Last of the 1988 albums; another double-disc release. This one demonstrates the musical excellence, which is a tragedy that the band self-destructed. Mostly instrumental favorites like ‘King Kong,’ ‘Let’s Make The Water Turn Black’ and ‘Big Swifty’ populate the first half, with some rock staples (“Steve’s Spanking”) helping to finish the last disc. ‘Strictly Genteel’ closes out the record, the coda to Zappa’s nearly three decade-long touring/rock career.
The second of the 1988 albums, this one featuring two discs of live music taken from the tour. Big band renditions of old favorites. Heavy comedy and covers on the second disc (with Jimmy Swaggart version of three classic songs) while the first part is straight up Zappa. A five minute version of Ravel’s ‘Bolero’ makes it worthwhile, but you’ll find new versions of songs from all the eras.
Zappa’s 1988 tour is known for: ending horribly; unfortunately, being his last; producing three albums worth of material. The first, ‘Broadway,’ is the one with most new music, such as ‘Elvis Has Left The Building’ and ‘Jesus Thinks You’re A Jerk.’ Guest appearance by Sting on ‘Murder By Numbers’ adds to the overall fun. The other two releases would focus on the instrumental. Here, it’s all about the lyrical.
The overall ambiance of Zappa’s guitar playing is captured in this two disc set. Almost arranged as a single concert, the release is compiled from solos from other songs, renamed and presented. Clearly the follow-up to ‘Shut Up And Play Yer Guitar.’ A lot of influences and conceptual continuity present; no real stand-outs as it listens as one big solo (which isn’t a bad thing. Overall, it’s very enjoyable.)
Some stores slapped a PARENTAL AVISORY EXPLICIT CONTENT sticker on despite being a pure instrumental album (which would lead to Zappa’s first and only Grammy award.) Another pure Synclavier production that features ‘G-Spot Tornado,’ ‘Night School’ and ‘While You Were Art II.’ Precursor to The Yellow Shark and a continuation of Zappa’s orchestral work. Though a one man/ machine show, it’s a good release; mainly for the moderately involved.
A live concert album that eventually got released as a home video (now dvd.) Contains a better version of ‘Tinsel-Town Rebellion’ and different renditions of ‘Zoot Allures’ and ‘Trouble Every Day.’ Dweezil demonstrates his guitar ability by playing lead on ‘Whipping Post’ at the end, skills he continues today with Zappa Plays Zappa. Nothing stands out but good for what it is, a sampling of the 1984 live experience.
Twenty-five years ago, the Parent Music Research Council held senate hearings about the content of music. Zappa’s testimony is recreated in ‘Porn Wars,’ added with some synclavier music. The album’s reissued version includes ‘I Don’t Even Care,’ a good song which has Johnny “Guitar” Watson singing. In addition, ‘We’re Turning Again’ and ‘What’s New In Baltimore?’ make this worthwhile though the whole concept of censorship is the album’s centerpiece.
Definitely only For The SERIOUS (which is funny, since it helps not to take this so seriously) as Francesco Zappa’s work is reproduced through Frank Zappa’s synclavier. THEY ARE NOT RELATED despite the similar name and the starring role Frank gives Francesco in THEM OR US: THE BOOK. This is a WEIRD ONE though the music is merely 18th Century Chamber Music done up in a DIGITAL ARRAY. Yowza!
In his second theatrical work, Zappa sought to craft a Broadway musical that incorporated some music and ideas (conceptual continuity) from his later period. The result here is a tale featuring Mammy Nuns, Harry, Rhonda and an Evil Prince. With new lyrics over old music from four earlier albums, a unique social commentary and listening experience is made. Overall, it’s entertaining but those looking for new music should pass.
While home to ‘Ya Honza,’ a bit of music manipulation (reversed vocals patchworked from other songs,) this album mainly furthers the conceptual continuity with ‘Truck Driver Divorce,’ ‘In France’ and ‘Planet of my Dreams.’ Add a pair of covers, a reimaging of a previous song (‘Sharleena’) and a catchy single (“Be In My Video”) to get a middle of the road entry into the catalogue. The book is better.
High Class Classical. French composer Pierre Boulez conducts the Ensemble Intercontemporain as it performs three musical arrangements – ‘Naval Aviation in Art?’ ‘Dupree’s Paradise’ and the titular track; others attributed to The Barking Pumpkin Digital Gratification Consort though it’s merely Zappa’s Synclavier. All songs demonstrate elements of conceptual continuity. Hints of ‘200 Motels’ to ‘Joe’s Garage’ peek out here and there. Good for those looking to get into something HEAVY.
Originally, the two volumes were released four years apart but the CD version combines them together. Thank goodness, because you can find neat versions of ‘Pedro’s Dowry,’ and ‘Envelopes,’ while ‘Bogus Pomp’ and ‘Strictly Genteel’ can be found on Volume II. The three movements of ‘Moe ‘n Herb’s Vacation’ are the real appeal of this collection of music, though all the orchestral music here will appeal to any fan.
The soundtrack to a Movie About People Who Do Stuff That Is Not Normal. Outside of the title track (which is exactly that found on ‘Sheik Yerbouti’) the songs here are the live versions found on the concert-movie/Bruce Bickford wilderness. See the movie first (since it’s now widely available on DVD) and get this if you really dig the live versions featured in the film. Otherwise, a low priority.
Another odd one. Sprechgesang songs ‘The Radio is Broken,’ ‘The Dangerous Kitchen’ and ‘The Jazz Discharge Part Hats’ are mixed with instrumentals (‘Moggio,’ ‘We Are Not Alone’) and rants against sex and drugs (‘Sex,’ ‘Cocaine Decisions.’) Topped off with Doo-Wop and you have a wild compilation of songs that don’t gel together. Casuals should avoid and moderate fans can mark it low priority. Something for the collectors and committed.
Oh boy. This one is noted as the album with his best selling American single (“Valley Girl”) that featured teenage Moon Unit’s vocal performance. But packaged with songs like ‘Envelopes,’ ‘I Come From Nowhere’ and ‘Drowning Witch,’ it sounds like a scattered and bizarre release without any commanding direction. Might consider this the point when the final phase (Phaze three?) starts in his career, the beginning of the end.
