Label: Sound Board - FZ 0279 • Format: 2x, Vinyl LP, Unofficial Release • Country: UK • Genre: Rock •
From onwards Zappa turned his attention more and more to the large tape vault at the Honey of his house in Los Angeles with all the live recordings and unreleased studio tracks. He had the habit of changing his compositions a little and sometimes drastically for each tour and even during a tour. So the tape vault contained a large collection of different versions or "covers" of his music. Some of it had already appeared in the first half of the eighties: a third of "Tinsel town rebellion", "Baby snakes" and most of "Does humor belong in music" consisted of such recordings.
This series, as well as the bootleg albums, show that Zappa didn't write most of his material with a specific album in mind. The compositions were added to a pool of unreleased compositions, from which from time to time the albums were extracted.
Many songs were part of the concert program for some time, before they appeared on album. The vault aroundstill from "The present day composer refuses to die" Frank Scheffer.
Below two more from the same corridor posted on the net. Most of these CDs contain quite some unreleased material. When you include the solos the "You can't do that on stage anymore" series offers between 30 and 40 minutes of music that you can qualify as new per CD. Zappa always looked for new approaches to his music, giving each release some specific characteristics of its own. The special treat of this massive series here is that this time it is not chronological, but an arbitrary selection of music from all concerts from all periods.
It's looking at his entire career from another angle and, as far as I know, never been done this way before by other artists. Next are a couple of examples of unreleased pieces from the series, plus two titles in much different versions.
Zappa loved such pieces and normally included one or two of them in the concert program. They could be either composed by himself or covers, as the series at the end of vol. Presented below is the main theme from "Babette". Babette, theme midi file. Babette, theme transcription. Everybody starts in the tempo Napoleon originally began with, ignoring the ritardando. The band is playing in an improvised manner around the I and VI chords.
At various points you can see that duplets or quadruplets are used for the melody, thus the subdivision of the beats into three gets repeatedly passed.
On beat three of bar 4 a Db and Bb turn up as passing notes Open Your Heart - Various - Dance Mania 2 everybody, a little chromatic element.
The chord progression is II-V. The II-V-I progression, that Zappa claimed to hate according to the Real Frank Zappa book, turns up in this song a couple of times, in full bars or partially.
See also the Absolutely free section at "America drinks at goes home". One might try to explain such examples away as parodies. Personally I think it's better to notice that Zappa followed no rules whatsoever, even rules he sometimes suggested himself.
Dont You Want A Man Like Me? - Frank Zappa - Zapped Again! band returns to I, moving to IV in bar 8, next to return to a repetition of the main theme. In case of volume I: - "Once upon a time" : this song belongs to the Sofa-suite or Divan series, that has a subsection of its own in the Playground psychotics section.
Alle six carry the same design by Jeff Fey in different colour combinations. II" has a section of its own in this study. This volume is entirely devoted to a single concert held at Helsinki, II version: - "Approximate". Tracks from Vol. III are three unreleased songs from the tour in a row. The first is a rock song, called "Ride my face to Chicago", the title being taken over from a piece of toilet graffiti Zappa could still remember in Ride my face to Chicago, theme midi file. Ride my face to Chicago, theme transcription.
The bass guitar is giving a D on beat, while the guitar is playing a low riff. This riff combines a subdivision into two and into three and is using syncopes as well. There's a slight difference between bars in the sense that the V chords last an eighth note and a dotted quarter note respectively.
Like the previous guitar riff, the lead melody is using subdivision into two and into three. You now got syncopes with triplets and syncopes going over a bar, so rhythmically it's a complicated figure. The accompanying chords are all played off-beat. This last chord implies a switch to D Dorian, but this doesn't get effectuated any further. The music modulates to B minor. Theme II knows two phrases. The first is sung over a broken I chord in triplet time, the second over a broken VII chord.
Other than theme I, this one is rather elementary going on beat with Zappa commenting "sing ooh-weeh-ooh-weeh The global set-up of this song is: - Opening themes from above, played twice. This is another example of mingling closely related scales. The bass vamp is using both F and F in its figure, leaving it a bit in the middle if this solo is in Dorian or Mixolydian.
Zappa begins with playing an If I Loved You - Guy Lombardo - Sweet & Heavenly e. Five are passing by in this study: - Lumpy Gravy version: this is the first time Zappa recorded the "King Kong" theme.
Zappa hardly changed the notes and the rhythm of this melody ever since, nor did he transpose the song all versions are in Eb Dorian. The differences therefore lie in the accompaniment. The Uncle Meat section shows that there's already a difference between the sheet music and the album recording.
The Honey Meat section contains an example plus a re-appearance of the main theme in a weird combination with the "Uncle Meat" theme. It's a compilation of four concert outtakes, one from and three from It lasts over 24 minutes, thus with "Billy the mountain" the longest one-track recording in Zappa's official catalogue. Still unedited and performances of "King Kong" could last longer, taking up Love Dancin - Various - Studio 54 *5th Edition* - The Biggest And Best Disco Collection Ever! an hour, as you can find one on for instance "Carnegie hall".
This is largely due to the fact that Zappa used the "King Kong" theme most of the time as an introduction to at least one, but mostly a couple of solos. The theme itself is relatively short, lasting one and a half minute. III" version, that with its different sources and improvised extravaganza, becomes a very interesting overview of what could happen to this song on stage. It's made up of six blocks. Theme from "King Kong".
As on Lumpy Gravy the presentation is polyrhythmic. This vamp is a two-bar bass theme with free keyboard improvisation over it. As said it's largely this accompaniment, that's responsible for the main theme sounding different on I Cant Give You Anything But Love, Baby - Rubino And His Continentals - Say It With Music occasions.
It gets interrupted by barswhere the bass plays along with the melody. In order to get the two parts equal at the start of bar 8, you have to plan such things carefully in advance. Only when the main melody begins on beat 4 of bar 4, you're getting the picture as in bar 8. King Kongopening midi file. King Kongopening transcription. This block is using a vamp in Bb. The example begins with the final bar of the "King Kong" theme.
The next vamp in Bb continues with this meter. It's a figure of one bar. At first very faintly, you've got Dont You Want A Man Like Me? - Frank Zappa - Zapped Again!
notes coming up bar 2, staff 3; staff 1 from bar 3 onwards. In bar 6 they come up explicitly as glissandos. In bar 7 the bass figure briefly gets a pause, while the keyboard improvisation continues in the background. After a while members of the band sing along with only "blow job" as text. King Kongsection 1 midi file. King Kongsection 1 transcription.
Now we're getting at the part with solos from a Sax solo by Ian Underwood in D Dorian. Intro for the guitar solo. I'm not sure if this is a keyboard part, sounding like a guitar, or the guitar itself playing softly.
First part of Honey guitar solo. Zappa is here moving through notes from varying scales via chord progressions. There are no clear tonics, Dont You Want A Man Like Me? - Frank Zappa - Zapped Again! it as good as impossible to assign sections to keys. The solo is adrift through the diatonic world. Only at the chords seem to settle for A Mixolydian. These beats, on their turn, can also get subdivided into three, leading to figures that look like the ones in bar 5.
The chords in the first example below are: bars Gm7-Am7-Bb. Notes gets altered compared to the preceding bars, so it sounds as two modulations. Second part of the guitar solo with Zappa soloing in a way that's more common in his music, namely an improvised melody in A Mixolydian.
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