Absolutely Free

original release Verve V/V6 5013 (LP), June 1967 current release Zappa ZR 3835 (CD), July 2012

This was recorded at TTG Studios it came time to do the second album they spent a in in November 1966. At that grand total of $11,000. We had one day with 15 time, the Mothers consisted of Jimmy Carl minutes per song to do the vocals.2 Black (drums, vocals), (vocals), (bass, vocals), On the other hand, had a (twelve-string ), Bunk Gardner (wood- higher promotion budget — $25,000 — and winds), Billy Mundi (drums), reached #41 on the album chart. (keyboards), and FZ (guitar, vocals). Jim The cover art is by FZ himself. Fielder quit the band in February 1967, so I am doing the complete layout on the album his name does not appear in the credits. Jim cover this time . . . I went out and charged $130 [Motorhead] Sherwood’s name appears in worth of art supplies to MGM, which gives me smaller type than the others; he had been like a complete studio up there in this dingy little promoted from roadie to band member hotel room that I’m staying in. Yesterday I sat in between the time the album was recorded my chair for thirteen and a half hours. I’m doing and the time it was released. Other musi- the mechanicals, the whole bullshit for putting cians heard on the album are John Balkin this thing together. And it’s really gonna be a (bass), Alvin Dinkin (viola), (trum- mindwarper.3 pet), Jim Getzoff (), Armand Kaproff (), Johnny Rotella (), The front cover photo, which is also found and Marshall Sosson (violin). inside the gatefold, was taken by Alice Ochs. Fourteen of the fifteen tracks are vocal, It shows FZ with Gail Sloatman, whom he one instrumental. FZ plays three guitar later married. Spanning the gatefold on the solos on his Gibson ES-5 Switch-master front and back covers is a photo montage — in ‘Invocation And Ritual Dance Of The of the Mothers. The top row shows Billy Young Pumpkin’, ‘Why Don’t You Do Me Mundi (below the fold), Roy Estrada’s head Right?’, and ‘Status Back Baby’. on Bunk Gardner’s body, Mundi (in top hat), FZ described the album, , Estrada (tiny), Don Pres- ton (tiny), Jim Fielder, Ray Collins, Preston, It’s rock & roll music, but it’s an oratorio . . . Estrada, and Black. The bottom row shows What it is is maybe eight songs that are edited Gardner (looking away from the camera), together — wham! — like that, like one continu- Collins, Fielder, and Mundi. These photos ous piece of music . . . a panorama of American were taken by Gerry Deiter and Marshall life today . . .1 Harmon (both of whose names are mis- The budget was significantly lower than spelled in the credits). that of Freak Out!: On the back cover, below the photo mon- tage, is ‘a picture of a distorted, ugly, Ameri- freak out! cost $20,000 — which was can city, hand-drawn in Marvy markers’.4 preposterous in that day and age. People were The city is full of cars and advertisements. shocked. The average rock ’n’ roll album then One of the cars says ‘VDNN!’ — a sound cost $8,000, mainly because it was a collection of effect that pops up later in ‘The Adventures all your hit singles with a couple of of Greggery Peccary’ (). Another tunes thrown in on the side. When freak out! car is labeled ‘Little Deuce Coupe’ (see was released it didn’t sell. The first year it didn’t ‘Brown Shoes Don’t Make It’). The name do shit, so the company was very upset and when ‘Ruben’ appears beneath a symbol

Excerpted from the big note, © 2017, 2018 by Charles Ulrich. All rights 1 reserved. For more information, contact New Star Books, www.NewStarBooks.com; [email protected] 2 the big note

that shows up again on the covers of Cruising Prunes’, and ‘Call Any Vegetable’, bears the With and One Size Fits same name as the album. FZ is not known All. ‘Chicken Delete’ is a play on Chicken to have performed the oratorio as a whole in Delight, a fast-food chain mentioned again concert. in ‘ Boy’ (Zoot Allures). MGM Records objected to the use of the World War II 1. 3:42 slogan ‘War means work for all’ above the Recorded on November 15, 1966. FZ sings American flag. As a compromise, it was lead, with backing vocals by Ray Collins and printed very faintly. falsetto by Roy Estrada. Jimmy Carl Black MGM also demurred at printing the lyrics plays timpani. Bunk Gardner plays alto of the songs. Among other substitutions, saxophone and . Billy Mundi plays they wanted to change ‘I’d like to make her drums. Don Preston plays and do a nasty on the White House lawn’ to ‘I’d electric . like to make her do the crossword puzzle on ‘Plastic People’ is based on Richard Berry’s the back of TV Guide.’ They thought that ‘do ‘’ (as acknowledged in the a nasty’ referred to defecation.5 Instead of songwriting credits on YCDTOSA 1). The the censored lyrics, the album was released frequent stopping and starting — which is with a notice that listeners could send away typical of the classical oratorio form — make for the (uncensored) libretto by mail. A the relationship less obvious in this studio simplified libretto was included with theOld recording than it was in live performances. Masters Box One and the CD. A full-page FZ explained, ad for Absolutely Free and ‘Big Leg Emma’ at the time that song was recorded . . . it was a ran in the London underground newspaper reference to people who were in a certain social set International Times. In white letters on a in Los Angeles . . . But the concept has branched predominantly black page, it said: out since then, as the term got into general we can’t afford to print the lyrics . . . use . . . [T]he term plastic came to be used for . . . but we can afford to buy an ad. anything that anybody else didn’t like. But the MGM RECORDS6 original meaning referred to girls who wore white plastic go-go boots with matching hats and Inside the gatefold, a photograph by Barry went out with guys who wore powder blue alpaca Feinstein shows FZ standing and the other sweaters and had razor-cut hair-dos.7 Mothers lying: (back) Don Preston, Roy Estrada; (middle) Bunk Gardner, Ray Col- References to Sunset Boulevard, Pandora’s Box, lins, Jimmy Carl Black; (front) Billy Mundi. CIA, and Laurel Canyon all relate to the first Beneath the CD tray is a photo of FZ wear- youth riots in Los Angeles last year.8 ing Jimmy Carl Black’s high school sweater FZ performed ‘Plastic People’ in concert (later worn by producer Tom Wilson on the in 1966 (as heard on Mystery Disc), 1968 (as cover of We’re Only In It For The Money) and heard on Electric ), 1969 (as holding an electric knife and a jar of peanut heard on YCDTOSA 1), and May 1970. An butter. Printed in blue ink behind the CD earlier studio recording was released on libretto is a photograph of FZ with the elec- Joe’s Corsage. The Absolutely Free version was tric knife, peanut butter, and a hero sand- included on . wich containing an electronic circuit board. The 2012 CD was remastered from the 2–4. The Duke Of Prunes (the original 1967 analog master. It lacks the suite) [5:07] reverb of early CD versions. The two bonus tracks are in mono instead of reprocessed Probably recorded on November 16, 1966, stereo. under the title ‘Remember’. Ray Collins sings lead, with interjections by FZ and Roy 1–7. Absolutely Free (the Estrada. Jimmy Carl Black plays timpani. oratorio) [19:46] Bunk Gardner plays bassoon, soprano saxo- Each side of the original LP is designed as a phone, and . Billy Mundi plays drums. single continuous work. FZ referred to them Don Preston plays Clavinet, piano, and as ‘underground oratorios’. The first orato- electric piano. rio, consisting of ‘Plastic People’, ‘Duke Of On the liner of the LP and in the original Excerpted from the big note, © 2017, 2018 by Charles Ulrich. All rights reserved. For more information, contact New Star Books, www.NewStarBooks.com; [email protected] absolutely free 3 libretto, ‘The Duke Of Prunes’ is listed as I had an idea of the commercial value of any 2a, ‘Amnesia Vivace’ as 2b, and ‘The Duke phrase repeated in that context. In other words, Regains His Chops’ as 2c. No title is given the catch phrase of that album, that’s the Suzy on Absolutely Free for the three-part suite, Creamcheese of that album.12 but it appears on as a single track entitled ‘The Duke Of Prunes’. The phrase is heard in ‘Duke Of Prunes’, ‘Soft-Sell Conclusion’, ‘America Drinks’, and 2. The Duke Of Prunes (the track) 2:13 ‘Uncle Bernie’s Farm’. FZ explained, ‘Duke Of Prunes’ dates from FZ’s soundtrack for Run Home Slow, where it was ‘The Duke of Prunes’ is a surrealistic love song. performed as an instrumental (as heard on Euphemistic sexual imagery popular in coun- Mystery Disc). FZ performed the song in try tunes, with which many of you might concert in 1968, May 1970 (in a medley with already be familiar, is transmuted in this par- ‘Who Needs The ?’), September ticular piece from the basic ‘–– me, suck me, till 1972, September 1975 (as heard on Orchestral my eyes roll back, baby’ to ‘prune me, cheese me, Favorites), and fall 1975. Ray Collins sang go-kart . . .’ or something like that. This song is lead in 1968; on later tours it was performed very strange.9 as an instrumental. FZ played a guitar solo Ray Collins recalled, in 1970 and 1972. The known live perfor- mances consisted of just ‘Duke of Prunes’ Frank had this very beautiful tune called ‘And proper, without ‘Amnesia Vivace’ and ‘The Very True’. And when we went in to record Duke Regains His Chops’. However, The it, being a little crazy at the time . . . I just Grandmothers have recreated the entire ad-libbed on the spot. The original lyrics I think suite on stage. were ‘Moonbeam through the night’, something very loving, although Frank doesn’t like love 3. Amnesia Vivace 1:01 songs . . . So later, after we recorded it, I told The middle part of the suite detours from Frank, ‘Well, you know, I just made up those the ‘Duke Of Prunes’ melody to allude to lyrics as we went along, so if not money’ — FZ’s two favorite types of music: twentieth- although I didn’t say ‘Don’t pay me’ — ‘I should century classical and rhythm & blues. It at least get album credit for it.’ So he says, ‘Well, contains musical quotations from the ‘Ritual just tell me what you want to put on the album.’ Of The Ancestors’ section of Igor Stravin- And so a couple days later, I said, ‘Well, just put sky’s (0:00–0:07), the “Prune: Ray Collins.”’ And he put the ‘Side 3’ opening bassoon line of The Rite Of Spring part. That was out of his own mind.10 (0:16–0:21), and the ‘Lullaby’ from Stravin- Brett Clement explains that the sky’s (0:22–1:01). FZ remarked, accompaniment . . . alternates regularly between I like the idea of incongruity and putting things the F- and G-lydian systems . . . [T]he pedals together, just because why shouldn’t you find out employed here create a semitonal bass motion F what it would sound like if these two things were (lydian) to E (dorian) . . . Over this oscillating played together at the same time? . . . We took accompaniment, the theme [G C B D A E B F#] that chunky part of the rite of spring and is stated three times, the second and third state- superimposed on top of it the ‘Berceuse’ from ments being isomelic variations and/or fragmen- firebird suite. By putting those two together, tary versions of the pitch succession of the initial that’s an homage to . You know, statement . . . [T]his theme unfolds a T7 cycle so you have these things colliding, these things . . . that of C lydian. The first three pitches of that never belonged together in the first place. the theme (G-C-B) are the only pitches that are If you believe there’s rules to writing music that ‘out of order’ within the T7 cycle. By inverting can’t be broken, then you’re going to be a boring the order of C and G, and following C with its .13 leading tone B, the pitch C emerges strongly as a FZ’s recitation about the Duke and tonic in the melodic zone.11 Douchess of Prunes parodies the song ‘Duke FZ’s ‘oh no!’ is a recurring element on of Earl’, which was recorded by Gene Chan- Absolutely Free. dler in 1961 and went to #1 on both the R&B and pop charts in 1962. Excerpted from the big note, © 2017, 2018 by Charles Ulrich. All rights reserved. For more information, contact New Star Books, www.NewStarBooks.com; [email protected] 4 the big note

The original libretto contains the follow- ‘Invocation & Ritual Dance Of The Young ing stage direction: Pumpkin’ as 3b, and ‘Soft-Sell Conclusion & Ending Of Side #1’ as 3c. No title is given on (The dashing Duke is on his way home from a Absolutely Free for the three-part suite, but football game when he tries to make it with some an edited version appears on Mothermania as cheerleaders who beat him in the face & armpits a single track entitled ‘Call Any Vegetable’. near the parking lot which leads to amnesia.)14 FZ explained, 4. The Duke Regains His Chops 1:53 The best clue to this song might lie in the fact that people who are inactive in a society . . . The final part of the suite returns to the people who do not live up to their responsibilities ‘Duke Of Prunes’ melody. After Ray Collins . . . are vegetables. I feel that these people . . . even refers to The Supremes, the song parodies if they are inactive, apathetic or unconcerned at their ‘Baby Love’ , which reached #1 on both this point . . . can be motivated toward a more the R&B and pop charts in 1964. The Moth- useful sort of existence. I believe that if you call ers performed ‘Baby Love’ itself in concert any vegetable it will respond to you.15 in 1967 (as heard on ’Tis The Season To Be Jelly) and 1968. According to Lorraine Belcher, the inspi- ration for ‘Call Any Vegetable’ came when 5–7. Call Any Vegetable (the FZ came home unexpectedly and found his suite) [10:56] first wife Kay Recorded on November 16, 1966. Bunk in the bedroom, just passed out, sound asleep, Gardner plays soprano saxophone. Billy with a potato that she had carved into a dildo Mundi plays drums. Don Preston plays . . . Being Frank, he managed to tape-record her Clavinet. explanation . . . She explained to him that she On the liner of the LP and in the original had tried out all the different vegetables . . . and libretto, ‘Call Any Vegetable’ is listed as 3a,

Igor Stravinsky Igor Fyodorovich Stravinsky was born in Oranienbaum, Russia, on June 17, 1882. He studied orchestration with Nikolai Rimsky-Korsakov. He moved to France in 1911 and to the in 1939. He died in on April 6, 1971. The second LP that FZ bought (after The Complete Works Of Edgard Varèse, Volume 1) was the Camden recording of Stravinsky’s The Rite Of Spring performed by ‘The World Wide Symphony ’ — actually the San Francisco Symphony, conducted by Pierre Mon- teux. FZ recalled, ‘I had only two for about three years, and I used to play ’em to death.’43 Stravinsky’s work is conventionally divided into three periods: Russian (1900s–early 1920s), neo-classical (1920s–early 1950s), and serial (1950s–). FZ preferred the works of Stravinsky’s Russian period: The one I like most of all is the soldier’s tale, in particular ‘The Royal March’ . . . it’s exactly what I look for in music. Of course, I like the big ballets, the rite of spring, , fire- bird, and agon. I don’t like the neo-classical period all that much, or the later serial works (apart from agon).44 Although FZ didn’t care for Stravinsky’s neo-classical works, he likened his own use of doo- wop conventions on Cruising With Ruben & The Jets to Stravinsky’s use of classical conven- tions in this period. FZ remarked, I think that if there’s anything from the I like that’s incorporated in my guitar playing, it’s Stravinsky’s idea of economy of means, because I’ll take just a few notes and change the rhythm. If you want to look at it in purely scientific terms, you have a chord that tells you where your harmonic

Excerpted from the big note, © 2017, 2018 by Charles Ulrich. All rights reserved. For more information, contact New Star Books, www.NewStarBooks.com; [email protected] absolutely free 5 potatoes were the most harmonious . . . Later, he ‘Caledonia, mahogany, elbows’ speech. The played the tape for me, living in Studio Z.16 Holst quotation was performed in 1969 and 1970, but not 1971. In 1970, the suite began FZ wrote the song in Hawaii in April 1966. with a musical quotation from Stravin- ’ song ‘Vega-Tables’ was sky’s Agon (heard out of context on At The written around the same time by Brian Wil- Circus). ‘Champagne Lecture’ (on Playground son and short-term Mothers Of Invention Psychotics) is an excerpt from a 1970 perfor- keyboard player . According mance of ‘Call Any Vegetable’. to Parks’s ex-wife, 5. Call Any Vegetable (the track) 2:15 Van Dyke had worked briefly with Ray Collins sings lead, with backing vocals — one freak-out was enough for us — and and recitation by FZ and yodels by Jimmy Frank was also writing a song about vegetables. Carl Black. We took Brian to meet Frank. That was a fun The melody of the ‘No one will know’ sec- moment.17 tion is based on the intro to Don & Dewey’s FZ performed ‘Call Any Vegetable’ in ‘Little Sally Walker’ (1959). concert in 1969, May 1970, summer/fall 1970 (as heard on Freaks & Motherfu*#@%), and 6. Invocation And Ritual Dance Of The 1971 (as heard on Just Another Band From Young Pumpkin 6:59 L.A. and Swiss Cheese/Fire!). It was rehearsed A musical quotation (0:08–0:26) from in 1987, but not performed on the 1988 ‘Jupiter, Bringer of Jollity’ from tour. It was sung by Roy Estrada and FZ in by Gustav Holst (1874–1934) is followed 1969, by Ray Collins and FZ on the Mothers by a long duet by FZ on guitar and Bunk reunion tour, and by Flo & Eddie thereafter. Gardner on soprano sax. Roy Estrada plays Unlike ‘Duke of Prunes’, the whole suite was bass (with his fingers) throughout the track; performed, including a guitar solo and the John Balkin plays bass (with a pick) during

Igor Stravinsky [cont.] climate is — where the event is taking place. The chord is like the establishing shot in a movie — where you see the exterior of the building, or the alley with the garbage cans. It tells you where it’s happening. Then the action takes place. . . . what’s really happening in the solo is this: for each harmonic climate that’s presented, there are experiments being conducted, in real time, with different notes and weights and measures of those dif- ferent notes, versus the climate. And every time you change the position of the note, it has a different impact. That’s especially true of bent notes.45 FZ employed musical quotations from Stravinsky in several of his own works. He quoted ‘Lullaby’ from The Firebird (1910) in ‘Amnesia Vivace’ (Absolutely Free). He quoted three dances from Petrushka (1911): ‘The Shrove-Tide Fair’ and ‘The Crowds’ in ‘Status Back Baby’ (Absolutely Free) and ‘Russian Dance’ in the ‘You Didn’t Try To Call Me’ medley (’Tis The Season To Be Jelly). He quoted ‘Pas De Quatre’ from Agon (1957) in the 1970 of ‘Call Any Vegetable’ (as heard — out of context — on At The Circus). FZ quoted three dances from The Rite Of Spring (1913). Quotations from ‘Introduction’ are heard in ‘Amnesia Vivace’, ‘Fountain Of Love’ (Cruising With Ruben & The Jets), ‘Trouble Every Day’ (Electric Aunt Jemima), ‘Rollo’ (Quaudiophiliac), and ‘In-A-Gadda-Stravinsky’ (Guitar). A quotation from ‘The Augurs Of Spring’ is heard in ‘Drowning Witch’ (Ship Arriving Too Late To Save A Drowning Witch), and one from ‘Ritual Of The Ancestors’ in ‘Amnesia Vivace’. FZ quoted the ‘Royal March’ from The Soldier’s Tale (1918) in ‘Soft-Sell Conclusion’ (Abso- lutely Free). He incorporated it into the 1988 arrangement of ‘Packard Goose’ (as heard — out of context — on Make A Noise Here). He also narrated a performance of The Soldier’s Tale at the Hollywood Bowl on September 6, 1972.

Excerpted from the big note, © 2017, 2018 by Charles Ulrich. All rights reserved. For more information, contact New Star Books, www.NewStarBooks.com; [email protected] 6 the big note

the Holst quotation. Both Jimmy Carl Black and Billy Mundi play drums. 9. Why Don’tcha Do Me Right? 2:39 The original libretto describes the action: Recorded at TTG on March 6, 1967. FZ ‘(A young pumpkin sacrifices herself dancing sings lead and plays a guitar solo. Don Pres- crazy and sweats; wiping it on the desk ton plays electric . Bunk Gard- leading to amnesia.)’18 This stage direction ner does not play. and the track title are reminiscent of The FZ described ‘Why Don’tcha Do Me Rite of Spring — the sections of which have Right?’ as titles such as ‘Evocation Of The Ancestors’, straight shit R&B, with a little humor thrown ‘Ritual Of The Ancestors’, and ‘Dance Of in. Maybe people were offended by the fact that The Young Girls’ — and also allude to FZ’s I did a takeoff on ‘Wild Thing,’ or ‘Sit Down I nickname for Gail Sloatman. Think I Love You,’ or something like that.21 7. Soft-Sell Conclusion 1:41 ‘Why Don’tcha Do Me Right’ was released FZ recites the monologue and sings lead. as a single in April 1967. It was not on the Ray Collins, Roy Estrada, and Jimmy Carl Absolutely Free LP but was added to the CD Black sing and talk in the background. Col- as a bonus track. lins plays harmonica. FZ is not known to have performed FZ utilizes a technique associated with ‘Why Don’tcha Do Me Right?’ in concert, composer Charles Ives (1874–1954), play- although the 1988 band rehearsed it. An ing three melodies against each other earlier, pre-Mothers recording was released (0:48–0:54). Bunk Gardner plays ‘God Bless on Joe’s Xmasage., and an even earlier version America’ on soprano saxophone, FZ (word- on Paul Buff Presents Highlights From The Pal lessly) sings ‘America the Beautiful’, and And Original Sound Studio Archives. Roy Estrada plays the ‘Marine’s Hymn’ on bass. Later (1:25–1:31), there is a quotation 10–15. The MOI American from the ‘Royal March’ in Stravinsky’s The Pageant [18:47] Soldier’s Tale. Side two of the original LP is identified as On the LP, the title is ‘Soft-Sell Conclu- ‘#2 In a Series of UNDERGROUND ORA- sion & Ending of Side #1’. TORIOS’. It starts and ends with two ver- sions of the same song, ‘America Drinks’. FZ 8. Big Leg Emma 2:32 is not known to have performed the oratorio Recorded at TTG Studios on March 6, as a whole in concert. 1967. FZ and Jimmy Carl Black sing. Bunk Gardner plays a soprano saxophone solo. Jim 10. America Drinks 1:53 Fielder had left the Mothers by this time. Probably recorded on November 16, 1966, This song was the B-side of the ‘Why under the title ‘No Regret’. FZ counts off. Don’tcha Do Me Right?’ single. It was not Ray Collins sings lead. Bunk Gardner plays on the Absolutely Free LP but was added to soprano saxophone. John Balkin plays elec- the CD as a bonus track. FZ said that the tric bass. Don Preston plays piano. single FZ explained, was a straight commercial attempt to just go in On this side of the album there are two versions with a piece of absolute shit for a market that is of this set of lyrics. This version which opens side based on shit. It was an experiment.19 two is in effect an abstraction (in advance of) the set of lyrics which close side two. The opening He characterized ‘Big Leg Emma’ as lines of ‘One, two, buckle my shoe’ and ‘doopie, ‘straight-shit jug band’.20 The title is taken doopie’ are derived from a tune called ‘My Little from ‘Big Leg Emma’s’, recorded by Cham- Red Book’.22 pion Jack Dupree in 1955. FZ performed ‘Big Leg Emma’ in concert FZ probably knew this Bacharach/David in 1967 (as heard on ’Tis the Season to Be song from the 1966 cover version by Love. Jelly), 1968, 1969 (as heard on The Ark), May The song also contains musical quotations 1970, December 1976 (as heard on Zappa In from ‘Entry of the Gladiators’ by Julius New York), winter 1977, and fall 1977. Fucˇík (1:20–1:22) and an unidentified piece associated with silent movie chases (1:22– Excerpted from the big note, © 2017, 2018 by Charles Ulrich. All rights reserved. For more information, contact New Star Books, www.NewStarBooks.com; [email protected] absolutely free 7

1:24, 1:33–1:49). The former is also heard in REST OF THE SONG).25 ‘Greggery Peccary’ (Studio Tan), ‘Rhymin’ Man’, ‘Jesus Thinks You’re A Jerk’ (both on The ‘orgasmic ensemble statement’ (1:29– Broadway The Hard Way), and ‘Lonesome 2:07) consists of musical quotations from Cowboy Burt’ (Best Band You Never Heard Stravinsky’s Petrushka. In addition to these In Your Life); the latter in ‘I’m A Beautiful straightforward melodic quotations, Andre Guy’ (). Meanwhile, Roy Mount argues that there are other, less obvi- Estrada is playing the bassline later heard in ous borrowings from Petrushka elsewhere in ‘Jelly Roll Gum Drop’. ‘Status Back Baby’.26 Ray Collins flubs the line ‘soft voice and FZ explained, your sad eyes’, ‘sad eyes’ first and ‘Status Back Baby’ is a song about young acne then mumbling something. The original America and their daily trials and tribulations. libretto (clearly written after recording) has It is unfortunate that many young Americans ‘sad eyes and your bran flakes’ — definitely really do worry about losing status at their high not what Collins sang. school. De Molay is a religious youth organisa- After the lyrics to ‘America Drinks’, the tion in the United States. A Pom Pom Girl is original libretto has the following stage a young lady who cuts strips of crepe paper all direction: week long after school to make an object known (There follows a magnificent orchestral ejacu- as a pom pom, which is a puffy ball composed of lation during which a few of you might fancy a strips of crepe paper. After she has manufactured peanut butter & jelly sandwich . . . THEN:)23 her own pom pom, she will go to the football game and jump high in the air with her pom Verve wanted to replace ‘ejaculation’ with pom in her hand shouting, as she does so, these ‘climax’. 24 immortal words: ‘We’ve got a team that’s on 11. Status Back Baby 2:54 the beam, that’s really hep to the jive. Come on, Tigers! Let’s skin ’em alive.’ Or, ‘Push ’em back, Recorded on November 15, 1966. Ray Col- push ’em back! We like it, sissboombah!’ Then lins and FZ sing lead, with backing vocals they drink beer and get pregnant in the back of by Jimmy Carl Black and Roy Estrada. Bunk somebody’s car.27 Gardner plays alto saxophone. FZ plays a guitar solo. This song dates from the Cucamonga era. After the second verse, the original An earlier version was recorded at Pal Stu- libretto has the following stage direction: dios circa 1963 with Allison Buff, Paul Buff’s first wife, singing lead (as heard onPaul Buff (Rockin’ sax solo . . . swingin’ groovy guitar solo presents). FZ performed ‘Status Back Baby’ with group mumblings & clean fun . . . orgasmic in concert in 1967, 1968, 1969 (as heard on ensemble statement . . . This whole section is very The Ark), and 1971 (as heard on Playground ZORCH & Solid Jackson . . . THEN: THE Psychotics).

Jim Fielder James Thomas Fielder was born in Denton, Texas, on October 4, 1947. He started playing guitar at age seven, string bass ten years later. While attending high school in Anaheim, Cal- ifornia, he played in The Bohemians with . He had switched to electric bass by the time he played with Mastin & Brewer (alongside Billy Mundi) and . Jim Fielder played twelve-string guitar in the Mothers from circa October 1966 through February 19, 1967. He is heard on Absolutely Free and parts of Mothermania and Understanding America. He left for a second stint with Buffalo Springfield. [The Mothers] had me playing electric twelve-string guitar . . . It wasn’t what I wanted to do. When the offer came through from the Springfield, I took it because I wanted to play bass.46 Fielder was a founding member of Blood, Sweat & Tears. He has also recorded with Tim Buckley, Buffalo Springfield, , and others.

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time — it’s fantastic. It’s four bars of 4/4, one 12. Uncle Bernie’s Farm 2:10 bar of 8/8, one bar of 9/8 — OK? And then it Recorded on November 16, 1966, under the goes 8/8, 9/8, 8/8, 9/8, 8/8, 9/8, then it goes title ‘Send Santa Claus Back To The Rescue 8/8, 4/8, 5/8, 6/8, and back into 4/4 again. Mission’. FZ sings lead, with additional To get it together now, we just toss it off and it vocals by Jimmy Carl Black, Ray Collins, becomes a flop.31 and Roy Estrada. Bunk Gardner plays tenor saxophone. Don Preston plays Clavinet and The song is influenced by Richard Berry’s electric piano. ‘Louie Louie’, though not as obviously as FZ explained, ‘Plastic People’ is. FZ is not known ever to have performed ‘Uncle Bernie’s Farm’ is a song about ugly toys ‘Son of Suzy Creamcheese’ in concert, and the people who make them. Implied here is although The Mothers lip-synched to it on the possibility that the people who buy the ugly a 1967 television broadcast From The Bit- toys might be as ugly as the toys themselves.28 ter End in New York City. ‘I’m dreaming’ (0:00–0:02, 1:49–1:51) is a performed it on the 2007 quotation from ‘White Christmas’ by Irving tour. Sheet music of ‘Son Of Suzy Cream- Berlin. cheese’ was published in The Frank Zappa FZ is not known ever to have performed Songbook. ‘Uncle Bernie’s Farm’ in concert. It has been performed by Pojama People. 14. Brown Shoes Don’t Make It 7:29 Recorded on November 18, 1966. The vocals 13. Son Of Suzy Creamcheese 1:34 are shared by Ray Collins (‘TV dinner by Recorded on November 15, 1966. Ray Col- the pool’), Roy Estrada (‘Watch your brother lins sings lead, with backing vocals by Jimmy grow a beard’), Jimmy Carl Black (‘Got Carl Black, Roy Estrada, and FZ. Bunk another year of school’), and FZ (‘We see Gardner plays tenor saxophone. Billy Mundi in the back of the city hall mind’). The line plays drums. ‘What would you do, Daddy?’, attributed to FZ explained, Suzy Creamcheese in the libretto, is spoken by Lisa Cohen, daughter of The Mothers’ ‘Son of Suzy Creamcheese’ is a stirring saga of manager . Bunk Gardner plays a young . Her actions are all motivated tenor saxophone, flute, bassoon, and clari- by a desire to be ‘in’ at all times. Hence the net. Billy Mundi plays drums. Don Preston drug abuse — blowing her mind on too much plays electric piano, piano, and Clavinet. Kool-Aid (acid) . . . stealing her boyfriend’s stash The Mothers are joined on this song by Don (a hidden supply of drugs) — and leaving Los Ellis (), Johnny Rotella (contrabass Angeles for a protest march in Berkeley.29 clarinet), and a string quartet consisting of ‘The heat’ was a slang term for the police. Jim Getzoff, Marshall Sosson (), Alvin The Strip is the mile-and-a-half-long sec- Dinkin (viola), and Armand Kaproff (cello). tion of Sunset Boulevard between Doheny Don Preston recalled, Drive and Crescent Heights Boulevard in We had to record the song in eight-bar segments. Hollywood. The Whisky à Go Go, the Mostly because the bass player and the drum- Roxy, and the Trip were all on the Strip. mer didn’t read music at all. And I was not a Canter’s Delicatessen (419 N. Fairfax great sight-reader, although I could read some Avenue) was of it . . . What we had to do was learn that eight THE TOP FREAKO WATERING HOLE bars, and then Zappa would record it about AND SOCIAL HQ, scene of more blatant twenty times. And then we’d learn the next eight Gestapo practices than the peaceful natives care bars, and then Zappa would record that twenty to recollect. . . .30 times.32 Vito Paulekas was the leader of the freaks. Martin Herraiz notes that ‘Brown Shoes FZ told Frank Kofsky, Don’t Make It’ is ‘Son of Suzy Creamcheese’ took a year to learn rigorously structured in by way how to play. Can you tell why? The time, the of studio editing. The form is composed of 22

Excerpted from the big note, © 2017, 2018 by Charles Ulrich. All rights reserved. For more information, contact New Star Books, www.NewStarBooks.com; [email protected] absolutely free 9 moments, alluding to various musical styles, Frank Zappa Songbook — is based on the ‘popular’ and ‘classical’, each lasting between 5 chord progression of ‘Ja-Da’ (written by Bob and 27 seconds (more than one third of these in Carleton in 1918) and/or ‘Doxy’ (written by the range of 21–24 seconds). The only exception Sonny Rollins and recorded by is a strictly dodecaphonic 51-second moment, in 1954). with chamber music instrumentation and lyrics According to the Musicians Union session recited in Sprechstimme, in clear reference to sheets for Freak Out!, a song entitled ‘Brown the Second Viennese School. The song concludes Shoes Don’t Make It’ was recorded on with two exclusively instrumental moments of March 12, 1966. However, that was certainly the same duration (22 seconds each), but quite not this recording and probably not the same contrasting to each other.33 song, since the one released on Absolutely Free was not written until April 1966: The music heard behind ‘We see in the back . . .’ (2:12–3:02) is based on ‘Waltz For The words for ‘Brown Shoes’ were written in Guitar’, a twelve-tone crab canon FZ wrote a place called The Surfboard Motel, just off on December 22, 1958, the day after his Kalakaua Avenue in Waikiki . . . this depleted eighteenth birthday. The piece contains little motel. The name of the club that we were eight statements of the prime tone row, with working at at that time was called Da Swamp no transpositions, inversions, or retrogrades. . . . And the motel was right in back of the club. Brett Clement notes that numerous adjacent And there wasn’t too much in the way of swing- pitches in the row differ by interval class ing social life over there, so I spent some time 1, always realized as a major seventh or a with a little typewriter, and cranked off ‘Brown minor ninth, never as a minor second. He Shoes’ in an afternoon.37 states that ‘This characteristic was likely Other titles that FZ used for two distinct appropriated from Webern, and will remain compositions were ‘Canard Du Jour’ (see of import in Zappa’s non-serial chromatic Shut Up ‘N Play Yer Guitar and FZ:OZ) and works.’34 The music is in two voices (to be ‘Grand Wazoo’ (see Grand Wazoo and Lost played on a single guitar), and the rhythm of Episodes). the second voice is the retrograde of the first FZ explained, voice. FZ noted, ‘Brown Shoes Don’t Make It’ is a song about There’s actually another version for two , the people who run the government, the people so it’s a double crab canon. I don’t know where who make the laws that keep you from living it is though. I’d been doing 12-tone music for the kind of life you know you should lead. These quite some time before I did this, but it was the unfortunate people manufacture inequitable laws first time I’d tried to write something for the and ordinances, perhaps unaware of the fact that guitar. I couldn’t play it . . .35 the restrictions they place on the young people in The ‘Jelly Roll Gum Drop’ bassline is a society are a result of their own hidden sexual heard again (3:29–3:39). The ‘She’s a dirty frustrations. Dirty old men have no business young mind’ section (4:52–5:12) is based running your country.38 on the Beach Boys’ ‘Little Deuce Coupe’ FZ performed ‘Brown Shoes Don’t Make (released as the flipside of ‘Surfer Girl’ in It’ in concert in 1968, 1969 (as introduced 1963). FZ wrote that this song’s reversal of on ), late summer 1973 the typical ii-V chord progression was (as heard on Road Tapes Venue #2), and 1979 One of the most exciting things that ever (as heard on Tinseltown Rebellion and Anyway happened in the world of ‘white-person The Wind Blows). The Absolutely Free version music’ . . . An important step forward by going was included on Understanding America. backward.36 Sheet music of ‘Brown Shoes Don’t Make It’ was published in The Frank Zappa Song- In the ‘Do it again . . .’ section (4:27–4:45), book. Sheet music of ‘Waltz For Guitar’ was Ray Collins’s vocal is out of synch with the published in Guitar Player Presents: Zappa! instruments on the mono LP, but in synch (1992). on the stereo LP and CD. The ‘Smother my daughter’ section (5:33–6:04) — labeled ‘Corny Swing’ in The

Excerpted from the big note, © 2017, 2018 by Charles Ulrich. All rights reserved. For more information, contact New Star Books, www.NewStarBooks.com; [email protected] 10 the big note

progression. And the piano player does his best to 15. America Drinks & Goes Home 2:48 play more notes per bar than is necessary to make Probably recorded on November 16, 1966, the lyric come through. The drummer plays as along with ‘America Drinks’. Ray Collins tastelessly as possible. All these effects were syn- sings lead. Bunk Gardner plays soprano thesized into the background of ‘America Drinks saxophone. Don Preston plays piano. The And Goes Home’.41 crowd noise in the background features The Don Preston added the intro, which he Mothers and other freaks, including Terry borrowed from Gilliam, later animator with Monty Python and director of Brazil (1985), which FZ said a corny . . . most famous for playing was his favorite movie. Jimmy Carl Black New Year’s Eve. And the intro that I play on starts a fight with Roy Estrada. Bunk Gard- that song, they played on every song that they ner tries to pick up two girls. Herb Cohen played . . . So I thought it would be perfect for rings the cash register. this song.42 FZ explained, Collins acknowledges two song requests, ‘America Drinks and Goes Home’ is an unsubtle ‘Caravan’ with a drum solo (see ‘You’re parody of adult conduct in neighborhood cocktail Probably Wondering Why I’m Here’, Freak lounges in America. The humor is aimed at (1) Out!) and ‘Bill Bailey, Won’t You Please the type of music your parents like to listen to, Come Home’. (2) the manner in which they like to have it per- FZ performed ‘America Drinks And Goes formed (the insincerity of the nightclub crooner Home’ in concert in 1967, 1968 (as heard in his closing address to the alcoholics at the bar), on Electric Aunt Jemima), September 1972, (3) the manner in which the audience persists and December 1976. Ray Collins sang lead in talking above the level of the music while it is in the 1960s; it was performed as an instru- being performed — which belies their disrespect mental in the . Sheet music of ‘America for music as an art and for anyone involved in Drinks And Goes Home’ was published in the performance of music.’39 The Frank Zappa Songbook. A later studio recording — arranged by FZ — appears on Musically, ‘America Drinks & Goes Jean-Luc Ponty’s album. Home’ is a parody of jazz standards and the ii-V-I chord progression, which FZ charac- NOTES terized as ‘a hateful progression . . . the essence 40 1. FZ, interviewed by Don Paulsen, New of bad “white-person music.” ’ York, December 22, 1966. I don’t know whether or not you can really imag- 2. FZ, interviewed by J.C. Costa, ‘A Mother ine a parody of a set of chord changes, but that’s In The Studio’, International Musician And what’s in it. The chord changes amount to a series Recording World, February 1979, p. 129. of ii-V-I’s rotating around the circle of fifths. 3. FZ, interviewed by Don Paulsen, New Our parody consists of, instead of going around York, December 22, 1966. the circle of fifths like the old folks used to do, we 4. FZ, interviewed by Don Paulsen, New made the ii-V-I’s go in funny directions, where York, December 22, 1966. 5. FZ, interviewed by Frank Kofsky, ‘Frank they normally wouldn’t go. It’s a little bit more Zappa: The Mothers Of Invention’, Jazz and adventurous chord progression than the normal Pop, September 1967, reprinted in Rock Giants, stock ballad chord progression. The words are just edited by Pauline Rivelli and Robert Levin, about as putrid as I could make them. 1970, p. 17. And from there we had to decide on a proper 6. Advertisement, International Times, August musical performance for this ditty. We chose 31–September 13, 1967, p. 16. the medium of the cocktail piano, accompanied 7. FZ, interviewed for Zweites Deutsches by strummed guitar, the way the guitar players Fernsehen, Manchester, England, November used to play it in the bars that I worked in as a 27, 1970. youth. The guitar player sits on a stool, wearing 8. FZ, ‘Mothers Of Invention: The Lyrics a tux coat and a bow tie . . . And he strums the Are Absolutely Free’, International Times, chords in all sorts of bizarre inversions to make August 31–September 13, 1967, p. 10. it sound really ‘modren’. What he’s actually 9. FZ, ‘Mothers Of Invention: The Lyrics playing is no better than a cowboy music chord Are Absolutely Free’, International Times,

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August 31–September 13, 1967, p. 10. 28. FZ, ‘Mothers Of Invention: The Lyr- 10. Ray Collins, interviewed by David Porter, ics Are Absolutely Free’, International Times, August 12, 1989, . 29. FZ, ‘Mothers Of Invention: The Lyr- 11. Brett Clement, 2009, A Study Of The ics Are Absolutely Free’, International Times, Instrumental Music Of Frank Zappa, doctoral August 31–September 13, 1967, p. 11. dissertation, University of Cincinnati, pp. 169f. 30. FZ, ‘Freak Out Hot Spots!’ map, Freak 12. FZ, interviewed by Frank Kofsky, ‘Frank Out!, 1966. Zappa Interview’, Jazz and Pop, October 1967, 31. Frank Zappa, interviewed by Frank reprinted in Rock Giants, edited by Pauline Kofsky, ‘Frank Zappa Interview’, Jazz and Pop, Rivelli and Robert Levin, 1970, p. 29. September 1967, reprinted in The Age Of Rock: 13. FZ, interviewed by Philip Coulter, 1992, Sounds Of The American Cultural Revolution, ‘I Am All Day And Night, Part 1’, Inside The edied by Jonathan Eisen, 1969, page 260, and Music, CBC radio, January 17, 2009. Rock Giants, edited by Pauline Rivelli and Rob- 14. FZ, Absolutely Free: The Complete Libretto. ert Levin, 1970, page 16. 15. FZ, ‘Mothers Of Invention: The Lyr- 32. Don Preston, interviewed by Prism Films, ics Are Absolutely Free’, International Times, ‘Zappa & MOI: Don Preston Part 4’,