DWEEZIL ZAPPA

It delighted me when I discovered that Dweezil was working on a new album, and happily contributed to the online funding site for it. And it certainly paid off well.

Dweezil used his ZPZ musicians as the core group for this album, so the technical ability is top notch.

Anyone expecting this to be a clone of Frank's work may come away disappointed. Although Dweezil uses many of the techniques his dad employed to embellish and energize his music, he definitely has his own unique personal vision and style. The only track that sounds like it could have come from an FZ album is the opener, Funky 15, which has the feel of the type of song Frank would use to open a show, with a reasonable simple vamp, with tight instrumental orchestration and a wide space for a guitar solo.

And while I'm writing about guitar solos, Dweezil appears to be purposefully avoiding the FZ guitar sounds and riff that he masters so well with ZPZ, using his own musical voice, which often sounds to me like a blend of Steve Vai and Eddie Van Halen (not surprisingly, as Dweezil has learned from both of those masters).

The majority of the compositions are in a power pop style, with his band providing a dense and sometimes complex landscape for Dweezil to sing over. Dweezil's lyrics are very enjoyable as well. They are humorous and clever, while mostly avoiding the dark cynicism that permeated his father's work.

Especially notable are Dragon Master, a metal track, with lyrics credited to Frank, that sounds like a catalog of modern metal clichés played to extreme (a parody, I suspect, by both the lyrics and the music), and Malkovich featuring a reading by the titled guest artist, and an ingenious refrain.

I'm not sure if this album is better than Dweezil's 2006 album, "Go With What You Know", but is sure is fun to listen to.

I have seen his Zappa Plays Zappa band many times in the past few years, and I have witnessed the band evolving into something special. Early on, the group played Frank's music pretty much note for note as it appears on the many albums released during his all too short, but very prolific, lifetime. Often, stunt casting, having a few of FZ's old bandmates on stage, was employed to give the music the old feeling, and generate excitement in the crowd.

But Frank Zappa's music isn't meant to be played that way. It was always all about the "eyebrows", those little thinks the band would through into the music at a whim, that would make every concert something special. I can't say I blame the band for starting out the way they did. That music is some of the most difficult to perform on the planet. But now that they have mastered it, they are now making the music come alive, adding their own riffs and improvisations, and tailoring the instrumental sections to their own strengths.

Nowhere is this more evident than in this album's rendition of King Kong. Here, the piece swirls around as band members take turns at center stage, with familiar rhythm tracks from other famous FZ songs creeping in (Fifty Fifty is the most notable). Billy The Mountain gets updates as well, and is played in is full splendor (the "Just Another Band From L.A." recording has lot's edited out).

Dweezil has never shied away from his father's most complex pieces, and here find him mastering such treats as Andy, Inca Roads, and once again, Zombie Woof.

I love it that Dweezil has carried on his father's music, but I would like to hear what he can come up with for himself, now that he understands what FZ was about.

There are some very bizarre numbers such as "Shnook" and opener "Fwaktension" where Dweezil proves that he is one of the fastest guitarists around. He can also put rhythm into seemingly impossible time signatures, as well as letting his fingers fly off at tangents. There are also some more serene numbers that are actually cover versions, such as the all-guitar takes on "Hawaii Five-O" and "Les Toreadors". Possible one of the most typically Zappa-esque numbers has to be "You're A Mean One Mister Grinch" where brother Ahmet provides lead vocals. It rocks and moves with some great music behind the 'delicate' singing.

A great album filled with a sense of humour to just take the edge off what is quite a pretentious album. Wonderful.

originally appeared in Feedback #62, May 01

This album was recorded early on in ZPZ's existance, and the band is still finding it's way. While the musicians are exceptionally competent at recreating the music of Frank, some of the pieces are just a tiny bit, but still noticably slower than Dad's band would play them. Also, the songs as played here could be found almost note for note on Frank's albums. The true joy of a Zappa concert was the "eyebrows", the little changes and improvs the musicians would add to each number.

Despite the above comments, the performance is very nice. Steve Vai plays an exceptional and very weird solo on Zomby Woof. Terry Bozzio and Napoleon Murphy Brock add some familiar voices. And Scheila Gonzales shows a bit a the amazing talent she has come to deliver in more recent performances.

Another disappointing note: when playing the Don't Eat Yellow Snow Suite, Dweezil edits the first section down, similar to the single that once received airplay, and completely skips Nanook Rubs It.

But just to have a Zappa out there performing this material was a plus.

3.5 stars, that I will round up.

So, you get the feeling that the spirit of the music of Frank is carried on by this band with two well professionally shot concerts, nice picture and a big 5.1 surround sound. I enjoyed the performance of the guest artists, Terry Bozzio, Steve Vai and especially Napoleon Murphy Brock. Frank Zappa, has succeed to made accessible music with his little orchestra playing rock with elements of classical, jazz and pop with a originality and sens of humor that is difficult to surpass. I just find that his extended guitar solos are a bit boring to my taste, but the rest is very enjoyable.

I must admit, for years I've resisted to even consider this DVD assuming that ex-Zappa musicians are likely to have put something together in desperation for a quick buck. I couldn't have been more wrong! The reality is that Dweezil has put together a bunch of talented young artists with a bit of input from some of Frank's old crew and the end result is just brilliant!

Napoleon Murphy Brock does much of the lead vocals in a most credible way that does justice to Frank's original pieces whilst not attempting to copy such. Well, Terry Bozzio is just his true, energetic self behind a ginormous set of drums, participating on select tracks only. In the second half Steve Vai enters and guitar pyrotechnics between him and Dweezil soon erupt in a jaw-dropping duel on "Montana".

Throughout the entire performance, Dweezil appears to be very modest, almost shy, but plays every note perfectly, true to his father's legacy whilst talking about him as "Frank". The material chosen here are largely tunes that Frank rarely performed on stage and even if so, we were often treated to sped up versions that rarely pleased. Not here, though! The emphasis is on performing the pieces to their full glory - just as we would have preferred from Frank - and Dweezil and crew have done it to perfection. No trace of Dweezil's somewhat immature solo efforts, this work is to be savored note by note, it's that good.

Special commendation is due to the young crew - most of whom would have been born well after the songs were first released. They play with enthusiasm and skill that deserves wider recognition in future. I wish that their exposure here will lead them to a lifetime of great contributions to the world of quality music. Frank, not unlike Miles Davis, has supported, nurtured and guided great talent in his lifetime and a big thanks to Dweezil for stepping into his father's shoes.

Nothing less than a big 5 for this delivery. The camera work is also excellent, nothing like those loathed, fuzzy images of the past concealing the very moments when we'd rather see the artist instead.

If you are like me who loves "Hot Rats", mid-70's works of Zappa with the Fowler brothers, you'll love this DVD. Don't walk, but run to your nearest Record Store, it's that good!

Here is today this, for me controversial, album based on the father's song, but not a merely cover of those, "only" a re-arranged excerpts from those beloved songs, that remember us something already made by Frank in Shut up and play yer guitar, Guitar, etc.(sometimes with the same a-solos) Why that? The front cover , same graphic and style, the big nose, etc. tell us the intention of Dweezil, but that is only for the will to make a sort of father's soul rebirth in himself or only a smart commercial issue? And why those excerpts have all the titles changed from the originals ones? (Zappa trust already has the rights of them). At the end there is nothing to review, and nothing more to think about, beyond close the eyes and listen, because the power of that music let us to forget everything but the music itself. Well played by the musicians so that it looks that Frank's hands lead the guitar, with his group around, this album reaches the goal to suggest to the listener that is the real Frank to play. Has it sense ask if that is good or bad? I am ot able to answer. What I know is that listen at this music again is pure joy, without care who does it nowadyas and why, even if there is the feeling of a coitus interruptus at the end of any tracks. At the end many are playing Frank Zappa's music, why his son should not? Everyone able to play in such good way the music of the Master is well accepted and encouraged. Heavely suggested to all Zappa's fan like me and not only. For me it deserves 4 stars.

Oreste

Opening with a poppier track is something Frank did many times. Songs like Let Me Take You To The Beach, The Closer You Are and I Have Been In You begin albums in a lighter mood, belying the outrageous tracks to follow. So too with Dweezil's Love Ride, an infectious little ditty, that happens to be the only track with lyrics on the album.

What follows, however, is an album of guitar hero master, where Dweezil outshines even his mentor, Eddie Van Halen. Track after track, Zappa shows his diversity, whether playing metal, straight up rock, and even a little electric sitar and bluegrass.

Homages to Frank come in one track that sounds a bit like G-Spot Tornado, a guitar solo from a performance of Inca Roads, a recording of Peaces En Regalia, that begins by including tracks of Frank and Ian Underwood (from the original version, I believe) added into the mix. There is also a song called Chunga's Whisker's, the aforementioned bluegrass track, that appears to heva little in common with Chunga's Revenge other than the title.

My only complaint is that some of the songs don't dound complete. Some sound like they are merely vehicles to launch guitar solos (excellent ones, I might add, and two tracks, The Grind and Audio Movie appear to be made up of short riff just strung together.

But Zappa and his crew have come up with a guitar frenzied album that I'm sure would have made his dad proud.

The majority of the songs are instrumentals, and feature Dweezil's now evolved songwriting and guitar stylings. While his Eddie Van Halen influence and training still show up from time to time, he also shows some signs of influence from Steve Vai, and, of course, his father. His compositions are much more complex than on the earlier albums, using more unexpected chord changes, rhythm changes and time changes. he even sounds very much like Frank on the experimental Therapy and especially on Shnook.

The only vocal track is a cool version of You're a Mean One Mister Grinch, with brother Ahmet performing the baritone vocals, and including a metal break.

Dweezil at this point was quite ready to carry his father's music, but he was getting close.

Earth begins with an orchestra tuning up, then has Dweezil playing a classically influenced electric guitar composition, before he settles into a song about our impending ecological disaster (a sentiment I presume he inherited from his mother). The song itself on the surface sounce fairly standard, but contains many time signature twists and turns. And this is why the album succeeds, as Dweezil has begun to learn many of his father Frank's techniques of keeping the listener on his toes.

Highlights are the many guitar solos throughout the album, and the instrumental Shoogagoogagung. There is also a hot cover of the Bee Gee's Stayin' Alive, with a surprising cameo lead vocalist. While it doesn't make up for the horrors of the disco era, it takes the signature song from the time, and makes it cool.

the only misstep is Vanity, which tries to be hip-hop, and mostly falls flat.

I'd give this album a strong 3.5 stars.