KPFM-FM Radio Interview, 84/5

KPFA-FM Radio Interview
May 17, 1984
Frank Zappa interviewed by Charles Amirkhanian.
Source URL: http://www.archive.org/details/AM_1984_05_17
47:09 min.

"Charles Amirkhanian interviews Frank Zappa in anticipation of his appearance on Speaking of Music at the Exploratorium. Zappa discusses his digital re-mastering of his album "Lumpy Gravy" and other early works. The musical selections played during this program are not included in this recording.

— KPFA Folio

This audio is part of the collection: Other Minds Archive

Charles Amirkhanian: Welcome to our program with Frank Zappa, who is visiting the Bay Area for performances with the San Francisco Chamber Orchestra directed by Jean-Luis Lerue on Saturday evening and also tonight, and, ah, they can be doing Dupree's Paradise along with the program of other classical music at the Herbst Theatre, then on Sunday, the main event, of course, Speaking Of Music, with Frank Zappa at the The Exploratorium's program at the Palace Of Fine Arts at 8 pm.
Frank's gonna be presenting a variety of recent music, all in digital sound on a special playback system made by John Myer's Sound Lab, and the the program begins with excerpts from Lumpy Gravy, remastered in digital sound, soon to be re-released in – as I understand – in a box set of records from the old days, and then there'll be excerpts from his classical pieces, works for Synclavier and orchestrations of music by his name-sake from the 18th century, Francesco Zappa, who flourished in the 18th century, but who is going to flourish again in San Francisco this Sunday night.
Frank, let's talk a little bit about the program at the The Exploratorium. First of all, because a lot of people are anxious to know what exactly you're planning for the evening. Ah, how did you arrive at this selection of hings? There is such a variety.
FZ: Well, that's the point, a lot of people don't know what kind of variety is available. But, ah, I think that they'll get a good whiff of that on Sunday … and also it's sequenced to – ah– give people some kind of insight into how the writing for instruments other than guitar, bass and drums has progressed since the days of Lumpy Gravy … and … ah … there's a lot of surprises in it, and … should be fun to listen to. I mean, I've listened to the tapes right through just to check it out to make sure they was ok, and so … interesting program.
CA: I walked up to the ticket office where they're selling tickets the other day in Union Square and a guy said, "Oh yeah, well, he's not playing anything, it's just a lecture."
FZ: He's so entirely too incorrect!
CA: [laughs] Yeah but, it was mind-blowing, that … ah … I, ah tried to straighten the young man out and then he bought a ticket so I … I think, he was convinced. I hope other people will be out there, because this is sort of a special opportunity to hear pieces in a … really incredible setting, because of the sound system you've been working with. Now, as I understand, you've been recording all of the orchestral things on 24-track-digital, which is sort of new …
FZ: Yeah, it's new, and … ah … we're one of the first people to … or first companies to attempt that, and I think the sound is … excellent.
CA: Now, tell me a little bit about the … ah … Lumpy Gravy remix. This album, it seems to me, is sort of seminal in a lot of ways, because it has the kind of tape slicing and collaging that … ah … Musique concrète and serious composers were doing, but it's done in a … wacky way, which later was imitated by a lot of composers in the serious music field as well as … ah …the Rock field. And now, that everybody in New Wave and Punk music is doing really ah … outstuff, this seems to me to be one of the key early pieces in this genre …
FZ: Yeah, I think it was probably the first of the outside Rock 'n' Roll albums, and has a special place in the repertoire because of that, hrm, it's one of my favorite albums, on a conceptional level. I don't think that it turned out very well musically, because there wasn't enough time to perfect the orchestral performances that were in there and all the other stuff, and it was all done with very crude equipment. It was recorded in 1966 and it was a 4-track recording …
CA: 4-track, aw …
FZ: Yeah. It was recorded at ah … the orchestra was recorded in Capitol Records Studio A, and the splicing and, … ah … location of all the little pieces of found objects that are glued together to make the stuff in between took about thirteen months. And that was all done on a … a Roberts, in … my house [laughs], and then the whole thing was put together and mastered with whatever they thought was the finest stuff of the day, which by today-standards wasn't very good.
And that's one the reasons why we've gone back and done a digital re-tweezement on it, to equalize it and … ah … clean up some of the things that can be cleaned up with digital technology, so that on all the selections in this first box set that's being released. If you have original albums, it's a drastic improvement over the originals, and a lot of people of … ah … written in ###, sayin', "where can they get another copy of Freak Out!, mine's worn out", well they, you'll be able to get a new copy of Freak Out!, Absolutely Free, Lumpy Gravy, We're Only In It For Money and Ruben And The Jets plus the Mystery Disc, that has little pieces of continuity and stuff that was left out o'those albums and other things that date from before Freak Out! included in that package. And that's set for release within the next couple o'months.
And, …
CA: Did you … did …
FZ: … and, this excerpt that we're gonna play, is part of the first that you'll be able to hear from that …
CA: Did you actually record anything in Lumpy Gravy or is it just …
FZ: No, ah … nothin' is been re-recorded, ah … there are been two things added to the orchestral stuff, ah … that is a brand new set o'drums and a brand new electric bass, playing the same parts that were originally written into the scores but not too legible on the original tapes. Basically it's the same, same piece. It's just, we've improved the echo on it, we've improved high frequency clarity and tried to suppress the tape noise were it was possible.
CA: So, people who come out Sunday night will be able to get a preview of the new, new … ah … remastering of the album. That's gonna be great. What about the other albums? Did you do significant work on them as well?
FZ: On … hrm … Freak Out! the only thing we did was take the original two-track mixes, re-equalize them and change some of the echo that was on there. Same thing on Absolutely Free. On We're Only In It For The Money it was completely remixed from the original 8-track masters, because the 2-track masters were pretty much destroyed by being stored badly. And in the case of that album, all of the drum set parts and all of the bass parts were replaced. And the same thing was true on Cruising With Ruben & The Jets, drums and bass replaced.
CA: What can you do to store a tape badly like that?
FZ: I don't know how they did it, but the condition of the tape was such that the off-side had fallen off and you could see through the tape and … ah … when you played it, you could tell that there used to be something on there but it sure didn't sound good, and there's just no way to retrieve it so we had to go back at great expense and great time … ah … delay to … ah … re-record the rhythm tracks and the complete remix on the original masters, and if you ever heard the We're Only In It For The Money album, that too is collaged together, there's lots of little bits and pieces, and they had to be located from the four corners of the world, re-spliced, re-sequenced, hrm, and it was a BIG job.
And in the case of Ruben & The Jets there was one master that was completely gone, no, we couldn't find it … a little background here: I … because of some law suits, that I was involved in, I now have the rights to all these master recordings and that's one of the reasons why I'm re-releasing 'em. But when the masters were returned to me, in the case of the Ruben & The Jets album, the song Stuff Up The Cracks was missing. I couldn't find it anywhere, so we had to … just do a … ah … re-spiffing on the two-track mix o'that. So … everything else on that album has been really cleaned though …
CA: It's hard to think of even attempting to put some of the things back together, I mean, it's unbelievable.
FZ: Well, see, the problem is, that I know what they are and I know where they are, roughly, in the … this mountain of tape, that I got stored in this vault in my house. But, ah, to find it, to go through the hours and hours of tape to find these little pieces was unbelievable work. You, just when you thought you had all the pieces to do a section, you knew there was something else missing and you had to go diving back in there, because there was little things like two seconds long, and they're not labelled on the box, it just doesn't say "Eighteenth Cut of the Two-Seconds Duration in Segment Nine from Side Two", it has some other weird name on it or it's not named at all, you just happened a note that might have been the last note of improvisation that was on some other ### reel tape, and you gotta go find it, chop it up …
CA: Working in the studio is so different from putting everything down on paper and thaht's one the things that happen when you're in the studio: you grab something off on a … from a reel tape, put it into a mix, and then finding it later is a real chore …
FZ: Yeah.
CA: I could never recreate some of the things I've tryin' to do that way. It's … ### even I gave it a shot. Ahm,
FZ: Well, that's because I respect the people in the audience who like this kind of music and I'm in, let's face it, I need all the friends I can get. So, if you can't do a good job for them, then who else are gonna do it for 'em.
CA: We're talking with Frank Zappa, who is appearing at the Exploratorium Sunday night at 8 pm, for tickets you can go to the Stubs Box Office in Union Square or there'll be a few tickets on sale at the door if you get there at … ah … let's say seven. …
FZ:
to be continued …

See Also

Zappa Pokes Into The Fine Arts
A Zappa Affair