Frank Zappa, 82/06 - Revision history

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Duncan at 20:09, 9 August 2021

2021-08-09T20:09:16Z

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 [[Image:RR_82_06_5.jpg|frame|]]
 '''Did you ever do any shows with [[Jimi Hendrix|Hendrix]]?<br>
-Yeah, he sat in with us at the [[Garrick Theatre|Garrick Theater]]. In fact, he played my hollowbody through a Fender Twin and got feedback out of that. All I know is he was working downstairs at this place. The [[Cafe au-Go-Go]], and we invited him to sit in and he came upstairs and I let him use my guitar and he got feedback and went ape. I saw him at the Cafe Au Go Go when he played with us and at a pop festival in [[Miami]] where we worked with him. That's when he burned his guitar and I got it about a year-and-a-half later from the guy who used to be one of his roadies, a guy called Howard Parker. We also jammed with him at this little club called The Castaways or something like that in Miami because all the groups who were playing at the festival were staying at this same hotel. And there was a bar and we had a jam session there. Yeah, I think he was good. I enjoyed playing with him. He also came over to the house one time with [[Buddy Miles]] and he said, "Hi, this is my friend Buddy" and I said "Great, pleased to meet you Buddy" and Buddy says "Hi, Frank" and sits down on the sofa and nods out. His head went back, his mouth fell open and he was snoring for two hours while I continued to talk with Jimi. You don't play much acoustic guitar? Seldom. I only practice on it. I mean, I like the way it sounds on record but I don't consider myself an acoustic player. I used it on [[We're Only In It For The Money]] and there's one cut called "[[Sleep Dirt]]" on [[Studio Tan]]. There's a solo on "Stink-foot" where I use an acoustic guitar with a Barcus-Berry on it and that's going to one side and the electric output of the acoustic is going to a Mutron on the right side. A hybrid kind of thing.
+Yeah, he sat in with us at the [[Garrick Theatre|Garrick Theater]]. In fact, he played my hollowbody through a Fender Twin and got feedback out of that. All I know is he was working downstairs at this place. The [[Cafe Au Go Go]], and we invited him to sit in and he came upstairs and I let him use my guitar and he got feedback and went ape. I saw him at the Cafe Au Go Go when he played with us and at a pop festival in [[Miami]] where we worked with him. That's when he burned his guitar and I got it about a year-and-a-half later from the guy who used to be one of his roadies, a guy called Howard Parker. We also jammed with him at this little club called The Castaways or something like that in Miami because all the groups who were playing at the festival were staying at this same hotel. And there was a bar and we had a jam session there. Yeah, I think he was good. I enjoyed playing with him. He also came over to the house one time with [[Buddy Miles]] and he said, "Hi, this is my friend Buddy" and I said "Great, pleased to meet you Buddy" and Buddy says "Hi, Frank" and sits down on the sofa and nods out. His head went back, his mouth fell open and he was snoring for two hours while I continued to talk with Jimi. You don't play much acoustic guitar? Seldom. I only practice on it. I mean, I like the way it sounds on record but I don't consider myself an acoustic player. I used it on [[We're Only In It For The Money]] and there's one cut called "[[Sleep Dirt]]" on [[Studio Tan]]. There's a solo on "Stink-foot" where I use an acoustic guitar with a Barcus-Berry on it and that's going to one side and the electric output of the acoustic is going to a Mutron on the right side. A hybrid kind of thing.
 '''You tend to use DiMarzio pickups on your guitars.<br>

@@ Line 139: / Line 139: @@
 [[Image:RR_82_06_5.jpg|frame|]]
 '''Did you ever do any shows with [[Jimi Hendrix|Hendrix]]?<br>
-Yeah, he sat in with us at the [[Garrick Theatre|Garrick Theater]]. In fact, he played my hollowbody through a Fender Twin and got feedback out of that. All I know is he was working downstairs at this place. The Cafe Au Go Go, and we invited him to sit in and he came upstairs and I let him use my guitar and he got feedback and went ape. I saw him at the Cafe Au Go Go when he played with us and at a pop festival in Miami where we worked with him. That's when he burned his guitar and I got it about a year-and-a-half later from the guy who used to be one of his roadies, a guy called Howard Parker. We also jammed with him at this little club called The Castaways or something like that in Miami because all the groups who were playing at the festival were staying at this same hotel. And there was a bar and we had a jam session there. Yeah, I think he was good. I enjoyed playing with him. He also came over to the house one time with [[Buddy Miles]] and he said, "Hi, this is my friend Buddy" and I said "Great, pleased to meet you Buddy" and Buddy says "Hi, Frank" and sits down on the sofa and nods out. His head went back, his mouth fell open and he was snoring for two hours while I continued to talk with Jimi. You don't play much acoustic guitar? Seldom. I only practice on it. I mean, I like the way it sounds on record but I don't consider myself an acoustic player. I used it on [[We're Only In It For The Money]] and there's one cut called "[[Sleep Dirt]]" on [[Studio Tan]]. There's a solo on "Stink-foot" where I use an acoustic guitar with a Barcus-Berry on it and that's going to one side and the electric output of the acoustic is going to a Mutron on the right side. A hybrid kind of thing.
+Yeah, he sat in with us at the [[Garrick Theatre|Garrick Theater]]. In fact, he played my hollowbody through a Fender Twin and got feedback out of that. All I know is he was working downstairs at this place. The [[Cafe au-Go-Go]], and we invited him to sit in and he came upstairs and I let him use my guitar and he got feedback and went ape. I saw him at the Cafe Au Go Go when he played with us and at a pop festival in [[Miami]] where we worked with him. That's when he burned his guitar and I got it about a year-and-a-half later from the guy who used to be one of his roadies, a guy called Howard Parker. We also jammed with him at this little club called The Castaways or something like that in Miami because all the groups who were playing at the festival were staying at this same hotel. And there was a bar and we had a jam session there. Yeah, I think he was good. I enjoyed playing with him. He also came over to the house one time with [[Buddy Miles]] and he said, "Hi, this is my friend Buddy" and I said "Great, pleased to meet you Buddy" and Buddy says "Hi, Frank" and sits down on the sofa and nods out. His head went back, his mouth fell open and he was snoring for two hours while I continued to talk with Jimi. You don't play much acoustic guitar? Seldom. I only practice on it. I mean, I like the way it sounds on record but I don't consider myself an acoustic player. I used it on [[We're Only In It For The Money]] and there's one cut called "[[Sleep Dirt]]" on [[Studio Tan]]. There's a solo on "Stink-foot" where I use an acoustic guitar with a Barcus-Berry on it and that's going to one side and the electric output of the acoustic is going to a Mutron on the right side. A hybrid kind of thing.
 '''You tend to use DiMarzio pickups on your guitars.<br>

@@ Line 34: / Line 34: @@
 [[Image:RR_82_06_2.jpg|frame|"I'm selling 10 to 20 times more in Europe than I am here."]]
-'''What do you think of Bozzio's new band, Missing Persons?<br>
+'''What do you think of Bozzio's new band, [[Missing Persons]]?<br>
 I like "Mental Hopskotch." And I like [[Dale Bozzio|Dale's]] voice (female singer in band).

@@ Line 151: / Line 151: @@
 '''What other projects are you into?<br>
-Finally this year I'm going to get some orchestra performances and it's going to be in Berlin. That will happen in July, and for two weeks after that we'll be recording in Czechoslovakia. I'm taking my recording truck over there to do it. This truck has 100 inputs. The concert will be Golden Age by [[wikipedia:Dmitri Shostakovich|Shostakovitch]] and three movements from [[wikipedia:The Planets|The Planets]] and that will be the first half of the show and the second half will be my stuff plus my band.
+Finally this year I'm going to get some orchestra performances and it's going to be in [[Berlin]]. That will happen in July, and for two weeks after that we'll be recording in [[Czechoslovakia]]. I'm taking my recording truck over there to do it. This truck has 100 inputs. The concert will be Golden Age by [[wikipedia:Dmitri Shostakovich|Shostakovitch]] and three movements from [[wikipedia:The Planets|The Planets]] and that will be the first half of the show and the second half will be my stuff plus my band.
 [[Category:Interviews with Zappa]]
 [[Category:1982]]

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 [[Image:RR_82_06_5.jpg|frame|]]
 '''Did you ever do any shows with [[Jimi Hendrix|Hendrix]]?<br>
-Yeah, he sat in with us at the [[Garrick Theatre|Garrick Theater]]. In fact, he played my hollowbody through a Fender Twin and got feedback out of that. All I know is he was working downstairs at this place. The Cafe Au Go Go, and we invited him to sit in and he came upstairs and I let him use my guitar and he got feedback and went ape. I saw him at the Cafe Au Go Go when he played with us and at a pop festival in Miami where we worked with him. That's when he burned his guitar and I got it about a year-and-a-half later from the guy who used to be one of his roadies, a guy called Howard Parker. We also jammed with him at this little club called The Castaways or something like that in Miami because all the groups who were playing at the festival were staying at this same hotel. And there was a bar and we had a jam session there. Yeah, I think he was good. I enjoyed playing with him. He also came over to the house one time with Buddy Miles and he said, "Hi, this is my friend Buddy" and I said "Great, pleased to meet you Buddy" and Buddy says "Hi, Frank" and sits down on the sofa and nods out. His head went back, his mouth fell open and he was snoring for two hours while I continued to talk with Jimi. You don't play much acoustic guitar? Seldom. I only practice on it. I mean, I like the way it sounds on record but I don't consider myself an acoustic player. I used it on [[We're Only In It For The Money]] and there's one cut called "[[Sleep Dirt]]" on [[Studio Tan]]. There's a solo on "Stink-foot" where I use an acoustic guitar with a Barcus-Berry on it and that's going to one side and the electric output of the acoustic is going to a Mutron on the right side. A hybrid kind of thing.
+Yeah, he sat in with us at the [[Garrick Theatre|Garrick Theater]]. In fact, he played my hollowbody through a Fender Twin and got feedback out of that. All I know is he was working downstairs at this place. The Cafe Au Go Go, and we invited him to sit in and he came upstairs and I let him use my guitar and he got feedback and went ape. I saw him at the Cafe Au Go Go when he played with us and at a pop festival in Miami where we worked with him. That's when he burned his guitar and I got it about a year-and-a-half later from the guy who used to be one of his roadies, a guy called Howard Parker. We also jammed with him at this little club called The Castaways or something like that in Miami because all the groups who were playing at the festival were staying at this same hotel. And there was a bar and we had a jam session there. Yeah, I think he was good. I enjoyed playing with him. He also came over to the house one time with [[Buddy Miles]] and he said, "Hi, this is my friend Buddy" and I said "Great, pleased to meet you Buddy" and Buddy says "Hi, Frank" and sits down on the sofa and nods out. His head went back, his mouth fell open and he was snoring for two hours while I continued to talk with Jimi. You don't play much acoustic guitar? Seldom. I only practice on it. I mean, I like the way it sounds on record but I don't consider myself an acoustic player. I used it on [[We're Only In It For The Money]] and there's one cut called "[[Sleep Dirt]]" on [[Studio Tan]]. There's a solo on "Stink-foot" where I use an acoustic guitar with a Barcus-Berry on it and that's going to one side and the electric output of the acoustic is going to a Mutron on the right side. A hybrid kind of thing.
 '''You tend to use DiMarzio pickups on your guitars.<br>

@@ Line 111: / Line 111: @@
 '''What was it like playing with [[John Lennon]] and [[Yoko Ono]] on their [[Some Time In New York City|album]]?<br>
-That's not the way it happened. What happened was: we were working at the [[Fillmore Venues|Fillmore East]] and they came in and sat in with us and it just happened to be the same night we recorded the Live at the Fillmore album. So the whole event got on tape. And a deal was made in the dressing room afterwards where they said they wanted to be able to release the tapes and I said I wanted to be able to release the tapes and we mutually released each other. In other words I'll give you a copy of the tapes and you can do what you want with them and I'll do what I want with them. I've never released it but what they did with it was really the pits. They turned off some of the words that [[Howard Kaylan|Howard]] (Kaylan) and [[Mark Volman|Mark]] (Volman) were singing in a song called "[[Scum Bag]]" and they left some of the best stuff out of it. And what they did was they took a song called "[[King Kong]]" that we were playing and retitled it "Jam Rag" and claimed the publishing on it. So I'm not too thrilled about the results of that particular collaboration and one of these days I'm going to mix the stuff from that particular performance so you can hear everything that went on. Because Mark and Howard were talking about "sticking Yoko in a scumbag." I never had any further conversation with them because at that point it was one of those things where you'd have to go to a lawyer. I think there were some questions asked by [[Capitol Records]] as to why that had been done but in order to straighten it out, you'd have to go in with an accountant and see the sales of that particular album and start a lawsuit over the fact that they took the publishing and this and that. I Just thought it was a real cheap shot thing to do.
+That's not the way it happened. What happened was: we were working at the [[Fillmore Venues|Fillmore East]] and they came in and sat in with us and it just happened to be the same night we recorded the Live at the Fillmore album. So the whole event got on tape. And a deal was made in the dressing room afterwards where they said they wanted to be able to release the tapes and I said I wanted to be able to release the tapes and we mutually released each other. In other words I'll give you a copy of the tapes and you can do what you want with them and I'll do what I want with them. I've never released it but what they did with it was really the pits. They turned off some of the words that [[Flo & Eddie|Howard]] (Kaylan) and [[Flo & Eddie|Mark]] (Volman) were singing in a song called "[[Scum Bag]]" and they left some of the best stuff out of it. And what they did was they took a song called "[[King Kong]]" that we were playing and retitled it "Jam Rag" and claimed the publishing on it. So I'm not too thrilled about the results of that particular collaboration and one of these days I'm going to mix the stuff from that particular performance so you can hear everything that went on. Because Mark and Howard were talking about "sticking Yoko in a scumbag." I never had any further conversation with them because at that point it was one of those things where you'd have to go to a lawyer. I think there were some questions asked by [[Capitol Records]] as to why that had been done but in order to straighten it out, you'd have to go in with an accountant and see the sales of that particular album and start a lawsuit over the fact that they took the publishing and this and that. I Just thought it was a real cheap shot thing to do.
 '''Any feelings about Lennon's death?<br>

@@ Line 2: / Line 2: @@
 INTERVIEW<br>
 Record Review, June 1982<br>
-[[Biography|Frank Zappa|FRANK ZAPPA]]<br>
+[[Biography|FRANK ZAPPA]]<br>
 By [https://www.rocksbackpages.com/Library/Writer/steven-rosen Steven Rosen]<br>
@@ Line 139: / Line 139: @@
 [[Image:RR_82_06_5.jpg|frame|]]
 '''Did you ever do any shows with [[Jimi Hendrix|Hendrix]]?<br>
-Yeah, he sat in with us at the [[Garrick Theater]]. In fact, he played my hollowbody through a Fender Twin and got feedback out of that. All I know is he was working downstairs at this place. The Cafe Au Go Go, and we invited him to sit in and he came upstairs and I let him use my guitar and he got feedback and went ape. I saw him at the Cafe Au Go Go when he played with us and at a pop festival in Miami where we worked with him. That's when he burned his guitar and I got it about a year-and-a-half later from the guy who used to be one of his roadies, a guy called Howard Parker. We also jammed with him at this little club called The Castaways or something like that in Miami because all the groups who were playing at the festival were staying at this same hotel. And there was a bar and we had a jam session there. Yeah, I think he was good. I enjoyed playing with him. He also came over to the house one time with Buddy Miles and he said, "Hi, this is my friend Buddy" and I said "Great, pleased to meet you Buddy" and Buddy says "Hi, Frank" and sits down on the sofa and nods out. His head went back, his mouth fell open and he was snoring for two hours while I continued to talk with Jimi. You don't play much acoustic guitar? Seldom. I only practice on it. I mean, I like the way it sounds on record but I don't consider myself an acoustic player. I used it on [[We're Only In It For The Money]] and there's one cut called "[[Sleep Dirt]]" on [[Studio Tan]]. There's a solo on "Stink-foot" where I use an acoustic guitar with a Barcus-Berry on it and that's going to one side and the electric output of the acoustic is going to a Mutron on the right side. A hybrid kind of thing.
+Yeah, he sat in with us at the [[Garrick Theatre|Garrick Theater]]. In fact, he played my hollowbody through a Fender Twin and got feedback out of that. All I know is he was working downstairs at this place. The Cafe Au Go Go, and we invited him to sit in and he came upstairs and I let him use my guitar and he got feedback and went ape. I saw him at the Cafe Au Go Go when he played with us and at a pop festival in Miami where we worked with him. That's when he burned his guitar and I got it about a year-and-a-half later from the guy who used to be one of his roadies, a guy called Howard Parker. We also jammed with him at this little club called The Castaways or something like that in Miami because all the groups who were playing at the festival were staying at this same hotel. And there was a bar and we had a jam session there. Yeah, I think he was good. I enjoyed playing with him. He also came over to the house one time with Buddy Miles and he said, "Hi, this is my friend Buddy" and I said "Great, pleased to meet you Buddy" and Buddy says "Hi, Frank" and sits down on the sofa and nods out. His head went back, his mouth fell open and he was snoring for two hours while I continued to talk with Jimi. You don't play much acoustic guitar? Seldom. I only practice on it. I mean, I like the way it sounds on record but I don't consider myself an acoustic player. I used it on [[We're Only In It For The Money]] and there's one cut called "[[Sleep Dirt]]" on [[Studio Tan]]. There's a solo on "Stink-foot" where I use an acoustic guitar with a Barcus-Berry on it and that's going to one side and the electric output of the acoustic is going to a Mutron on the right side. A hybrid kind of thing.
 '''You tend to use DiMarzio pickups on your guitars.<br>

@@ Line 28: / Line 28: @@
 '''Can you sense a maturity in your playing?<br>
-I doubt that but I was listening to some tapes from Helsinki in 1973 and 1974 and I was amazed at the types of things I was playing. It also seemed I was playing about twice as fast then as I am now. But I wasn't using as much feedback and stuff. I get to play whatever the band will let me play. If you have a rhythm section that will support you in doing certain types of things you can go in that direction but you can't force it. Different rhythm sections make me play differently. If you're playing with [[Vinnie Colaiuta]] ([[Tinsel Town Rebellion]]) there's no problem in playing the weirdest poly-rhythms that you want because he's not going to get lost. Whereas if you're playing with [[Chester Thompson]] you don't want to do that too much; not that Chester can't follow polyrhythms but he doesn't have the same kind of radar that Vinnie does. And he gives you a different kind of support. And he makes you want to play a different way. And if you're playing within a rhythm section format you have to have some respect for the guys you're playing with. And work with them to make them sound good, too. It has to be a cooperative effort; you just don't want to play any old thing. Because then there's no groove to it.
+I doubt that but I was listening to some tapes from Helsinki in 1973 and 1974 and I was amazed at the types of things I was playing. It also seemed I was playing about twice as fast then as I am now. But I wasn't using as much feedback and stuff. I get to play whatever the band will let me play. If you have a rhythm section that will support you in doing certain types of things you can go in that direction but you can't force it. Different rhythm sections make me play differently. If you're playing with [[Vinnie Colaiuta]] ([[Tinseltown Rebellion|Tinsel Town Rebellion]]) there's no problem in playing the weirdest poly-rhythms that you want because he's not going to get lost. Whereas if you're playing with [[Chester Thompson]] you don't want to do that too much; not that Chester can't follow polyrhythms but he doesn't have the same kind of radar that Vinnie does. And he gives you a different kind of support. And he makes you want to play a different way. And if you're playing within a rhythm section format you have to have some respect for the guys you're playing with. And work with them to make them sound good, too. It has to be a cooperative effort; you just don't want to play any old thing. Because then there's no groove to it.
 '''What about playing with someone like [[Terry Bozzio]] ([[Zoot Allures]])?<br>
@@ Line 67: / Line 67: @@
 [[Image:RR_82_06_3.jpg|frame|"The five guys who grogram all the radio stations in the U.S. aren't let you hear it."]]
-'''How do you feel about [[Tinsel Town Rebellion]]?<br>
+'''How do you feel about [[Tinseltown Rebellion|Tinsel Town Rebellion]]?<br>
 I like the album but I wasn't happy with the amount of units it sold. Nor was I happy with the amount of units [[You Are What You Is]] sold. I think radio has a lot to do with it now that radio is back where it was twenty years ago in terms of a strict playlist and real conservative taste. But it's probably just a fact of business life right now that what I have to offer will not get out to the widest spectrum of the American public because of what they are allowed to hear on the radio. But that doesn't necessarily mean what I'm doing is not relevant or good; it just means the five guys who program all the radio stations in the U.S. aren't gonna let you hear it, that's all.