F.Z. Let's look at it from the standpoint of logic. There is a way unless you're dead, and even they there is still a question, that you're not going to offend somebody. There's always someone that's going to get offended over something that somebody does.

That's human nature. Just sitting still you can offend people, so why worry about it? You can't win. I was never meant to be a man for all seasons. Am I here to entertain everybody? No, just the ones who like what I do. The ones who don't like it, like somebody else. (read more)

Source: zappateers

FZ: By the way, I really enjoyed the review that you did of the albums in Guitar World.

GW: Oh, thanks. I really loved the records.

FZ: I am glad I did them. I mean, I have been waiting to do it for a long time. And a lot of people thought I was crazy for spending the time to do it. But, right now that group of albums is selling better than You are What You Is and Tinsel Town Rebellion. We went into a profit position after two weeks on the market. (read more)

Source: zappateers

Our purpose was to plan the Guitar World According To Frank Zappa tape – a 34-minute collection of rare Zappa solos on a special GW audio cassette which this magazine will make available in the spring – and to talk about guitar stuff. (read more)

Source: Fulvio Fiore

Source: zappateers

Excerpts from Guitar World, March 1982 interview.

Source: yetanother @ zappateers

Source: Fulvio Fiore

As Guitar World hits the big Three-Oh!, we take a look at the people, music, gear and trends that have shaped the past decades of our ax-wielding universe.

Source: slime.oofytv.set

The cover story "30 Coolest Guitarists Of All Time" includes Frank Zappa (page 162) and Johnny "Guitar" Watson (p 163). One part of the cover story is "10 Coolest Guitar Instrumentals" which includes "Black Napkins" (p 48). 

Source: Vitaly Zaremba

Can you describe your audition for Frank Zappa? I hear it’s kind of a funny story. —Tommy Moore
I flew out to Frank’s house—my first time on a plane. That’s how green I was. They picked me up and took me to his house in the basement, which would turn into his studio over the years. It was just a big empty room. Frank’s sitting behind a console, he’s got a cigarette in his mouth, of course, and there’s a microphone in the middle of the room. Unfortunately, there were people moving things all over; here goes a piano in front of you, they’re setting up something over there and so on. It was very distracting. Frank gave me a long list of songs. I had to borrow the albums from friends because I was so poor.

We started, and he’d say, “Okay, let’s try ‘Andy,’ ” and I’d play it for a minute or two and sing some things, and then he’d stop me, take another puff and say, “Okay, try ‘Wind Up Workin’ in a Gas Station.’ I was fumbling and really being distracted by all the stuff going on. I had nowhere to go, so they were gonna take me back to the airport and fly me back home, so I just watched everyone else’s terrifying auditions. I watched keyboard players and percussionists and thought, “Oh my god, these guys are so great, I don’t know how I’ll ever be in this band.”

There was a moment at the end of the day, though, where it was just Frank and I standing there, and I said, “I’m sorry, I really thought I could do this, and I thought it would be different.” He said, “What do you mean?” I said, “I thought it would just be you and me somewhere quiet where I could show you that I could do this.” So we went up to his living room and sat on his purple couch, I took my little Pignose amp and stuffed it between the pillows so I could turn it up as loud as I could, and we started over. We got about a third of the way through and Frank was starting to sing along with me. Finally he put his hand out, shook my hand and said, “You’ve got the job.” Changed my life, that handshake did.