FRANK ZAPPA
The "Muffin Man" Lives On
___________
Summertime, 1980. A breathtaking
sunrise was just peeking out atop the
rugged Ozark mountains when my
wily crew finally rolled in after a
long night of teenage exploits. And
as our car raced up to my buddy's
parents' house — tires and engine
smoldering, the prophetic words
of the Central Scrutinizer blasted
from the Jensen Triaxial speakers.
___________
One of the coolest aspects of growing up during the simpler, pre-Internet era of the 1970s was living in a world seemingly free of musical borders. From such popular TV shows as The Midnight Special and Don Kirshner's Rock Concert to Casey's weekly Top 40 radio countdown, young enthusiasts like myself were exposed to a constant, eclectic array of music artists. As a result, to this day I still can't hear genres — I simply hear music as my personal iGadget shuffles randomly from Carly Simon and Motörhead to Loretta Lynn and Buddy Guy to King Crimson and Debbie Gibson. And that's probably what spoke to me the loudest when I first discovered the music of Frank Zappa — his artistry knew no boundaries.
I recall first seeing Zappa performing on Saturday Night Live in late 1976. I was only 14 at the time, but I took note, for sure. However, it wasn't until we received a promotional, in-store copy of Sheik Yerbouti at the Florida record shop where I worked in 1979 that I truly became obsessed.
Clearly, the compositions contained within the two-record set were orchestrated meticulously. Yet to me, the music felt dangerously spontaneous. The blistering urgency of Zappa's guitar playing on "I'm So Cute," "Rat Tomago," "The Sheik Yerbouti" and "Yo Mama" was unlike anything I'd heard before. As an aspiring drummer, Terry Bozzio's heart-stopping tracks also made a profound impact on me — they still do. And it was Sheik Yerboouti that first introduced me to a young up-and-coming guitar phenom, Adrian Belew, and bassist, Patrick O'Hearn. All of these components added up to a magical musical statement. And I can't even count the hours I spent holed up in my bedroom during the summer of '79, processing, analyzing and savoring every delicious lick. Why don't you take it down to C-sharp, Ernie?
By the fall of 1979, Joe's Garage Acts I, II & III had arrived. Telling the compelling tale of troubled wannabe rock star, Joe and his groupie-in-training girlfriend, Lucille, Zappa's three-record rock opera also educated me about the correlation between music, heartbreak and (unpronounceable) diseases. Assuming the role of the story's prophetic narrator, "the Central Scrutinizer," Zappa cautioned listeners how the government ultimately would criminalize music, while also explaining in graphic detail everything a kid needed (or didn't need) to know about "alternative lifestyles." Hey man, what the heck is a "golden shower," anyway?
Clearly, the compositions contained within the two-record set were orchestrated meticulously. Yet to me, the music felt dangerously spontaneous. The blistering urgency of Zappa's guitar playing on "I'm So Cute," "Rat Tomago," "The Sheik Yerbouti" and "Yo Mama" was unlike anything I'd heard before. As an aspiring drummer, Terry Bozzio's heart-stopping tracks also made a profound impact on me — they still do. And it was Sheik Yerboouti that first introduced me to a young up-and-coming guitar phenom, Adrian Belew, and bassist, Patrick O'Hearn. All of these components added up to a magical musical statement. And I can't even count the hours I spent holed up in my bedroom during the summer of '79, processing, analyzing and savoring every delicious lick. Why don't you take it down to C-sharp, Ernie?
By the fall of 1979, Joe's Garage Acts I, II & III had arrived. Telling the compelling tale of troubled wannabe rock star, Joe and his groupie-in-training girlfriend, Lucille, Zappa's three-record rock opera also educated me about the correlation between music, heartbreak and (unpronounceable) diseases. Assuming the role of the story's prophetic narrator, "the Central Scrutinizer," Zappa cautioned listeners how the government ultimately would criminalize music, while also explaining in graphic detail everything a kid needed (or didn't need) to know about "alternative lifestyles." Hey man, what the heck is a "golden shower," anyway?
Joe's Garage further introduced me to several of my future all-time favorite musicians, including guitarist Warren Cuccurullo, vocalist / guitarist Ike Willis, drummer Vinnie Colaiuta and an exciting new blond bombshell vocalist by the name of Dale Bozzio.
Subsequent Zappa records, such as Tinsel Town Rebellion, You Are What You Is, Ship Arriving Too Late to Save a Drowning Witch and Broadway the Hard Way all would find loving homes in my ever-expanding music library over the next few years.
Simply put, I've always been fascinated by language — spoken words, written words, brave words, well-crafted words. As a result, it's Zappa's words that have captivated me most since my youth. From poking at politics and religion to addressing the sexual revolution, popular drug culture and beyond, no subject was taboo for Zappa. Although my personal perspectives often are 180° from Zappa's, I've never perceived his lyrics as "dirty" or "offensive." I found his brutally honest lyrics to be articulate, intelligent and inspiring. And it still annoys me when Zappa's work is described (dismissed) by some as "novelty" songs. In fact, as an established Christian author, now in my 50s, I can't imagine how my communication skill level would be sagging, had I not had Frank Zappa's influence to "challenge" me along the way.
I've found myself reflecting recently on Zappa's work and his life, as the 25th anniversary of his death will arrive in just a few weeks. Truth be told, I can't imagine we'd be living in such a sissified, hypersensitive, politically correct world if he still was around to keep society in check.
Of his many career highlights, I'd point to Joe's Garage Act I as his grandest album achievement. My favorite Zappa song — I'm torn between "I'm the Slime" from Over-Nite Sensation and "Jones Crusher" from Sheik Yerboouti — or maybe "Watermelon in Easter Hay" from Joe's Garage Act II & III. His most powerful moment — taking on the PMRC in 1985. My all-time favorite Zappa quote is one I defer to still on an almost daily basis — There's a big difference between kneeling down and bending over.
The "Muffin Man" lives on, indeed!
-Christopher LongSimply put, I've always been fascinated by language — spoken words, written words, brave words, well-crafted words. As a result, it's Zappa's words that have captivated me most since my youth. From poking at politics and religion to addressing the sexual revolution, popular drug culture and beyond, no subject was taboo for Zappa. Although my personal perspectives often are 180° from Zappa's, I've never perceived his lyrics as "dirty" or "offensive." I found his brutally honest lyrics to be articulate, intelligent and inspiring. And it still annoys me when Zappa's work is described (dismissed) by some as "novelty" songs. In fact, as an established Christian author, now in my 50s, I can't imagine how my communication skill level would be sagging, had I not had Frank Zappa's influence to "challenge" me along the way.
Of his many career highlights, I'd point to Joe's Garage Act I as his grandest album achievement. My favorite Zappa song — I'm torn between "I'm the Slime" from Over-Nite Sensation and "Jones Crusher" from Sheik Yerboouti — or maybe "Watermelon in Easter Hay" from Joe's Garage Act II & III. His most powerful moment — taking on the PMRC in 1985. My all-time favorite Zappa quote is one I defer to still on an almost daily basis — There's a big difference between kneeling down and bending over.
The "Muffin Man" lives on, indeed!
(October 2018)
__________
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