Record Collector

 UK

 
British based magazine focusing on the European collecting market. Established in 1979.
England's monthly with high quality articles, discographies & record reviews. Mostly featuring rock & pop artists/groups, but touches on country, soul etc. A very important information source. (rojaro)
Back Issues index (D-discography, F-feature, I-interview, R-review):
F & D (61); D (93); F & D (118); D (165); D (171); D (177); D (191); R (199); R (205); F (251); R (266); F & I (362)

1982 July

No. 35

 

Frank Zappa: many of his earliest releases are now attracting high prices
By Stuart Penney, pp 29-36

Complete U.K. Frank Zappa and the Mothers of Invention discography + values
pp 36-37


 

1984 September

No. 61

 

Frank Zappa
A collectors guide to his early releases, sessions work, production and releases on his own labels
By Stuart Penney, pp 9-15


 

1987 May

No. 93

 

Frank Zappa
The Early Albums

By Stuart Penney, pp 38-44


 

1989 June

No. 118

 

Frank Zappa
The Bizarre Years

By Stuart Penney, pp 28-36


Source: slime.oofytv.set

 

1993 May

No. 165

 

Frank Zappa On CD: 1966-1979
By Stuart Penney, pp 88-93


Source: slime.oofytv.set

 

1993 November

No. 171

 

Frank Zappa on CD: 1979-1988
By Stuart Penney, pp 86-90


 

1994 May

No. 177

 

Frank Zappa on CD: 1988-1994
By Stuart Penney, pp 74-80


 

1995 July

No. 191

 

Promotional Toolbox: A Round-up Of Recent Collectable Promos
By Andy Davis, pp 14-15

Frank Zappa – You Can't Do That Again!

By Mark Paytress, pp 126-127


 

1996 March

No. 199

 

Promotional Toolbox: A Round-up Of Recent Collectable Promos
By Andy Davis, pp 10-11

Zappa's "Lost Episodes"

By Mark Paytress, pp 132-133


 

1996 September

No. 205

 

Promotional Toolbox: A Round-up Of Recent Collectable Promos
By Andy Davis, pp 10-11

Zappa In Läther

By Mark Paytress, p 138


 

2000 July

No. 251

 

Zappa: the ongoing legacy
By Alan Clayson, pp 37-41

Jimmy Carl Black
Interview by Alan Clayson, pp 42-44


 

2001 October

No. 266

 

Zappa '69
By Peter Doggett, pp 22-29


 

2007 June

No. 337

 

Classic Albums: Apostrophe ('); Over-Nite Sensation DVD ad 


Source: Fulvio Fiore

 

2007 July

No. 338

 

Classic Albums: Apostrophe ('); Over-Nite Sensation DVD
By Kris Needs, p 110


Source: Fulvio Fiore

 

2008 May

No. 349

 

Flo & Eddie: The Phlorescent Leech & Eddie / Flo & Eddie
By Kris Needs, 1 p


Source: Fulvio Fiore

 

2009 May

No. 362

 

Frank Talk
Gail Zappa interview by Alan Clayson, pp 44-47


 

 

2011 October

No. 393

 

Born To Be Wild Man
By Alan Clayson, pp 36-38


A case assessment of the late Wild Man Fischer, foremost clown in Frank Zappa's circus.

 

2013 July

No. 419

 

The Confessions Of Kaylan
By Ken Sharp, pp 40-42, 44-46

A Token Of His Extreme
By Oregano Rathbone, 1 p


After The Turtles, you did a 180 degree turn and you and Mark joined The Mothers 0f Invention. To some that may seem an incongruous match.
Frank always knew something nobody else knew. He was very much Bowie-esque with that. He could see the future. Way back in the 70s he was the first guy who said to us, “Wait and see, nobody’s going to be in a band. There’s gonna be these supergroups where a guy from this group, a guy from this group and a guy from this group are gonna get together and make real music. In every band, there’s only one real player and when those players get together to make music it’s going to be incredible and that’s the future.” That’s what he thought. I know why he wanted Mark and I in the band. He wanted to add a pop sensibility to the Morhers who were always sort of cast off as being the least playable band in music. So when we he heard that The Turtles had broken up – we were friends of his – he asked us to join.
The musicians in Frank’s band were the most shocked. When we walked into that first rehearsal, Jeff Simmons looked at George Duke, looked at Ian Underwood and looked at Aynsley Dunbar, and went, “What the hell is Frank doing?” They knew he was gonna audition new singers. They knew there was gonna be a new Mothers that were gonna make this movie 200 Motels and go to Europe. They were waiting for whoever came through the door and thought it might be someone like Gregg Rolie [Santana] but when it was us there was so much scepticism. As soon as we would leave the room there was all this, “Frank, what the fuck are you doing? Those aren’t the guys! They’re pop idiots and they’re gonna bring the band down.” And Frank said, “I don’t think so, I think they know what they’re doing.”
So he was right. We even questioned his sanity at the time, as did the audience for the first few shows in Arizona and in Europe. And then they saw what he meant. It wasn’t so much the first few shows where we had to do what Other Mothers Of Invention players had done, which was sing new arrangements of Frank’s material.
Fairly quickly it became a tight-knit group who had been through a whole lot of shit together – the fire in Montreaux, Switzerland [noted in Smoke On The Water], the European tours, the Berkeley orgies. All of these things Frank hadn’t done with his other bands: this was different now. We were sharing experiences fand hanging out and he was getting high with us. It was very different and I’m thrilled to have been part of that era because it ended quickly and his distrust for humanity kicked in big time again after that accident in England where he was seriously injured. He was never quite the same and went back to being the cynic he’d been prior to this closeness. I don’t think any band member permeated that again. I know that at the end of his life he asked us back. We reminisced and talked, but he was close to that bunch of Mothers Of Invention and it never really was the Mothers of Inventions again after that. It was different.

Source: Fulvio Fiore

 

2015 December

No. 447

 


Source: Fulvio Fiore

 

2015 Christmas

No. 448

 

Zappa And Jazz: Did It Really Smell Funny, Frank?
By Alun Hamnett, pp 40-45


Review of Zappa And Jazz by Geoff Wills.

Source: Fulvio Fiore

 

2016 Christmas

No. 461

 

Putting The Eyebrows On It
By Alun Hamnett, pp 40-45


"Though he could sing like a (rather gruff) bird, Frank Zappa preferred to hear other voices on his records. Some of those voices talk to RC's Alun Hamnett."

Source: Bill Lantz

 

2017 Christmas

No. 474

 

Freak Out! The Roots Of US Prog Rock
By Kris Needs, pp 76-83


Record shop racks were once heaving with US underground progressive rock. Kris Needs tells the heavyweight tale of its influences and birth.

Source: Fulvio Fiore

 

2018 January

No. 475

 

Summer Of '82: When Zappa Came To Sicily (review)
By Alun Hamnett, p 112


 

 

2018 July

No. 481

 

Mid-life crisis? Mid-life Freak Out!
By Luke Haines, p 40


 

 

2018 October

No. 484

 

Most Wanted
By Paul Rigby, pp 36-37


Frank Zappa poster

Only known example which was "wheat pasted" to a wall in the East Village during the winter of 1966 to promote the first ever New York City appearanve of the band, post-Freak Out! release.

See also Hake's Americana & Collectables - MOI Balloon Farm 1966 poster.

Source: Hake's Americana 

 

2018 Christmas

No. 487

 

The Engine Room: Carol Kaye
By Lois Wilson, p 142


Session musician Carol Kaye played 12 string guitar on Freak Out! and Absolutely Free, bass on Lumpy Gravy.

Source: Fulvio Fiore 

 

2020 January

No. 501

 

Frank Zappa: The Hot Rats Sessions (review)
By Alun Hamnett, p 106


 

 

2020 August

No. 508

 

Frank Zappa: The Mothers 1970 (review)
By Alun Hamnett, p 101