Record Mirror
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.
Source: 1960smusicmagazines.com
1967 September 2
Frank
Zappa of the Mothers of Invention – the Hard Guy who doesn't
radiate love ...
By David Griffiths, p 5
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)
Source: www.americanradiohistory.com, 1960smusicmagazines.com
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.
Source: 1960smusicmagazines.com
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
...
Source: 1960smusicmagazines.com
1967 November 11
'The biggest
talent I have ever come across' says ex Dylan producer Tom Wilson
of Frank Zappa
By Frank Smythe, p 4
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)
...
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. ...
Source: www.americanradiohistory.com, 1960smusicmagazines.com
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.
Source: www.americanradiohistory.com, 1960smusicmagazines.com
[...]
Influence
What this means is that classical music is having its influence
on pop. Profoundness! George Gershwin did it. Jazz bands did
it in the thirties and forties. And goodness me, even pop groups
(some) are doing it. Mason Williams has been a poet, musician
and groovy cat for a long time – and “Classical Gas” will be
a big hit here as it was in the States. And I heard an album
the other day that I will give to my grandmother on her birthday
which is October 1, the same day the album is being released
on the Verve label. This one is called “Lumpy Gravy”.
Inconsistent
“Lumpy Gravy” is a “... curiously inconsisten piece which started
out to be a ballet but probably didn't make it ...”, by Frank
Zappa and the Abnuceals Emuukha Electric Symphony Orchestra
and Chorus. It also
features some of the Mothers of Invention. There's an orchestral
theme played by an orchestra – it's interrupted. By people talking,
by old 78 revolution tracks by electronic music, by even (gawdelp
us) psychedelics.
It’s phase two of the Goon Show. But it's all held together
by a beautilully controlled theme. A structure of classical
music. [...]
Source: 1960smusicmagazines.com
[...]
Frank Zappa reveals that he pays the Mothers of Invention and
himself two hundred dollars a week each (about £80) and then
every four months they have a big share out of all the money
left after expenses have been taken out.
The Zappa "Reuben and the Jets" 50's rock and roll parody LP
has a drawing of Zappa on the front with a balloon saying
.. "Is this the Mothers Of Invention recording under a different
name in the last attempt to get their crummy music on radio?"
[...]
Source: Fulvio Fiore
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. ...
Source: www.americanradiohistory.com
[...]
"Professional" is the key word. You only play when business
is finished – and business always comes first. Examples: Frank
Zappa – a prime example of the professional attitude in American
underground. The Mothers of Invention, despite the impression
their stage act may give, are a big business. If Zappa has an
idea in the middle of the night he calls a business meeting,
and the idea is thrashed out and made to work. If he has the
idea while a party is going on in his house, then the party
is removed elsewhere – because business comes first. [...]
Source: Fulvio Fiore
[...]
One group has defied the present: Ruben and the Jets. If the
listener hasn't heard any of the group records of the '50s,
"Cruising With Ruben And The Jets" may seem to be funny at first,
then a bit repetitive, and finally senselessly boring. But this
is probably the least funny album that the Mothers of Invention
have tried. It's a completely faithful recreation of the spirit,
intentions and effect of the group sound. Using the words, phrases,
and self-centred feelings of the sound, the Mothers have produced
a record which honours, rather than mocks, the culture of early
adolescence. The album's authenticy can be tested by comparing
it with Liberty's compilation of mid-fifties group records,
"Rhythm 'N' Blues: The End Of An Era, Vol. 1". It's hard at
first to believe that some of these groups were serious, but
after a while it becomes possible to realise what they were
doing, and "Please Return" by the Jewels, and "Chimes" by the
Pelicans, make sense. [...]
Source: worldradiohistory.com
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
"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
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
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
IF
YOU'VE been called the worst rock band in the world and constantly
been slagged by the critics, who produces your next album? Answer:
find someone with a similarly evil reputation, who has also
managed to build up a worldwide following (not to mention a
healthy bank balance). (read
more)
Source: www.americanradiohistory.com
DIG
OUT your headband and don't wash for a week - 'cause Frankie's
back in town. The old cosmic warrior returned to London at the
Hammersmith Odeon, memories of his bad-time swearing ban at
the Royal Albert Hall still fresh in his mind. He rambled on
about rectums, the Queen and waggled his bum at the audience.
(read more)
Source: www.americanradiohistory.com
FRANK
ZAPPA is to play three nights at the London Hammersmith Odeon
on January 24, 25 and 26, by which time his new double live
album 'Zappa In New York' should have been released over here.
Ticket prices for the concerts will be £4, £3.50 and £3. The
shows will be his only British appearances on a European tour.
He'll have an eight-piece band backing him. Included are: Terry
Bozzio drums, Pat O'Hearn bass, Peter Wolf keyboards, Tom Mariano
keyboards, Ed Mann percussion, Adrian Belew guitar and Roy Estrada
vocals.
Source: worldradiohistory.com
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.
Cosmic
Time warp time at the Hammersmith Odeon, January 1978. The battered
Afghans and RAF coats may be fading, but the spirit's not. They
were packing 'em in, to the rafters an Monday night. (read
more)
Source: www.rip-her-to-shreds.com
FRANK ZAPPA believes that the general public are losing
musical interest in his albums, or at least that's the
impression I get from just reading the sleeve notes on this
album.
(read
more)
Source: Smash Hits remembered
This article is about Knebworth festival, where Zappa had a performance on September 9, 1978.
[...]
Then Zappa got onstage, and was it a drag. The man's got his
head together, no shit! He didn't freak out or nothin', didn't
play sloppy, didn't even fall off the stage. He just pandered
to all these straight wimps by playing stuff they could understand
and playing it like he'd practised or something.
Still, he is still cosmic, though. I guess he was ashamed of
his hair cos it was all tied back, but he's still a freak inside.
He laid down some magical guitaring, like it was magic, he was
like a magician if you know what I mean. Am I making my point,
man?
He's such a gas if you're close enough to see him. He don't use props, but it's theatre. jus' like the Toobs. You know, man, I don't mean all that Shakespeare thing, but you know, well, you just know man.
I don't know the old guy's stuff too well I guess, I just thought he was into endless jams, right, the sort of stuff I can really identity with, but it ain't so. Sure he goes on some, but the trouble is, he keeps it all under control, keeps to the point. Like he was a goddam professional or something. l mean, where's that at?
Like I guessed if anybody was gonna do 'Roll Over Beethoven' for an encore it just hadda be him, right! But no way! The old walrus did a new number, which was pretty good OK, but I sure couldn't BOOGIE to it. Man. Reading was never like that. [...]
Source: www.americanradiohistory.com
WITH 'Studio Tan', Frank Zappa has failed to summon up enough of
the effervescent wit and delightful guitar playing, that made
one enjoy 'Zoot Allures' and other recent recordings.
(read
more)
Source: worldradiohistory.com
FRANK
ZAPPA Hammersmith Odeon London
OVER TEN years ago I first nursed a desire to see Frank Zappa
perform live. Unlike most vinyl heroes of the late sixties Zappa
has continued to exert a strong fascination, one which I'm glad
to say has lasted through and beyond his non-stop two-hour set
at the weekend. (read
more)
Source: flickr.com
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.
Source: flickr.com
SIT
BACK nice and quiet now for Mr Zappa is about to tell you a
story in his nice, deep, soothing vice. You've never heard of
Mr Zee, much less his famed deep voice? Ah well, let me clarify
things a little. He is, I'm afraid, incomparable to current
trends and frankly, if you want comparisons, Mr Zappa's records
have holes in middle and describe circular motions, but that's
about as far as it goes. (read
more)
Source: flickr.com
FRANK
ZAPPA: ‘Joe’s‘ Garage’ (CBS). I haven‘t had many good things
to say about Frankie lately. I've been extremely rude about
his concerts, and made several objectionable comments about
his lanky person (he can't help looking like a pipe cleaner
with a moustache). And then he brings out this amusing little
sideawipe about life during his early career. Funny and tender
with more than a hint of emotional nostalgia. Perhaps it needed
a little delicate editing to make it acceptable for radio airplay,
but it could still be there amongst the big 'uns this year.
Source: flickr.com
FRANK
ZAPPA: ‘I Don’t Wanna Get Drafted’ (CBS) ... In which snappy,
zappy Frank tries to be “current” and “funny“ at the same time;
he’s actually neither. ‘I Don’t Wanna Get Drafted’ — a slab
of produced discofunk ordinaire; archetypal latterday Zappa
— is the signature of a dirty old man who’s taken the piss out
of so many people for so many years that the only person left
to parody is himself.
Source: flickr.com
FRANK
ZAPPA resumed his annual Halloween antics after a one year hiatus
- taking to the Palladium stage with a six piece band that sounded
brassier than Jimmy and Tommy Dorsey's big bands put together.
(read more)
Source: flickr.com
LIVE
ALBUMS and Frank Zappa go hand in hand. The erstwhile Mother
of Invention records every gig he plays, you see, and invariably
employs a band who are not onlys good at their instruments as
he is himself but are also disciplined enough to deliver his
neo-orchestral arrangements exactly as he wants them. (read
more)
Source: flickr.com