is not a true story but it could have happened.

Ian: With the vaudeville part coming more into pop music today, what are your views on such artists?

Zappa: I think it's nice that there are groups playing that sort of stuff for people who want to see it and hear it. We're not doing it. There are three pieces that we do that involve some sort of choreography and that's pretty limited.

Ian: Do you think a lot of groups and artists have followed suit from the Mothers?

Frank: Well if they're going about weird activities on stage they have, yeah, because we did all that stuff a long time ago. We stopped doing it a long time ago.

David: Do you think you followed the Fugs though?

Zappa: No. We had no knowledge of the Fugs when we started. We didn't see them till we moved to New York.

David: Do you think way you're like Roger McGuinn – there was a band called the original Mothers for which you got the right of title and you've called your band the Mothers ever since.

Frank: I have a perfect right to call every one of those bands the Mothers for this reason – what they're playing is Mothers' music and Mothers' music can only be played by people who have stayed together long enough to be able to express it as a group. If I write a piece and hand it to an orchestra it's not Mothers music. Or if I write a piece and hand it to a group of studio musicians I'll get perhaps a note accurate performance. But it won't be Mothers' music unless I get an individual sum-total craziness of everyone in the group, and you can't extract that unless the group has worked together for a long time, has been together on the road and has had a chance for all the personalities of the people in the group to blend to a point where they can feel comfortable being weird in a performance situation.

David: But does that apply to the Grand Wazoo album? Wasn't that a studio group?

Zappa: Well, to this extent. Two tracks were using 17 pieces but the basic rhythm section that was being used were all guys who had been in the Mothers before.

Ian: With the changes in line-up, it must take a fair amount of time and difficulties for a new member to adapt

Zappa: It takes anything from three to six months. It just depends on how hard you're working during that initial period when the group is formed before you can actually see that the people in the band know what they're doing or know what it is that's expected of them when they get out on stage. The first step is that the material is presented to them and they have to learn how to play it, then they have to memorise it, then they have to go out there and play it till they're comfortable with it. Then when they know it we can start taking it apart and twisting it around and putting personality into it, and it takes, depending on how hard the stuff is, an increasing amount of time.

Ian: And what about in the studio when you're putting down a record?

Zappa: Well, there's various procedures that I've used in recording albums and the new album which is out in the States in about four weeks is done in layers. Did the rhythm section – brought them in – most of the material they'd already played on stage – so I put the finishing touches on it as we "layered down". Certain things that are good for performance on stage were omitted on record because they didn't add anything to the event on record and certain things that would be impractical on stage were included to add interest to the record. After the rhythm section was down the vocals went on. And after the vocals we put on the horns, then the guitar solos. It went on in layers like that. I think it added to about two or three hundred hours onto this album.

Jenny: Would you say that your music is more a reflection of what's going on around you or what's going on inside you?

Zappa: Well I don't think anyone's really interested in what's going on inside me so much as hearing something on a record or at a concert that corroborates their viewpoint or gives them a chance to agree or disagree with what's been put forth. I think the basic purpose of what I do in terms of the text of the stuff is more like reportage. I see certain things happen to me or around me.

Jenny: Do you ever censor yourself?

Zappa: Sure. That's even more necessary now with the new Supreme Court Ruling in the United States so now it's up to the individual communities to decide and use their own discretion as to what is and what isn't obscene. The difference from community to community in the U.S. and the extent to which you can be prosecuted is pretty frightening. I mean, you get one guy or District Attorney or policeman in one small town that you go to or send a record to and he's going to go "Aha, I'll get my name in the papers with this."

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