FRANK ZAPPA

For me, Zappa's blend of rock, blues, jazz, and zaniness on "One Size Fits All" comes up short, but is still a worthy listen.

The mixture of genuine complexity and musical genius is prevalent throughout this album from the get go, with "Inca Roads" standing as the clear winning track. It features some tremendous guitar, keyboard, vocal gymnastics, and class which makes it a rightfully deserved classic. Zappa's and the group's creativity shines with energetic playing and songwriting. The mix of singers is also a nice addition.

Then, it's all pretty much downhill. Successive songs sound very much like Zappa is simply trying very hard to be the genuis everyone expects him to be. Songs are crammed with weird complexity, hard-blues outbursts, and directionless humor. Of course things are punctuated now and then with moments which catch one's attention and remind the listener that his reputation is desereved, but few songs on "One Size Fits All" are actual successes in their entirety. Songs like "Evelyn the Modified Dog" and "Po-jama People" sound very contrived, but well doubtless please casual prog-listeners.

Overall, not my favorite Zappa album, compared to say "Apostrophe" which has as much complexity and is gratifying throughout.

There's a question that has been torturing me for decades. What do the people see in FRANK ZAPPA'S music and why in God's name I'm unable to discover it?

In 1974 and after a friend bothered me for weeks, I bought "Hot Rats" expecting to find magical music, but to be honest, found nice music with little interest for me, I thought it may e the album so got "We're only in it for the Money", and my impression didn't changed at all, so after listening a couple more albums, decided to place my ZAPPA albums in a box and let them gather dirt for decades.

A few months ago I had to move, so while checking my old record boxes, decided to give "Hot Rats" a new chance, and even when I found the music easier to listen, my impression didn't changed very much.

The album starts with "Peaches in Regalia", a nice instrumental with some lush keyboards by Ian Underwood, but not much ore, still can't find feet or head in the music, seems like the guy went for some blend of early Symphonic and fun, but failed somewhere in the road, making a hybrid without head or feet.

"Willy the Pimp" starts with an interesting Ponty violin section, but it's only a promise, the guys start to jam as if they were in 1967 on an acid trip, Captain Beefheart's voice doesn't help too much and even Jean Luc Ponty falls in the game and goes nowhere. The guitar? Yes, Zappa is good but nothing special compared with the hundreds of great guitarists in the 60's.

After a couple minutes, the guitar jamming by ZAPPA turns boring and absolutely predictable, just distorted sounds with nothing more than most Acid Psyche bands of the era...Maybe a couple years too late.

"Son of Mr Green Genes" is an improvement, the initial melody is somehow catchy, but still I don't believe it's defined as Prog, Rock or Funk, but still very pleasant to listen, the problem is when the jamming starts, I honestly don't know what he pretends, there were thousands doing this on those years, and some with much more interesting results.

The winds are a good addition, but again ZAPPA'S guitar leads nowhere, just jamming with no structure or purpose, maybe the contrapuntal duel between ZAPPA and Underwood is interesting to prove skills, but musically leads nowhere in my opinion. The jazzy "Little Umbrellas" opens side two, again pleasant but nothing really special to consider this a masterpiece, too light to be considered innovative, the song flows gently with no surprises or really interesting moments.

The incredibly long "The Gumbo Variations" should be called "The Gumbo improvisations", because again lacks of structure, it's true that Ponty, Zappa and Underwood have the chance to prove heir skills, but never sound coherent or structured, after a couple of minutes starts to bore, but when the drum solo starts, it's time to press the skip button before the cacophonic ending. Some people should know that sometimes less is more.

Well, I had to wait 42 minutes until "It must be a Camel", the only really good track, melodic interesting and well structured, even the solos are coherent with the atmosphere, this track saves the album from a lower rating, mainly for the delightful piano.

Before I rate "Hot Rats", must say that it's not a bad album, the musicians are talented, but the music is anodyne and lacks of interest (At least for me), I fail to see the greatness people see, but maybe it's my problem.

To rate it I use my own scale, I gave 3 stars to ELP's debut, and I believe "Hot Rats" is not remotely in the level, so I would go with 2.5, being that this is impossible in our system, will go with 2 stars.

Only for FRANK ZAPPA fans and classic Rock collectors.

''The crux of the biscuit is the Apostrophe''

Apostrophe (') while a Zappa solo album, it's technically, looking at the line-up involved in, pretty much the same Mothers of Invention which played on Over-Nite Sensation. However this is not played in the same style and way of composition as it's previous:

In style Apostrophe presents even more profound humor than that presented in Over-Nite Sensation, believe it or not fellas! Every song(with the exception of Uncle Remus) have long odd story-lines in which are familiar to that from Zomby Woof or Montana and the like, all pretty weird yet some laughs might jump out of your mouth even if they were unintentional.

In composition Apostrophe mainly seems way more Blues/Rock rooted than it's previous (Over-Nite), with Don't Eat the Yellow Snow, Nanook Rubs It, Cosmik Debris, Apostrophe and Stink Foot all with obvious blues rock characteristics, taking more than half of the album's length which is not much(30 minutes!), however Zappa takes the blues roots and twists them as he pleases, all of them having Zappa's signature guitar rocking out splendidly, plus some very well done twists and turns in the composition itself.

Then there are the more complex or at least non-blues based tunes which are the ones left. The first one being St. Alfonzo's Pancake Breakfast which easily flows with Father O'Blivion, while both very short in length, like Zappa has already proved before, he is able of making complex and 'one-of-a-kind' tunes in less than 2 minutes, so do expect having really complex and fast passages very ala Zappa, even some of the ideas presented in these songs, mainly Ruth's vibes, would later be kind-of emulated on future live opus, Zappa in New York. Excentrifugal Forz on the other hand reminds me of the monotonous Dinah-Moe Humm, though this time it only lasts 1 minute and a half, so that's kind of an improvement. Lastly there's the gentle piano-led Uncle Remus, while pretty simple in structure, it's well worth listening to Zappa in a kind-of sincere up-lifting mood.

Apostrophe while not being Frank's highest level of uniqueness, this still makes up a very pleasant record, with some highlights here and there for the dedicated Zappa fan. But I really recommend this, firstly, for those who want to get into Zappa's less complex material yet with solid compositions and flawless musicianship. 3.5 stars rounded up because in future releases Zappa would still want to write accessible music, but none really done with such precision and originality like this one.

Strictly Commercial

Sheik Yerbouti is an album which I really don't get how it ended up having a rating of '3.80', but what can I do about it? Write a review explaining why I don't think it deserves that high rating, of course:

This album features the classic 80s Zappa line-up or at least the same objective that line- up aimed at: this is focusing in only one thing and that is 'humor' and nothing else.

There's barely a track on here, judging by it's composition and musicianship, which can easily be distinguished as a Frank Zappa composition. Everything(almost) on here are just short, childish and clichéd tunes in which the lyrics are the only thing that standout, but not really as a good thing. While I don't mind Zappa making some mainstream or commercial tunes and much less writing humorous lyrics, because he has pulled-off some really good ones before, but what I do mind is that the commercial tunes in here don't feature any Zappa-trademark. Notable exceptions would be the classic City of Tiny Lites which actually rocks, then the absurd, though well-done catchy, Dancin' Fool, full of humorous backing vocalists is another classic commercial Zappa song.

As real standouts you really only got Yo' Mama, which presents a 8 minute out-of-this-world guitar solo to chill to; it's energetic, tranquil, powerful but mainly emotional and that's the fruit of it all, what really makes a guitar solo a good one, in my humble opinion. This is what Frank should have made for this album all-through, and what boggles me is that he really was capable of doing it but decided to create a 'just for fun for the musicians' record, and that's what this album really is, you can definitely hear all the musicians on board having a lot of fun making silly jokes, playing simple rock-esque stuff, and so on, but the overall result is annoying, repetitive, non-creative and way below Zappa's standards.

1.5 stars rounded up because of the excellent Yo' Mama

I'm going to travel against the tide here. I found this very similar in style to HOT RATS, yet more disappointing in its execution. Like HOT RATS, THE GRAND WAZOO focuses more on lengthy, jazzy instrumental passages as opposed to lyrical humour. Much of the album attempts to be serious in its delivery, but it falls flat on some occasions.

Without a doubt, the focus is on the 13+ minute title track; it doesn't take long before the brass section really hits you in the face, undoubtedly the most noticeable part of the track. The brass simply bellows, flourishes and squibbles all under a pumping rhythm. My only beef is that the track goes on a bit too long for my sake; there seems to be a dead spot in the middle.

When the songs have energy, they're fantastic. ''Cletus Awreetus-Awrightus'' is a zany, cartoony thing with rather silly vocal passages that are simply delightful. And to follow that up, the almost rocking ''Eat That Question'' contains excellent electric piano and guitar solos.

The downside is that there are two lazy numbers that I simply cannot listen to without dozing off, ''For Calvin'' and ''Blessed Relief''. Both are terribly lazy in instrumentation and just don't do anything at all (at least for me).

Why I don't have patience with some of the album is beyond me. There are more brilliant moments on THE GRAND WAZOO than terrible ones, but it has too many dead spots for me to recommend this.

Last words: Questions don't taste good.

Don't be affraid - it's not only jazz there! One of the best ever Zappa's live album presents perfect mix of everything Zappa played in late eighties, and in the best form.Whenever there are big team of musicians ( incl. brass section) participated in concert, album's sound is often very rich and heavy orchestrated.

Even the main musical base is jazz-rock ( but again, in very different forms: from classic fusion a-la "Hot Rats", to free form long avant-jazz improves), there are plenty of other elements, filling all that musical space. Every different piece has it's own sound, from retro songs, sounding as classic movie sountrack, to heavy metal pieces ( with electric guitar solos), from brass- orchestrated almost pop-melodies to near modern classical music.

And what is very important - all this different music is connected very organically into one bright, interesting and never boring long show! Every listener will find some perfect moments for himself. But if you like later Zappa albums, jazz-fusion and avantgarde music, all the album is a gem!

First of all, this is Frank Zappa's SOLO album, not Mothers of Invention's. Another thing - if many Zappa's works are absolutely RIO/avantgarde, this one is more usual misx of fusion and bluesy rock.

Main music is produced by Zappa's guitar and Ian Underwood keyboards. Music is quite structured and fully orchestrated, Sugar Cane Harris and Jean Luc Ponty add their violins."The Gumbo Variations" are perfect jazz-rock with exploding Underwood sax solos.And for sure,Cpt.Beefheart singing on "Willie The Pimp" gives his exclusive atmosphere.

Please note, that that album is dated as 1969 (!),few years before of real fusion explosion all around the world. So, in fact, there are roots of modern jazz-rock and fusion! All music is full of Zappa's guitar solos, but is unusualy structured at the same time.

And however Zappa has plenty of strong albums in different styles, this one is one of best structurised and organised, strongly orchestrated and great "usual" music album!

And if Zappa,by himself or with band, often demonstrates more experiments and avantgarde ideas, than concentrates on music, this one is different. Very recommended for jazz-rock or fusion lovers as acceptable entrance to Zappa's world.

Frank Zappa's 1970 album sounds at first like a mish-mash of outtakes from various unrelated sessions. But closer attention reveals at least some thematic unity, dealing more or less with the trials and tribulations of a working rock musician on the road. Included are some typically tongue-in-cheek songs about groupies, union representatives, venereal disease (a short instrumental called simply 'The Clap', but coming from Frank Zappa the title could hardly refer to anything else), and a few sample concert performances, notably the classic Zappa guitar thrash of 'Transylvania Boogie', one of his strongest album openers ever.

The title track is another highlight, presenting a loud instrumental jam led by Ian Underwood's wah-wah pedal sax solo, distorted enough to be mistaken for Zappa's electric guitar. Like much of the album it was presumably a genuine live recording, perhaps augmented with overdubs in the studio afterward (a peculiar Zappa habit). The CD notes are reticent on this point. If not actually live, the tapes were at least given a very convincing stage ambience: stadium reverb, occasional feedback, audience noise and so forth.

In keeping with Zappa's philosophy of 'conceptual continuity' the album holds some relation to his '200 Motels' film and soundtrack, possibly intended as a prelude to that notorious project, released the following year. If true, don't let it scare you off: 'Chunga's Revenge' might be less focused than other Frank Zappa concept albums, but it covers a lot of contradicting stylistic territory in its all-too brief forty minutes, and thus can serve as a primer of sorts to Uncle Frank's musical career in the early 1970s.

This is Frank's homage to the doo-wop groups he so much loved in the 50's and listen to with his friend Captain Beefheart. He wanted to make a record like Stravinsky did with his new classic compositons. The similar arrangment, thea same feeling, but weird chord progressions. It is not a joke, it is FZ experimenting with different kinds of material. This album was recorded in 1968 in a period of frenetic activity, The brilliant composer was also declare that there is now distinction between high art and low art. The Mothers were only trying to show that they can do whatever music it pleased them. And with great gusto. However, this tentative of trying to get their music on the radio, as they affirm in the cover, falls short in terms of artistic goals. I think if this album was imagined 10 years later FZ with mixed it with music of different kinds like he did with the "Lather" project that upsetted so much WB. There's some great singing by Ray Collins, beautiful melodies, nice arrangements, but it is not an excelent record. 2,5 stars.

Many have tried, even my beloved other half, but so far, nobody has succeeded in convincing me of Zappa's genius. Of course he's a great guitar performer, an entertainer even, a playful lyricist and maybe even a great composer but it all very much passes me by untouched, just like most jazz-rock does.

So, hardly a surprise that I can stomach this album best of all. As everybody has pointed out already it's Zappa in a stripped down rock mood, with easy digestible songs and even some catchy riffs that you can hum along with. It's probably not his best album but it's the best introduction that you can have, especially if you're looking from a prog-rock side.