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YOU CAN'T DO THAT ON STAGE ANYMORE, VOL. 5

Frank Zappa

RIO/Avant-Prog


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Frank Zappa You Can't Do That On Stage Anymore, Vol. 5 album cover
3.50 | 66 ratings | 3 reviews | 23% 5 stars

Good, but non-essential


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Live, released in 1992

Songs / Tracks Listing

Disc one
1. The Downtown Talent Scout (4:01)
2. Charles Ives (4:38)
3. Here Lies Love (2:45)
4. Piano/Drum Duet (1:57)
5. Mozart Ballet (4:05)
6. Chocolate Halvah (3:25)
7. JCB & Kansas On The Bus # 1 (1:04)
8. Run Home Slow: Main Title Thene (1:17)
9. The Little March (1:21)
10. Right There (5:07)
11. Where Is Johnny Velvet? (0:52)
12. Return Of The Hunch-Back Duke (1:44)
13. Trouble Every Day (4:07)
14. Proto-Minimalism (1:40)
15. JCB & Kansas On The Bus #2 (1:11)
16. My Head? (1:22)
17. Meow (1:24)
18. Baked-Bean Boogie (3:27)
19. Where's Our Equipment? (2:29)
20. FZ/JCB Drum Duet (4:27)
21. No Waiting For The Peanuts To Dissolve (4:45)
22. A Game Of Cards (0:46)
23. Underground Freak-Out Music (3:52)
24. German Lunch (6:43)
25. My Guitar Wants To Kill Your Mama (2:12)

Disc two
1. Easy Meat (7:39)
2. Dead Girls Of London (2:29)
3. Shall We Take Ourselves Seriously? (1:45)
4. What's New In Baltimore? (5:04)
5. Maggio (2:29)
6. Dancin' Fool (3:13)
7. RDNZL (7:59)
8. Advance Romance (7:01)
9. City Of Tiny Lites (10:38)
10. A Pound For A Brown (On The Bus) (8:39)
11. Doreen (1:59)
12. The Black Page #2 (9:57)
13. Geneva Farewell (1:38)

Total Time:

Lyrics

Search FRANK ZAPPA You Can't Do That On Stage Anymore, Vol. 5 lyrics

Music tabs (tablatures)

Search FRANK ZAPPA You Can't Do That On Stage Anymore, Vol. 5 tabs

Line-up / Musicians

- Frank Zappa / guitar, vocals
- Steve Vai / guitar
- Bobby Martin / keyboards, saxophone, vocals
- Don Preston / keyboards, electronics
- Ed Mann / percussion
- Chad Wackerman / drums
- Jimmy Carl Black / drums, vocals, voices
- Lowell George / guitar, vocals
- Ray Collins / tambourine
- Dick Barber / sound effects, vocals, voices
- Roy Estrada / bass, vocals
- Bunk Gardner / trumpet, sax (Tenor)
- Elliot Ingber / guitar
- Kanzus J. Kanzus / vocals, voices
- Dick Kunc / vocals, voices
- Tommy Mars / keyboards, vocals
- Billy Mundi / drums
- Motorhead Sherwood / sax (Baritone), vocals
- Scott Thunes / bass
- Art Tripp / drums
- Ian Underwood / clarinet, piano, piano (electric), sax (Alto)
- Ray White / guitar, vocals

Releases information

Rykodisc #RCD 10569/70

Thanks to ProgLucky for the addition
and to Joren for the last updates
Edit this entry

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Joe's Garage Acts I II & IIIJoe's Garage Acts I II & III
Zappa Records 2012
Audio CD$9.20
$9.76 (used)
We're Only In It For The MoneyWe're Only In It For The Money
Zappa Records 2012
Audio CD$3.55
$4.98 (used)
Apostrophe ( ' ) (40th Anniversary Vinyl)Apostrophe ( ' ) (40th Anniversary Vinyl)
Zappa Records 2014
Vinyl$24.98
Over-Nite SensationOver-Nite Sensation
Zappa Records 2012
Audio CD$7.59
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Hot RatsHot Rats
Zappa Records 2012
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Sheik YerboutiSheik Yerbouti
Double CD
Zappa Records 2012
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Sheik YerboutiSheik Yerbouti
Remastered
Zappa Records 1995
Audio CD$23.32
$1.93 (used)
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Zappa Records 2012
Audio CD$8.19
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Zappa Records 2012
Audio CD$6.51
$9.00 (used)
Apostrophe (')Apostrophe (')
Zappa Records 2012
Audio CD$7.44
$6.99 (used)
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FRANK ZAPPA You Can't Do That On Stage Anymore, Vol. 5 ratings distribution


3.50
(66 ratings)
Essential: a masterpiece of progressive rock music(23%)
23%
Excellent addition to any prog rock music collection(50%)
50%
Good, but non-essential (22%)
22%
Collectors/fans only (3%)
3%
Poor. Only for completionists (2%)
2%

FRANK ZAPPA You Can't Do That On Stage Anymore, Vol. 5 reviews


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Collaborators/Experts Reviews

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
4 stars "You Can't Do That On Stage Anymore, Vol. 5" is the 5th album in the "You Can't Do That On Stage Anymore" series of double live albums by US experimental rock artist Frank Zappa. The album was released through Rykodisc in July 1992.

Disc 1 contains unreleased live material (and a couple of studio parts and tracks) by Frank Zappa & The Mothers of Invention. All tracks on Disc 1 are recorded between 1965 and 1969. Most are from the last part of the career of the original Mothers of Invention. There are some pretty great tracks featured here like "The Downtown Talent Scout", "My Guitar Wants To Kill Your Mama" and "Run Home Slow: Main Title Theme" but ultimately too much of the material on Disc 1 are of a bit questionable quality to my ears. But thatīs actually no different from most other live recordings of the early Mothers of Invention that I have heard (there are of course exceptions). There are both rīnīb influenced tracks, avant garde rock songs, improvised compositions and spoken sketches on Disc 1 which is more or less business as usual for Frank Zappa & The Mothers of Invention. The sound quality varies but it is generally acceptable. Weīre not dealing with a high quality audio product though.

Disc 2 contains 13 tracks recorded live by the 1982 Frank Zappa band. About half of the material come from a concert in Geneva, Switzerland. According to the liner notes that concert ended in a small riot after Frank Zappa stopped the concert because the audience kept throwing unpleasant items on stage. The end to that concert can be heard on the last track on Disc 2 titled "Geneva Farewell". After repeatedly asking that the audience should not throw any more stuff on stage, a very angry sounding Frank Zappa ends the concert by saying: "House Lights, The Concert is Over". Frank Zappa explains in the liner notes that this was a reoccurring problem on the 1982 tour and ends by mentioning that the audience in Milan threw used hypodermic syringes on stage. Sounds pretty foul to my ears. Well the music on Disc 2 is fortunately not affected by those unfortunate circumstances. The sound quality is perfect, the musicianship are outstanding and the track selection nearly perfect too. We are presented to some of Frank Zappaīs most complex and technically challenging instrumental compositions like "Moggio" and "The Black Page #2" as well as some of his humourous and more easily accessible material like "Dancin' Fool" and "Doreen".

The listener is treated to some very impressive vocal performances by Bobby Martin and especially by the fantastic Ray White on tracks like "Shall We Take Ourselves Seriously?", "Advance Romance", "City Of Tiny Lites" and "Doreen", but the focus is predominantly on the instrumental side of Frank Zappaīs music on this disc. Lots of experimental atonal guitar soloes by Frank Zappa but the composed instrumenal parts are maybe the most stunning here. I never get tired of listening to the crazy theme from "The Black Page #2" or the insane ditto of "Moggio". "RDNZL" also appears here in one of the best released versions I have heard (the original studio version from "Studio Tan (1978)" always lacked something IMO). In addition to the great tracklist and strong musical performances on disc 2 there are also two (at the time) unreleased tracks on the disc in "Dead Girls Of London" and "Shall We Take Ourselves Seriously?" and while those two tracks might not be the major attractions on the album, itīs always great to hear unreleased material (of good quality) when dealing with Frank Zappa.

So what you get on "You Can't Do That On Stage Anymore, Vol. 5" is one disc of Frank Zappa & The Mothers of Invention tracks that I personally find decent for the most part but not really special and in some cases unfortunately rather dispensable, and one disc featuring absolutely brilliant live material by the 1982 Frank Zappa band. So rating this release is a bit hard. I guess a 3.5 - 4 star (75%) rating isnīt all wrong.

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Send comments to UMUR (BETA) | Report this review (#232085) | Review Permalink
Posted Monday, August 17, 2009

Review by tarkus1980
PROG REVIEWER
3 stars Frank Zappa could sometimes be a real bastard. For all of the work he'd done afterwards, he knew very well that his fanbase liked the original Mothers of Invention material more than anything else from him, and that the most desired material for the YCDTOSA series would come from that era. So naturally, when he finally released an entire disc of that material, he paired it with a disc of material from an era (the 80's) of which few people wanted to hear more stuff. Yes, the second disc is from the 1982 band, which hadn't gotten as much coverage as the 1981 or the 1984 band, but still, not many people were clamoring for that material.

The first disc is generally a hoot, though I certainly wouldn't go overboard and say that it's a crucial missing piece of the legacy of the Mothers. It's a good mix of "regular" live performances, on-stage skits and skits that seem like they were recorded in-studio (I'm not 100% sure), and they're every bit the mix of weird and interesting that the 60's albums were. It's nothing spectacular, but it's decent enough. A couple of things stand out about the "real" music bits: the first is that these performances remind me just how much, for all of the band's eccentricities, the Mothers were rooted in "regular" 60's blues rock. They threw in a heavy dose of modal jazz, modern classical and various avant-garde aspects, and they were certainly well ahead of their time, but they still had a basic common language with other bands of the day (and I'd say it was that commonality that made them all the more subversive). The second is that it's neat to get a reminder of Zappa's practice of taking bits performed live, transcribing them note for note and then having the band redo them in the studio. There's a track here that contains a section from "Little House I Used to Live in," largely note for note, and I'm pretty sure there are other similar bits on this album that ended up on studio albums. This is more interesting as a glance into Zappa's artistic style than as actual music, I suppose, but it's still worthwhile.

The skits are generally fun, too. The two best tracks are the one where the band does an impromptu ballet while a Mozart piano sonata is played (obviously this loses a lot without an accompanying visual element, but the written description of it makes it sound hilarious), and one near the end where the band is stopped by a German customs agent who gives them a hassle but becomes more friendly when he finds the "real German" style lyrics to "My Guitar Wants to Kill Your Mama," which immediately follows. There are some others, and they're somewhat hit and miss, but overall they give a nice sense of levity to the disc that wouldn't have been accomplished with just music.

The second disc, then, isn't something people would have been lusting after, but it's decent as far as 80's Zappa goes. There isn't much need for yet another endlessly noodly version of "Pound for a Brown" or "The Black Page," and I'm not thrilled to hear "RDNZL" again, but the rest is basically ok. I still don't like "Easy Meat" that much, but the synths are much less obnoxious here than in the Tinseltown Rebellion version, so that helps a lot. "What's New in Baltimore?" is interesting in that, unlike the Mothers of Prevention version, it's got a vocal part, and it lasts the whole second half. The new tracks ("Dead Girls of London," "Shall We Take Ourselves Seriously?") are fun and relatively short, and the remaining familiar tracks are all done in rousing and enjoyable ways (and I can't help but be happy to hear "Dancing Fool" and "Doreen" in new versions), so why shouldn't I enjoy this disc? Plus, it has a hilariously pissy ending, with Frank getting angry about all of the stuff getting thrown on stage and ending the concert early.

So overall, why I can easily get the idea of a Zappa fan going ga-ga for the first disc and giving a big fat "meh" to the second, I really feel the two discs aren't extremely far apart in quality, and that quality is "really solidly decently good." The first disc may have more value in the grand scheme of things, but it's hardly the only reason for a Zappa fan to buy this.

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Send comments to tarkus1980 (BETA) | Report this review (#441925) | Review Permalink
Posted Monday, May 02, 2011

Review by Evolver
SPECIAL COLLABORATOR Crossover & JazzRock/Fusion Teams
3 stars You would think that after eight full CDs of live material, Frank Zappa would start running out of good unique performances to continue on. And that almost seems to be the case here. Yet Zappa manages to come with another good, but inconsistent album of rare gems.

The first CD is culled from recording of the various incarnations of "The Original Mothers", the various lineups that existed from "Freak Out" to "Weasels Ripped My Flesh". Some feel that these are the better lineups of Zappa's bands. I love these groups, but I tend to prefer the lineups from 1972 on, when Zappa could pick and choose the musicians who were more capable of accomplishing what he intended in his music. That, paired with the better recording techniques and equipment of the later years leads to a more enjoyable sound.

There are quite a few tracks of just the band goofing around off stage. Like on "Playground Psychotics", these tracks are amusing, but don't really stand up to repeated listenings. The same can be said for the track Right There, where Frank "plays" Roy Estrada, by using hand signals to squeeze out bizarre sounds from the high pitched voice of the bassist.

The good stuff on this disk are the odd little tunes that never made it to any other releases, and the live tracks rarely played by the later bands. Special mention should be made for Charles Ives. this piece should be familiar to Captain Beefheart fans as the backing track to The Blimp from "Trout Mask Replica.

The second disk. while not as historic, is much more fun. This disk is comprised of tracks played by the 1982 band. While there are no songs that haven't appeared elsewhere, this group, that featured Steve Vai and Tommy Mars, two of Zappa's most talented sidemen, play some unbelievable tracks. Standouts are What's New In Baltimore?, Moggio,RDNZL, The Black Page #2, and A Pound For A Brown (On The Bus), which features an Ed Mann percussion solo, that shows that while Mann was good, he was no match for woman (Ruth Underwood).

3.5 stars, rounded down.

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Send comments to Evolver (BETA) | Report this review (#480458) | Review Permalink
Posted Monday, July 11, 2011

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