AJFOne’s Customs 6/3 – Broken links????
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You can blame a 6 hour podcast where the host goes through all 60 plus albums released in his lifetime for rekindling my enthusiasm
” src=”/wp-content/uploads/invision_emoticons/default_SA_biggrin.gif” />Can you share the name of the podcast. Thanks.
Can you share the name of the podcast. Thanks.
https://consequenceofsound.net/2018/04/discography-frank-zappa-episode-1-freak-out-to-fillmore-east/
LATEST UPDATE 6/22 – Frank Friday’s – Zoot Allures, Inca Roads FIX
ALL INSTRUMENTS: nsw1-6
Audio Source Lineage: 1976 Analog Master -> 2012 Bob Ludwig Remaster -> UMe CD -> WAV -> Audacity (for EQ and Normalizing) -> WAVAdditional Notes: And here we have one of the final missing “signature tunes” of Zappa’s personal discretion, one of his many solo vehicles performed live. First introduced as a set of chords in some late ’74 Mothers performances, Zappa tweezed the composition and fleshed it out by late ’75, recording it in the studio for the “Night of the Iron Sausage” double LP (later spliced down to what was later known as Zoot Allures). He then immediately put it on the backbruner, rarely touching it live until the 1981-82 tours, where he resurrected it as a standard until 1984, where only on the Last Tour were there some sporadic performances, the last known being June 7th 1988.GUITAR/BASS: nsw1-6
5 LANE KEYS: Bansheeflyer
UPDATE 6/22: Fixed guitar, drums, and outro vocals phrasing error.
“Inca Roads” is one of Frank Zappa’s most cherished, covered, and appreciated pieces. It allied his ability to write a catchy song with his mastery of complex music forms, making it a favorite among progressive rock fans (who are not always kind for the man’s music) and virtuoso ensembles. The lyrics begin on a UFO theme: “Did a vehicle/Come from somewhere out there/Just to land in the Andes?,” referring to South American architectural structures some believed were landing sites for flying saucers. But quickly the song takes a dive into “life on the road.” The word “vehicle” is replaced by “booger-bear,” a title given to the band member who ended up with the ugliest groupie the previous night (which makes it the contrary of “Bwana Dik”). The name of drummer Chester Thompson comes up in regards to that, as it will again under similar circumstances in “Florentine Pogen.” The song ends with a tutti “On Ruth!,” a wink at percussionist Ruth Underwood’s amazing marimba fireworks in the finale.LATEST UPDATE 6/29 – Frank Friday’s – More Trouble Every Day
GUITAR: ghostbyob
BASS: nsw1-6
VOCALS: EchoOfMystery
“Trouble Every Day” became the most enduring song from the Mothers of Invention’s first LP, Freak Out. It was written as a straightforward rock song, its message being more important at first than its musical value. Zappa wrote it following racial riots. It is a charge against racism, mob violence, and the way the media treat this type of “news.” Musically speaking, the song was in straight 4/4 and alternated between verses and short guitar solos. It is one of the rare songs on which Zappa assumed lead vocals in the Mothers’ early days. By 1974, the song had undergone a transformation: it had been slowed down and given a slightly bluesy feel. A horn section hook had been added and a few verses eliminated to make way for an extended guitar solo. It appeared in this form under the title “More Trouble Every Day.” This is the version presented to you here.
LATEST UPDATE 7/6 – Frank Friday’s – Eat that Question
GUITAR/BASS: nsw1-6
“Eat That Question” was written for the 1972 LP The Grand Wazoo. It is a rather basic jam piece in the form of head-solo-solo-head, with an introduction on electric piano by George Duke. The main theme (or head) is in the bass register, a heavy-driving motif. On the studio version, Duke plays a mean solo, followed by an average guitar solo by Zappa. The theme comes back embellished by multi-tracked trumpet cues from Sal Marquez backed by marching drums, suddenly turning the tune into a victory parade, which would fit the loose concept of the album, the story printed on its sleeve, and the title of the piece.LATEST UPDATE 7/12 – The Guess Who – Hang on to Your Life
GUITAR: ghostbyob
VOCALS: EchoOfMystery
“Hang on to Your Life” is riff driven with frantic vocals during the rock-oriented verses while the chorus leans back slightly towards pop. An extended outro has guitar leads over the chorus hook before it breaks down in feedback. It reached #5 in Canada and #43 on the Billboard Hot 100 in 1971.
LATEST UPDATE 7/13 – Frank Friday’s – Dinah-Moe Humm
GUITAR/BASS: ejthedj
VOCALS: EchoOfMystery
“Dinah-Moe Humm” is a song with the most explicit sexual references on a Zappa album to date. The title is a play on the female name Dinah and the humming (like a dynamo) and moaning she does while having sex. Written a few years before the cynical disco attempt “Dancing Fool,” this song is Frank Zappa’s answer to Isaac Hayes’ “Theme From Shaft.” The middle section is packed with horn-like female chorus lines, wah-wah rhythm guitar, slurry bass, and dancing drums. Dinah-Moe Humm offers the singer/narrator (Zappa himself, as on most of the album’s tracks) 40 dollars if he can get her to orgasm. He gets to work, to no result, until he notices Dinah’s sister watching them. He makes love to her and that gets Dinah’s motor going. He’ll finally push her to cloud nine by using “a pair of zircon-encrusted tweezers.” The same tweezers appear in the next song on the album, “Montana.”LATEST UPDATE 7/14 – Soundgarden – New Damage
GUITAR: naginalJJ/Bansheeflyer
“New Damage” is a dramatic guitar and vocal-centered screed which leaves the album with an ominous message for the listener.
LATEST UPDATE 7/16 – Mastodon Monday – Leviathan 2 pack
GUITAR: ZSonicMaster
VOCALS/BASS: PhantomBlade8
“Naked Burn” is one of the more beautiful pieces of Leviathan, a shifting, swaying exercise in orchestration and intelligible vox within a metal format.
GUITAR/BASS: PhantomBlade8
Leviathan’s final track, “Joseph Merrick,” concludes not with bombastic drumming or shrieking vocals, but with a quiet, duet of guitars. As the full band joins in, a watery solo takes precedence, backed by the faint chords from a pipe organ. It’s a conclusion that mirrors its literary inspiration’s ending scenes: adrift on the waves, trying to comprehend the beautiful and terrible monstrosity just witnessed. The real Joseph Merrick, better known as “The Elephant Man,” was a soul afflicted by horrific deformity and pain, subject to the harsh scrutiny of the public’s eye. In many ways, Leviathan’s last song is a perfect finishing statement to both Mastodon’s second album, and the band itself. There’s a harshness to the music that is both repellant and irresistible, and has since generated a surprising amount of debate, analysis, and, most recently, vitriol. But it’s easy to forget the underlying humanity in the music, and how that humanity managed to influence over 10 years’ worth of new, badass rock ’n’ roll.
Thanks to Chase for the preview videos for some older releases
” src=”/wp-content/uploads/invision_emoticons/default_SA_smile.gif” />Oh wow, that second video brings back memories from the glorious Apocalyptic April. What a blast that was, best April ever!
LATEST UPDATE 7/19 – The Guess Who – Moan for You Joe
GUITAR: ghostbyob
BASS: bsbloom
VOCALS: EchoOfMystery
“Moan for You Joe” is a jazzy tune with odd timings and a an exceptional overall drumming performance by Peterson along fine guitar and piano work, especially an extended lead by Cummings.
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