Record Mirror


Record Mirror was a British weekly music newspaper. It competed with New Musical Express, Disc & Music Echo, Sounds, and Melody Maker, but had the smallest circulation of the UK consumer music weeklies and was considered to be the least important of the genre. The first ever UK album chart was published in Record Mirror in 1956. It ceased publication and merged into Music Week in April 1991, with sister publication Sounds closing in the same week. (The final NME print issue appeared in March 9, 2018.) (wikipedia)

1966 November 19


Top Fifty Hit
Mothers Of Invention: It Can't Happen Here; How Could I Be Such A Fool
By Norman Jopling & Peter Jones, p 9

 Not too sure about this – but publicity and gimmick value could see it into the Fifty. Absolutely way-out, disjointed, curious, wierd etc. . . . doesn't make sense first time of hearing. But an experience. Maybe it COULD happen here. 




 An American copy of the Mothers of Invention LP "Freak Out" was the first example I ever saw of the influence of psychedelia on pop music. But any notion that the Mothers would be exponents of the non-fashionable Flower Power was quickly dispelled by a meeting with Frank Zappa, in London to promote the group set up an Albert Hall concert next month. (read more)




1967 September 23


The Mothers Of Invention: Big Leg Mama; Why Don't You Do Me Right
By Peter Jones, p 9

 I really don't like this, don't get it, don't actually want it. But there's a lot of curiosity value here and it could easily be an off-beat hit. Strange vocal; stranger backing.



1967 September 30


The Mothers Of Invention "Absolutely Free"
By Norman Joplin & Peter Jones, p 8

 Everybody seems to have heard this LP, which does contain some of the dirtiest lyrics on record (you can't BUY that sort of plug). Their instrumental work, prominent on "Invocation And Ritual Dance Of The Young Pumpkin" is good proven rock. Should be a big seller – and by the way the flip of their single "Big Leg Emma" isn't (as so many people reported) just an example of their musicianship – just listen to any Howlin' Wolf record ...



 Tom Wilson, head of MGM's pop team, is a different kettle of fish entirely. He almost shuns publicity – almost, because it's hard for a six-foot-six bearded New Yorker to pass unnoticed anywhere. This week, however, during a two-day stay in London he broke his anti-publicity rule and talked. I first met Tom two years ago, when, as a New York based CBS producer, he was responsible for the recording careers of such artists as Peter, Paul and Mary and Bob Dylan. A brilliant recording engineer and musician in his own right, Tom served Dylan from his beginnings as a talented but obscure folk singer to his present position as head of rock. (read more)


1967 December 16


Frank Zappa - the Hitler of song, says Eric
By ?, p 8

 ... Eric himself is very interested in spreading peace through music rather than violence. For this reason he isn't fond of the Frank Zappa – Mothers of Invention approach. "He excites violence as a reaction from the audience. I think that it is easier to get the message across this way but it isn't my way. I think that Zappa is the Adolf Hitler of music. ...




1968 June 15


The Mothers Of Invention "We're Only In It For The Money"
By Norman Jopling & Peter Jones, p 8

 The most shattering thing about this LP is the time and trouble that has gone into the sleeve – a complete and accurate proof of the "Sgt. Pepper", down to the last detail. The same imitation doesn't extend to the record, which is the usual collection of hard, funny, dirge-like Zappa tunes, tempered by excellent recording techniques and some fine instrumental sounds – Eric Clapton plays here too. Several of the numbers they performed on their show here are included, such as "Hey Punk", a parody on "Hey Joe". Interesting, but we all know they're only in it for the money by now.




1968 October 5


The Great Zappa Put-on
By Derek Roltwood, p 3

Underground Groups
By Derek Roltwood, p 10

 (1) "When people come to see us at one of our concerts, they don't come to listen to our music – they come to see us in the hopes that we might do something obscene and nasty on stage. Even the most ordinary things we do are full of significance as far as the audience is concerned. If my shoe flies off my foot halfway through the act people think it's a satirical comment. A good example of this is when we did our last performance in England at the Royal Albert Hall – about halfway through the show a guy jumped up on stage with a trumpet and decided to join in with us. He wasn't very good – he couldn't play the trumpet – but we made music. (read more)

 (2) ... Interesting thing – as you may have noticed elsewhere in the paper, I had the pleasure of a long chat with Frank Zappa the other day. One afternoon talking to him provides enough material for a book, leave alone a short feature in RM. For example – the Mothers Of Invention are responsible for the whole underground scene. Said Zappa: "The fact that we were able to go on stage and on record doing exactly as we wanted – making sounds that up until then just weren't accepted because they weren't com'mercialopened things up for the whole underground movement. Groups appeared – most of them not particularly good – but all making progressive music rather than teenybopper music."

I wouldn't say that Frank Zappa started the whole thing, myself, but I would agree that the Mothers did help to open the doors to let in much of the beefy goodness of underground. ...




1969 June 7


The Incurable Frank Zappa
By Lon Goddard, p 12

 THE worst has happened – again. Mothers will be taking their kids off the streets, hippies will vacate Piccadilly Circus, orchestras will take lengthy coffee breaks, the great British yawn will hiccough . . . The Mothers of Invention are back in England.

Heading the popular team of stars, as usual, is the body beautiful, the loudest star of the silent screen, the incurable Frank Zappa. Reclining spaghetti-like in his tighter than a sausage jeans, Frank was having a glimpse at the British charts and I innocently inquired as to his opinion of Simon and Garfunkel, who are moving up the RM charts rapidly . . .  (read more)


Source: Javier Marcote


1969 November 5


Zappa and the Crawling Eye
By Lon Goddard, p 6

 "There are still about twelve Mothers LP's in the can", he winked, "we did a lot of stuff.

The Bizarre label had several provisions in it concerning recordings other than the Mothers. These extra releases had to be approved and I needed a vehicle to dispose of the material I wanted to put out, so the answer was Straight Records (first releases are albums by Alice Cooper, Judy Henske & Jerry Yester and Captain Beefheart at last on a legitimate label). In the States, I'm starting a T.V. programme, but I will include the musical things I've wanted to introduce as well. For guests, I have compiled a list and possible first choices are Hubert Humphrey, Captain Kangaroo and Mick Jagger. A lot of it will be political, because that is how you supply the best in comedy." (read more)



1970 January 17


(1) Understanding The Underground
By Frank Zappa, p 16

(2) 21st Century Pop People, P-Z
p 9

 (1) A lot of the underground acts don't care about making a hit record. They're interested in artistic expression. The underground sounds are raw. But the Industry should remember that the music sounds that way because of the environment the kids live in.

They are a different kind of person. Some of their bodies are chemically altered and they have leisure-time activities that would be very foreign to record company executives. They have a concept of music as an art. Most A and R people don't know anything about music, but look for the commercial potential.

You should care about the artistic merit. You call our music noise, but don't bother to look underneath it for the chords or melody lines. You don't understand the underground's music – there is definitely a musical generation gap. (read more)



 FRANK ZAPPA sauntered in, poured himself into the chair at the front of the room, folded his arms, crossed his legs and assumed the appearance of an effeminate librarian.

He aimed his nose and stared down it, appraising the curious faces assembled to cross-examine him at the press conference. The Groucho Marx whiskers twitched nervously, but the cemented gaze was unaffected. (read more)


Source: slime.oofytv.set


1971 April 10


Say A Good Word For The Groupies, Frank
By Keith Altham, p 10

 TO THE great grey mass of the general public, Frank Zappa is a bad man suspected of corrupting the morals of our Youth and the perpetrator of musical obscenities from a great height with the aid of his evil crew, the Mothers of Invention.

He is, to a misguided mass, a freak, weirdo or charlatan and they, of course, arrive at this conclusion without ever having met the man or made any attempt to understand his motivation. (read more)


Source: slime.oofytv.set


1972 April 8


Love Over Gold
By Norman Jopling, 1 p

 Five years ago, the magic name of Captain Beefheart was no more than an imported elpee in the window-display of clique-ee one-stop records. There it caught the eye of Peter Meaden, entrepeneur extraordinaire and ex-protege of Andrew Oldham [manager of 'The Rolling Stones']. So fascinated was Peter with the lp (simply titled 'Safe As Milk') that he purchased it and upon listening, realised that Captain Beefheart was, to quote a recent Warner Brothers press handout 'a cosmic genius'. (read more)


Source: eBay


1978 February 4


Frank Zzzzzappa
By ?, p 31

Hammersmith Odeon, January 24-27 concerts review. In 2010 recordings of these concerts were published by Zappa Family Trust as Hammersmith Odeon, official release #89.



1978 September 16


Out To Lunch
By Tim Lott, p 6

This article is about Knebworth festival, where Zappa had a concert on September 9, 1978.



1979 May 12


Dancin' Fool
By Paul Sexton, p 8

 FRANK ZAPPA: 'Dancin' Fool' (CBS)
Yowsah, yowsah, yowsah, moans Frank. Not a disco record, a parody of one, but Zap's cranky voice is genial and endearing as he laments his dancing lameness. The idea of Zappa in the singles chart is more bizarre than the record but it's strangely commercial. Sheik sheik sheik, sheik yerbouti.




1981 May 23


Frank Zappa: Tinsel Town Rebellion
By Chas de Whalley, p 22