"We're Makin' A Movie"

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FZ: Well folks, here's the deal. We're making a movie—there's a camera up there, there's a camera up there, there's a camera right here, there's a camera back there, there's lights all over this place—yeah, it's all make-believe. That's right, there's no film in the cameras, we're just pretending, see? So you just relax, and if the lights happen to go on on you, just pretend there's no film in the camera, because we may have you do something amusing later.

Ah, we didn't get a chance to ha— make one of those fantastic glorious entrances you know they have in Hollywood, but I wanted to introduce all the members of the group to you. So, let's do that right now. This is Bruce Fowler on trombone . . . Napoleon Murphy Brock on tenor sax . . . Ruth Underwood on percussion . . . Ralph Humphrey on drums . . . Chester Thompson on drums . . . Tom Fowler on bass . . . And George Duke on keyboards.

All right. Now, what'll we play now? Hmm . . .

Audience members: "Peaches En Regalia."

FZ: No, no, no . . . No, we wanna play— we have some new songs that we'd like to play for you. I'm just gonna . . . Uh, okay, here's, here's a group of three of them. The first one is called "Pygmy Twylyte." It's a song about chemical alterations and the corruption of youth—Hi, Elmer! Expert in the corruption of youth. And then after the, ah, song about the corruption of youth, we have "The Idiot Bastard Son," which is a song about, you know what it's about. Alright. And then after, ah, "Idiot Bastard Son," we have another new song, it's about monster movies. It's called "A Little More Cheepnis Please." Okay?

As a matter of fact, maybe I should tell you in detail what's happening in "A Little More Cheepnis," 'cause the words go by pretty fast, but ah, some of you may be fond of, ah, monster movies. I am. I watch 'em all the time on television. I think the, the cheaper they are, the better they are. And, ah, the golden age of the science fiction movie was the '50s when they're in black and white and you can see the caves bending when they hit the caves, and whenever the giant spider came out, you could see the strings and you could see the, the fake— the pump for the drool coming out of the thing, you know. That to me, ladies and gentlemen, is great art. I get off on that stuff. So, if— really, it's shit, but it's great art. And then, uh, if you, if you get off on that stuff too, then maybe you can dig that song better. Anyway, here is "Pygmy Twylyte."

Everybody get in the groove. Oh, give me the tempo from the, the beeper. You don't where it is? Aha. All right. Let's guess. See if this sounds right. That about it? A little faster? Nuh-uh. Nuh-uh. One, two, three, four . . .