Mojo is a popular music magazine published monthly. Following the success of the magazine Q, publishers EMAP were looking for a title which would cater for the burgeoning interest in classic rock music. Mojo was first published in October 1993 and in keeping with its aesthetic had Bob Dylan and John Lennon as its first cover stars. Noted for its in-depth coverage of both popular and cult acts it acted as the inspiration for Blender and Uncut. Many noted music critics have written for it including Charles Shaar Murray, Greil Marcus, Simon Reynolds and Jon Savage. (wikipedia)
See also Mojo Collections and Mojo Specials.

1993 December

No. 2


Dropout Boogie
By Miles, p 89

When Captain Beefheart recorded his vocal for Zappas Willie The Pimp at the Hot Rats sessions, Miles was there. (read more)

Source: Fulvio Fiore


1994 January/February

No. 3


Frank Zappa/Ensemble Modern "The Yellow Shark"
By AM, p 120

 HAVING, IT SEEMS, PLAYED HIS last guitar solo, Frank Zappa has retuned to his initial goal: making his mark as a classical composer. After lacklustre LSO sessions and stiffnecked renditions by Pierre Boulez, he has now found musicians who sound like they were born to tackle his complex, modernistic miniatures with fluency and finesse. (read more)

Source: Fulvio Fiore


1994 March

No. 4


The Last Days Of Frank Zappa
By Ben Watson, pp 72-76

Dr. Zircon's Secret Lab

By Miles, pp 78-88

The Antichrist

By Dave Rimmer, pp 90-93

The Grand Wazoo

Cal Schenkel interview by Miles, pp 93-95

The Addams Family

Mark Volman, Elliott Ingber, Arthur Barrow, Essra Mohawk, Ian Underwood, Art Tripp interviews by Dave Dimartino, pp 96-98

The Last Days Of Frank Zappa:

It’s rare that any musicians who’ve worked with you do any better when they’re out on their own. If your musicians solo they do so at the peek of their intensity - how do you stop them coasting? Is it a matter of giving them instructions, or just the challenge of the musical environment they’re given?

I don’t understand the question.

Your musicians always play – it seems to me – at the peak of what they’re capable of doing. One of the things I really like about your records is that if there’s a solo people don’t noodle, they don’t coast – they really play hard.


Is that because of whet you tell them before they play? Or is it simply the challenge of the music?

The reason is that I tell them before they ploy and because all the live stuff is edited, so l look for the best work that each musician can do, It’s not just a matter of cloying something together, I try and make the performance of each tune exemplary in some way. So I’m not just optimising what I write, I’m optimising what they improvise. (read more)

Source: zappateers


1994 August

No. 9


Frankologically Zappatistical
By Andy Gill, 1 p

Review of The Negative Dialectics Of Poodle Play by Ben Watson.

Source: Fulvio Fiore


1995 July

No. 20


A scabrous disembowelling of the hippy dream (Review of 6 albums)
By John Bungey, p 102

Full-page drawing on page 103 is by Knopov.


1995 August

No. 21


 The 100 Greatest Albums Ever Made ... And How They Happened
pp 50-88

Some albums in this list:

  • #89 Hot Rats, p 55
  • #64 Clear Spot, p 64
  • #55 We're Only In It For The Money, pp 66-67
  • #28 Trout Mask Replica, p 76

And of course the cover featuring among other musicians Frank Zappa, Captain Beefheart and Zoot Horn Rollo.


1996 March

No. 28


Only In It For The Funnies (The Lost Episodes review)
By Dave Rimmer, p 89


1996 June

No. 31


Frank Zappa (Greatest Guitarists Of All Time #28)
By Neil Slaven, 1 p

Source: Fulvio Fiore


1996 November

No. 36


No Zappa content inside


1996 December

No. 37

Zappa - Electric Don Quixote
By Harry Shapiro, p 137

Review of Electric Don Quixote by Neil Slaven. Plus some Zappa-related snippets on pages 40 and 60.


1997 January

No. 38

Frank Zappa Plays The Music Of Frank Zappa
By Neil Slaven, p 93

  AFTER THE ONSLAUGHT of Rykodisc’s complete remastered Zappa catalogue comes a mail order item “for all of Frank’s fans”, compiled by his son Dweezil. Six of its seven tracks consist of previously unissued live performances and the studio versions ofwhat Frank regarded as his “signature pieces” – those that best displayed his abilities as guitarist and composer. They are: Black Napkins, Zoot Allures and the majestic Watermelon In Easter Hay. Live versions predating their studio realisation have been deliberately chosen to show the creative distance each travelled before achieving Frank‘s approval. The ‘bonus track’, Merely A Blues In A, is a concert encore that repays a debt to Johnny ‘Guitar’ Watson.

Source: Fulvio Fiore


1997 June

No. 43

No Commercial Potential: The Saga Of Frank Zappa 
By Ben Edmonds, 1 p

Review of No Commercial Potential by David Walley.



1998 December

No. 61


"I was a teenage MOOSE freak!"
By Rob Chapman, pp 56-59

In November 1967, a bunch of freaks purchased KPPC in Pasadena from the Presbyterian Church. The station itself was situated underneath the church. On Thursday November 27, 1968, two days before Thanksgiving weekend, Frank dropped by to talk about his forthcoming Ruben and The Jets album, play some old records, send up the station's ads and generally have a ball with DJ Les Carter, host of KPPC's 5-8 pm slot. (read more)

Source: slime.oofytv.set


2003 January

No. 110


Through The Keyhole
By Jack Boulware, pp 24-25

It’s 1968, at the Laurel Canyon Country Store in the Hollywood hills. Drummer Ansley Dunbar meets a 15-year-old hippie chick named Pattie and asks if she wants to go to a party at Frank Zappa's house. (read more)


2003 November

No. 120


The Mojo Hall Of Fame 100
#30 Frank Zappa

I'm The Slime on Piece Of Cake CD


U.S. Collector's Edition

2004 January

No. 122


12-page tribute:

The Father Of Invention
By Charles Shaar Murray, pp 46-50

The Many Faces Of Frank Zappa
The best of FZ's 50-plus albums.
By Charles Shaar Murray, p 49

Shhhh ... Genius At Work
By Sylvie Simmons, pp 50-51

The Last Post
Interview by Phil Alexander, pp 52-55

Keeper Of The Flame
Gail Zappa interview by Phil Alexander, pp 55

The Last Post:

Let’s move on. You seem to be moving away from music and into the world of politics and finance. How do you view the business world?
“Hmmm... I think business is a good thing. Generals could learn a lot from corporate executives. The first rule is, you don’t kill your customers. If there is going to be a World War III then the major weapon is going to be the cash register and not nuclear missiles. People have to think about the business. They have to. I’ve never been shy about saying I was a businessman, even in the ‘60s. It was the last thing in the world that anybody would want to say. I prefer to be able to earn money from what I do rather than take a part-time job in order to afford the pleasure of being a musician. I would rather scale my operation to a size where it can finance itself. And I think that today that there are a lot of people in rock’n’roll who are getting that idea. It’s not bad to look after your own interest.” (read more)


2004 July

No. 128


CD Chili Peppers Jukebox
Frank Zappa – Son Of Mr Green Genes 

As a teenager John Frusciante made tapes of Zappa's guitar solos and learnt the lot. He also compiled a CD of his fave FZ moments for Rykodisc which has yet to be released. The story of his audition for Frank's band can be found on page 74. Meanwhile here, the nine-minute Son Of Mr Green Genes sees Zappa extending himself into jazz rock territory to fine and fearsome fusionistic effect. 



2005 March

No. 136


The 50 Most Out There Albums Of All Time
By Mojo, pp 47-55

Some albums from this list you may know:

#49 An Evening With Wild Man Fischer - Wild Man Fischer
#38 Starsailor - Tim Buckley
#23 Lumpy Gravy - Frank Zappa
#1 Trout Mask Replica - Captain Beefheart


2006 July

No. 152


This month in 1982 ... Zappa Has A Hit!
By Fred Dellar, 2 p

Zappa Has A Hit 

Source: Fulvio Fiore


2006 November

No. 156


Pimp My Ride
By Clive Prior, pp 14-15

Pimp My Ride

AT THE time we were working, we were pretty much alone in the profession," muses Baron Wolman, who between 1967-70 was the main photographer for Rolling Stone magazine. "Now the field is flooded with shooters and their images, the profession is less honoured, and the fun is gone."

Next month a new Wolman exhibition at London's Blink Gallery aims to recall those times. Photos of Jimi Hendrix, Pink Floyd, Johnny Cash, Janis Joplin, Sun Ra, Mick Jagger, Joni Mitchcll, B.B. King and more will be seen, as will this impromptu shot of Frank Zappa messing about on a bulldozer: "We had complete access," adds Wolman, who is president of photography publishers Squarebooks. "We could go backstage, we could go on-stage – in the wings, of course – we could go right up to the front of the stage!"

Another salute to Zappa comes in the form the bottled beer, Lagunitas Freak Out! Ale. Its label is the cover of the 1966 Freak Out!. SoCal bewers Lagunitas will mark other Zappa LP anniversaries with Absolutely Free, Lumpy Gravy and Hot Rats ales.

Behind the CAMERA

Frank Zappa on a bulldozer, Laurel Canyon, Los Angeles, from the cover shoot of the May 1968 Rolling Stone. By Baron Wolman.

Baron Wolman: "Up the hill and behind Zappa's rented house, there was this collection of rusty earth-moving equipment. We just walked over to the machines and he started goofing around and I started shooting photos. It was one of those wonderfully spontaneous photo moments, relaxed and informal and fun – his 'outside the box' behaviour was infectious. We took pictures for about half an hour, before the interview, which was rare. Seldom did I have the subject alone for so long in advance of the sit-down. Though truthfully, his music was pretty much an unknown to me."



2007 May

No. 161


Lou Pals Up To Zappa
By Bill Holdship, p 156


Source: Fulvio Fiore


2008 July

No. 176


Double Trouble
By Dave DiMartino, pp 64-70, 72

2010 May

No. 198


How To Buy: Frank Zappa
By Phil Alexander, pp 138-139

Additionally on p 115 is a review on album Philly '76 and on p 123 review on DVD The Freak Out List. In this issue is also an article on Little Feat/Lowell George on pp 68-75.


2010 August

No. 201


George Duke and Frank Zappa's Mothers
By Charles Waring, p 146

I was working with my trio with [violinist] Jean-Luc Ponty in a small rock club in Los Angeles called Thee Experience on Sunset Boulevard, and Frank Zappa came in. (read more)


2011 March

No. 208

The Black Rider
By Mike Barnes, pp 64-73

"The passing of Captain Beefheart on December 17, 2010, robbed music of one of its most unique, mischievous and singular voice. MOJO's 10-page tribute sees his biographer Mike Barnes speak to his associates and salute the man and his myth. Elsewhere. Mark Paytress assesses his key recordings (page 69), P.J. Harvey discusses his impact and friendship (page 67), David Fricke remembers his many encounters with the man (page 68) and Jack White III provides his own epitaph (page 73), as we bid farewell to the artist born Don Van Vliet ..."


2014 April

No. 245


Beefheart's Magic Band Morph Into 'The Tragic Band'
By Mike Barnes, pp 28-30

2014 December

No. 253


Sticking It To The Man
By Mike Barnes, pp 106-107



2015 March

No. 256


Art Attack
By Andrew Male, pp 48-55

Andrew Male speaks to Art Kane's son, Jonathan, about the vision and invention of a great American artist.

Jonathan Kane: "This is possibly my favourite of all images from LIFE Magazine's 'The New Rock' essay, it's so full of life, love and humour. I was there, at age 11, arriving just after the shooting wrapped. Frank Zappa met me at the door of dad's studio with a hug and said, 'Hey man, you should have been here an hour ago, the babies were pissing all over us, we got soaked man!' Twenty-five years later I was playing on a bill with Mothers Of Invention drummer Jimmy Carl Black. At the soundcheck I told Jimmy how Zappa and the band were all so nice to me as a young kid. He replied: 'Why do you think they called us The Mothers, man?'"



2018 January

No. 290

Hello Goodbye
Gary Lucas and Captain Beefheart

 By Mike Barnes, p 130

See also



2018 March

No. 292


In this issue Frank Zappa was mentioned several times:

  • p 9, Ian Anderson declares, that his all-time favourite album is Over-Nite Sensation,
  • p 18, Pink Floyd and Frank Zappa at Amougies Festival, 1969, are included into playlist,
  • pp 40, 41, Mike Nesmith in his interviews mentions Frank Zappa,
  • p 50, picture of Frank Zappa and Captain Beefheart, as a part of article on photographer Alec Byrne.



2018 November

No. 300


Frank Zappa
By Pete Frame, pp 36-41

Twenty-five years since his death, an extraordinary unpublished interview with the ailing Frank Zappa is an ornery blast of the fourth MOJO cover star’s unique voice – on music, politics, stupidity, pornography, Anglophobia and more. (read more)

Source: issuu


2019 May

No. 306


Zappa's Holo-spectre Spooks London, As A Play Remembers The Days
By Alan Clayson, p 21

Source: issuu


2019 August

No. 309


Diary Of A Genius?
By Mark Paytress, pp 62-67

Fifty years on from Trout Mask Replica - the weird album's weird album - MOJO finds its cast nearly recovered: "There was so much hell emotionally."

Source: Vitaly Zaremba


2020 February

No. 315


Vermin In Ermine
By Mark Paytress, pp 100-102

The Hot Rats Sessions review and short interviews with Ian Underwood and Ahmet Zappa.

Source: Vitaly Zaremba


2020 August

No. 321


The Tao Of Zappa
By Mark Paytress, pp 36-45

Under the off-colour 'folklore' and mind-blowing polyrhythms, what made rock's ultimate refusenik tick? Mark Paytress asks family and bandmates.

Paul Weller was usually on the cover of this publication. But there is another version for collectors with the Frank Zappa cover.



2021 January

No. 326


Mojo 2021 Calendar

Large format (double A4) wall calendar. Illustrated with 12 covers (one per month) of selected Mojo back issues. March month cover - March 1994 with Frank Zappa.

cover back covers list March

Source: Fulvio Fiore 


2021 February

No. 327


Mothers pride
By David Fricke, p 106

Alex Winter-directed profile of the most singular artist and social provocateur.



2021 April

No. 329


Little Feat's First Steps
Interviews by Bob Mehr, Portrait by Susan Titelman, pp 52-55

After serving in Frank Zappa's Mothers Of Invention, Lowell George - an all-rounder and prime mover from Hollywood - resolved to sample every flavour in the roots songbook.



2021 October

No. 335


Ask Mojo: Was Zappa a Furry Freak Brother?
By Mojo, p 120




2022 January

No. 338


Zappa Crashes At 200 Motels
By Martin Aston, pp 66-69

2022 February

No. 339


Frank Zappa 200 Motels
By Phil Alexander, p 101

Page 39, article on Deep Purple:
Whatever happened to Zdenek Spicka? Deep Purple don't know, even though he helped inspire their greatest hit. On December 4, 1971, Spicka, a 21-year-old Czech living in Switzerland, attended a Frank Zappa And The Mothers Of Invention show at the Montreux Casino. Spicka was carrying a flare gun of the kind used to signal distress at sea. During Zappa's song King Kong, Spicka fired the weapon in the air. Its flare ignited the ceiling tiles, setting the whole wooden building ablaze.
"It was a raging inferno," remembers eyewitness and Deep Purple vocalist Ian Gillan. Luckily, Zappa, his Mothers and the audience escaped death or serious injury. A warrant was issued for Spicka's arrest, but he fled Switzerland and was never found.

Frank Zappa is also namechecked on page 122 in article on Grand Funk Railroad.



2022 March

No. 340


Zappa is namechecked in article on Monkees, page 72.



2022 April

No. 341


Frank & Co: Conversations With Frank Zappa 1977-1993
By Mark Paytress, p 103

Book by Co de Kloet reviewed. 



2023 February

No. 351


Frank Zappa: Waka/Wazoo
By Phil Alexander, p 97

50th anniversary box-set celebration of Zappa’s jazzer-most period. In December 1971 Frank Zappa was pushed off stage by a fan at London’s Rainbow Theatre, landing in the orchestra pit 10-feet below, left unconscious and with a broken leg. Convalescing back in LA, he wheeled himself into Paramount Studios for sessions that would yield two crucial albums, Waka/Jawaka (his intended sequel to 1969’s Hot Rats) and epic Miles-inspired fusion The Grand Wazoo. Both LPs are remastered from original tapes and are included here in Blu-Ray audio with Atmos and 5.1 options, along with 30 unreleased tracks presented in chronological order across a further four CDs. Two discs provide moments of real revelation and unbridled intoxication: the first features keyboard player George Duke’s super-soulful demos/alt-takes recorded in parallel at Paramount (FZ produces and plays guitar), the second contains the final bow of Zappa’s Petite Wazoo band at San Francisco’s Winterland Ballroom in December ’72. Awreetus-awrightus, as the man himself would say.

On page 20 is Adrian Belew featured. 



2023 August

No. 357


Shake your tail (Funky Nothingness)
By Mark Paytress, pp 90-91

Happy Forever (A book by Mark Volman)
By Mark Paytress, p 105