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Frank Zappa reacts to Napolean Murphy Brock on Saxaphone, a key band member at Armadillo World Headquarters, Austin, TX May 1975.
I saw the recent tribute tour to Frank put together by his son Dweezil (ZappaPlaysZappa), and along with a great band there were guest appearances by Frank's original band members who had worked with him at various times including fellow guitar god Steve Vai, and stunning percussion players Chad Wackerman and Terry Bozio, but one of the highlights was Napolean Murphy Brock, great vocals and sax, and just the right kind of Zappa stage presence and antics...quite a flashback.
Frank Zappa / Waka/Jawaka
Side one:
- "Big Swifty" - 17:22
Side two:
- "Your Mouth" - 3:12
- "It Just Might Be a One-Shot Deal" - 4:16
- "Waka/Jawaka" - 11:18
(All songs written, composed and arranged by Frank Zappa.)
Frank Zappa – guitar, acoustic guitar, percussion, electric bed springs
Sal Marquez – trumpets, vocals, chimes, flugelhorn
Erroneous (Alex Dmochowski) – electric bass, vocals, fuzz bass
Aynsley Dunbar – drums, washboard, tambourine
Tony Duran – slide guitar, vocals
George Duke – ring-modulated & echoplexed electric piano, tack piano
Mike Altschul – baritone saxophone, piccolo, bass flute, bass clarinet, tenor sax
Kris Peterson – vocals
Joel Peskin – tenor sax
Jeff Simmons – Hawaiian guitar, vocals
Sneaky Pete Kleinow – pedal steel guitar solo
Janet Ferguson – vocals
Don Preston – piano, Minimoog
Billy Byers – trombone, baritone horn
Ken Shroyer – trombone, baritone horn
Recorded atParamount Studios, Los Angeles, California
(April 17–21 and May, 1972)
sleeve design: Cover art by Marvin Mattelson
Label: Bizarre/Reprise Records / 1972
ex Vinyl-Collection MTP
This old gas station, built in the 1920s, is in the process of becoming a registered landmark. The City of Rancho Cucamonga will be holding a public hearing on the matter at 7:00 p.m. on April 15, 2009 at the Rancho Cucamonga Civic Center, Council Chambers, 10500 Civic Center Drive, Rancho Cucamonga, CA 91730.
9670 Foothill Boulevard (Route 66)
Rancho Cucamonga, California
A Few Things I Bet You Didn't Know about Cucamonga
In 2006, Money magazine ranked Rancho Cucamonga as the 42nd best place to live in the U.S.
The musical comedy team of Homer and Jethro had a Grammy-winning hit in 1959 with their single The Battle of Kookamonga, a parody of Johnny Horton's hit The Battle of New Orleans.
Pride of Cucamonga, a wine produced by the Joseph Filippi Winery in Rancho Cucamonga, was used as the title of a song by the Grateful Dead.
In an early Sesame Street sketch, Cookie Monster tries to fool Ernie by claiming that Ernie has a dread disease called "Cucamongaphobia."
Musician Frank Zappa lived in and worked in Cucamonga during the early 1960's. He bought the Pal Recording Studio from a friend, Paul Buff, and renamed it "Studio Z". The studio closed in 1964 when the building was demolished in order to widen Archibald Avenue. ("Cucamonga" is also the name of a long-lived radio show on Radio 1, Belgium, as an obscure reference to Frank Zappa.)
This photo is geo-tagged.
20090325_0028a1_800x600
Just some of the street art from Brighton. Love the mural on the wall of The Prince Albert Pub. Great day out with dear old friends
Macro Mondays - Bubbles - 2016-06-27 - BANNED!
Perhaps this contribution is too far on the far side of the topic but ...
Inspired by
Frank Zappa - Any Kind Of Pain
Broadway THe Hard Way (1989)
(01)
[CTRL] + www.youtube.com/watch?v=XH75ohLesFA
Wall of Fame in Basel, 2021.
Mural im Gerbergässlein in der Basler Altstadt mit vielen Rock- und Popstars. Die Wall of Fame wird ermöglicht durch die Wohltätigkeitsorganisation L’unique Foundation, die tief im Rock’n’Roll verwurzelt ist (Rock’n’Roll with a cause). Die Wand wurde von mehreren Künstlern in den letzten 20 Jahren gestaltet. Der QR Code (Donate here) führt zu der Internet-Adresse: lunique-foundation.org - Dort kann man spenden. Die Wall of Fame liegt gegenüber einer Bar.
Diese Rock- und Popstars kann man hier bewundern: Jimi Hendrix, David Bowie, Bob Marley, Nirvana (Kurt Cobain, Dave Grohl, Krist Novoselic), Lemmy (Motörhead), The Beatles (John Lennon, Paul McCartney, George Harrison, Ringo Star), Mick Jagger + Keith Richards (The Rolling Stones), Frank Zappa, Ozzy Osbourne (Black Sabbath), Eric Burdon, Tina Turner, Red Hot Chilli Peppers, Carlos Santana, Freddie Mercury (Queen), Janis Joplin, Jimmy Page + Robert Plant (Led Zeppelin), John Lennon, Amy Winehouse, Slash, Ray Charles, Elvis Presley, Chuck Berry, Stevie Wonder, Jim Morrison (The Doors), Angus Young (ACDC), Pete Townsend (The Who), B.B. King, u.a.
© Bernd Sauer-Diete
Frank Zappa and The Mothers [of Invention] and Captain Beefheart / Bongo Fury
Side one:
- "Debra Kadabra" - 3:54
- "Carolina Hard-Core Ecstasy" - 5:59
- "Sam with the Showing Scalp Flat Top" (Don Van Vliet) - 2:51
- "Poofter's Froth Wyoming Plans Ahead" - 3:03
- "200 Years Old"- 4:32
Side two:
- "Cucamonga" - 2:24
- "Advance Romance" - 11:17
- "Man with the Woman Head" (Don Van Vliet) - 1:28
- "Muffin Man" - 5:34
(All tracks performed by Frank Zappa, Captain Beefheart and The Mothers; all tracks composed by Zappa, except where noted. This is the last original Frank Zappa album on which the band name "The Mothers [of Invention]" is used.)
Frank Zappa – lead guitar, lead (2, 5, 6, 9) and backing vocals
Captain Beefheart – harp, lead (1, 3, 4, 5, 8, 9) and backing vocals, soprano sax
George Duke – keyboards, lead (2, 7) and backing vocals
Napoleon Murphy Brock – sax, lead (2, 7) and backing vocals
Bruce Fowler – trombone
Tom Fowler – bass
Denny Walley – slide guitar, backing vocals
Terry Bozzio – drums
Chester Thompson – drums (on "200 Years Old" and "Cucamonga")
Robert "Frog" Camarena – backing vocals on "Debra Kadabra"
Recorded: May 20 & 21, 1975 at Armadillo World Headquarters in Austin, Texas & January 1975 (Record Plant Studio, NYC)
sleeve design: John Williams (photography)
Label: DiscReet Records / 1975
ex Vinyl-Collection MTP
The 1968-69 Katahdin Lodge and Camps Music Soundtrack
One good thing about the times when my Uncle Finley, Aunt Martha and I were the only ones at Katahdin Lodge, and we all had work to do inside of the main building, was that they had a record player in the dining room that was often spinning out some good tunes.
When we were working, the music sure helped us maintain a good pace at what we were doing.
Fin and Marty had some of the usual record albums middle class Americans bought back then. Mitch Miller, Sinatra, Dean Martin, New Christy Minstrels, Smothers Brothers (I went Marching To Pretoria many a time when that song came on), Patsy Kline, Readers Digest Collectors Edition Original Recordings of Glenn Miller and other Big Bands and Swing Bands, I think there was a Wayne Newton record or two, no Elvis?, and the best of theirs for me was Johnny Cash.
Sometimes, I was hustling between what I was working on inside the Lodge and out to the tool shed, for more nails or something, I'd pass that spinning Johnny Cash album, and I'd go boppin' along like a contented rooster "going, down, down, down into a burning ring of fire" for a few yards to the beat of the music.
What a way to get along. We were working to the rhythm of the singer and the band.
That record collection was often fully enjoyed when family and friends were there at the Lodge to visit. Fin and Marty and other couples did do a little bit of dancing, now and then, but mostly we'd be diggin' the music while playing some Yatzee, Cribbage or another non-betting card game. I don't remember any gambling at all, but they may have played some penny anny poker a few times. Whatever the game was, I sure liked tappin' my feet to the beat of the music while formulating my game playing strategies.
I had brought some of my record albums and a cheap stereo up to Maine from my home in Dundalk, Maryland. I was a dedicated record collector and music listener. Dedicated to Rock and Roll, Blues, and Rhythm and Blues music.
I had that cheap stereo out in my tiny sleeping cabin. Out there, the toads living under the floor heard a lot of Eric Burdon and the Animals, the Yardbirds, Rolling Stones, Them (featuring Van Morrison) and the Best of Muddy Waters.
I'm in a real good mood, so I'll tell you something no one else remembers.
Keep this to yourself, OK.
This here Rolling Stones Fan and Born Again Beatle Maniac from Kladnud (Dundalk spelled backwards) Junction actually requested his favorite Dean Martin album to be played on the Lodge record player a few times. Admittedly, I did dig on Deano's swinging tunes more than I ever thought possible.
Fin and Marty graciously allowed me play some of my albums sometimes on the Lodge's little fold down record player with the fold out speakers attached.
But, naturally, hardly any of my listening library was their cup of tea. So it was usually only barely heard when the vacuum cleaner was roaring.
I had a good sense of proportion though. The only time I played them anything so radical as Frank Zappa and the Mother's of Invention's Help I'm A Rock was when they asked me what Freak Out meant. The Mother's first album is titled Freak Out. And no one up there had heard that now world wide famous piece of slang yet.
Marty had pulled Freak Out out of my record case, because she saw the avant-garde graphics on the album cover, and asked, "What's this Beatnik bullshit? David! What does freak out mean? C'mon, show us what a freak out is."
My parents and sister happened to be there visiting, so I put on an impromptu demonstration of freaking out for them.
On went the album cut Help I'm A Rock. I plopped down cross legged on the dining room rug, started waving my hands and arms into the air way above me, dropped my chin onto my chest and did a Laugh In TV Show comedian style rendition of some basket case burnout trying to bust out from the inside of an invisible boulder.
Marty slid off into the back office and comes out with a double barrel shot gun. She broke it wide open, so everyone could see that it wasn't loaded. We had no tolerance for people screwing around with firearm safety rules, so Marty had made dead certain that the gun was obviously incapable of firing. Then she just pointed it down at the floor right next to me and went "Bang!".
That worked well, the whole joint erupted into roaring laughter.
When I was in high school, there had been a stereo in the school cafeteria, and I was the record committee most of the time. I also brought in most of the records that I played during lunch periods.
Some of the albums that I had with me in Maine were ones that I had played for my schoolmates.
Every lunch period, at Dundalk High School, I parked myself on the end of the table right underneath the locked stereo cabinet that was up about five feet off the floor and bolted to the wall. The turntable and amp were kept in there. I waited by the stereo cabinet till the cafeteria monitor, the male driver's ed teacher who wore hip white shoes, unlocked the cabinet for me. Then I put on a couple of my record albums.
Across the lunch room table from me everyday sat my friend, Edna Galiano. She was a short, well built girl, with very long, pretty hair and a hip sense of style. Edna played bass guitar in an all girls Rock band. She and I never dated, but we were a steady presence around the record machine. We guarded it from Top 40 Billboard Chart 45 RPM records only fans and other lesser minded music owners. We listened to entire album sides at a time, and that was it. So she got her lunch tray first, then I went through the line and got mine.
As the record committee, I turned Dundalk High School onto the first albums of Hendrix, The Doors, Cream, Frank Zappa and the Mothers of Invention, Country Joe and the Fish, and the ever-obscure West Coast Pop Art Experimental Band.
Most of the other kids at my high school were not only often hearing the albums for the first time, they were learning of the musicians for the first time. In those cases, I had often just learned about the band and the album myself, a day or two before, when I had discovered the album sitting in some retail record rack; like amongst the young, fertile isles of the humongous record department at Two Guys Department Store.
The Doors were well received by the kids in the DHS cafeteria, and Cream's first album was an instant success. All kinds of people were coming up to take the Fresh Cream album cover back to their lunch room table full of best friends, so they could all check out who the new, exciting Rock group was.
I don't recall the particulars of any other times I played a new record at school, except for when I played The Jimi Hendrix Experience for the first time. That, now famous, first album caused a near riot of angry protesting.
When I had captained the superb Rock music of The Jimi Hendrix Experience's first album on its maiden voyage into the ears and minds of the DHS school cafeteria music listening audience, it was BOOOED off the turntable. Because all except for about twenty of my good friends, guys and girls who would sometimes turn me onto new music, the kids in the cafeteria all banged trays, plates, forks, knives and spoons, while yelling, hollering and booing at a steadily increasing, very loud decibel level.
"That is a true historical fact." Jack Crabb aka Little Big Man
There was a solid percentage of hard core Soul/Rhythm and Blues music fans amongst the white students in many Baltimore area high schools at the time, in 1967.
It was some of the white guys amongst Dundalk High School's Soul/R + B fans who had started the ruckus. It wasn't black kids from Dundalk's all black (in '67) neighborhood Turners Station who started it and made the most commotion. Sure, they were mostly Soul/R + B hearted teens, and they eventually did add a little something to the loud, thick cloud of rude noises too. But they had not yet experienced their God given, previously denied by man, unbridled freedoms of school desegregation long enough to feel strong enough to protest against a white student's choice in what got spun on the lunch room record player. It was the white guys who went wild and rude at Jimi first. Then their good lookin' white girlfriends started jumpin' up and down and adding fuel to the conflagration.
I was so deeply angered by the rude, closed minded antics of the crowd, that I refused to take the record back off the turntable myself.
A buddy of mine sitting next to me, on the lunch room table bench seat, had leaned in close and quietly said, "Dave? What are you gonna do?"
My terse lipped reply was, "Let 'um listen to it. They don't know what the #@*& they're missin."
The record continued playing, while the riotous objections to it roared louder and louder.
It wasn't but a minute more, when the cafeteria monitor, the driver's ed teacher who wore hip white shoes, had to come take the Hendix album off of the turntable and hand it to me.
I looked around the cafeteria, and those twenty or so music sharing friends of mine all had their heads bowed low, with their young faces hanging down near the partially eaten food on their lunch trays. Those faces showed sheer, sad, disgust and disappointment at their couple of hundred classmate's combined first opinion of the, soon to be considered, by many, the best Rock guitarist who ever lived, James Marshal Hendrix.
Six or eight months later though, Jimi Hendrix was roundly appreciated by many at the old green and gold--DHS school colors.
You could tell the percentage of white kids in my school who were hard core Soul and R + B music fans by the way they dressed. The boys wore Wing Tip Shoes, Glenn Plaid Pants and some famous name brand casual/dress shirts that I don't remember the brand names of. But I know it was a style that could be fashionably worn with or without a tie. The girls all wore Saddle Shoes. And they all wore the same kind of skirts and blouses as each other, but I don't know the names of those styles or the brand names. The school dress code dictated that skirt hems be no higher then two inches above the knee, but the Soul music girls wore their skirts with the hems just at the bottom of their knees. I saw that as a straight up self righteous fashion statement against the new coming of the Mod mini-skirt. I didn't want to date any of the Soul fan chicks, but I did want them to show us guys all the leg allowed.
In 1966, '67, '68, the Baltimore/Washington corridor was the Soul Music capital of the world. More of it was listened to and bought there than anyplace else. Hendrix ticked off a lot of Soul/Rhythm and Blues fans at first. DHS's Soul fan base peaked in the fall of '67. Right when Hendrix's first album was made available in our record stores.
My friends and I wore Mod type British Rock and Roll Invasion style clothes. Most of you have only seen that style in an exaggerated form in Austin Powers movies. But we did not look that far-out and colorful. We had much better sense of style and taste in clothing than that.
At our high school dances, the school had to hire a Soul/R + B band and a band that played Rolling Stones, Yardbirds, Beatles, etc music. The dance chaperone's soon learned that the Soul/R + B band had to play first, because the fans of those bands hated our music and made a lot of rude noises and fights started. Most of us American Mods liked soul music a lot. But we liked Rock and Roll and Blues Rock better. The side I was on never started any crap, when the Soul band was playing, but we never ran away from any either.
I was fortunate enough not to ever get into any fights at or after a dance myself. But I was always in the half circle of guys who were there to prevent anyone from the opposing half circle of the other guy's friends from jumping into the fight. Those fights caused us to loose out on a lot of future school and teen center dances, because the trouble it caused cancelled upcoming dances.
But I must say, in defence of my generation, it was almost always one on one fights that I was any part of. There wasn't gonna' be any kicking a guy when he was down, either; not by their guy our ours; we'd stop our own from doing it. And there was never a weapon involved, and no retaliation later.
But it still wasn't a nice activity to be involved in. I'd rather be friendly with everyone.
1968-69 Katahdin Valley area social scenes were quite peaceful and non-violent, in amongst the sparsely populated American communities located there.
The fact is, I only witnessed one fist fight/wrastlin' match the entire time I lived in Maine. And that wasn't much 'uv a fight at all.
The big fight occurred on one Saturday evening in Patten, when there was a live Rock n' Roll band playing at a dance, in the Patten Town Hall.
My best friend at the time, Gary McCarthy and I, were standing just outside the front door of the town hall, while finishing off a cold beer apiece, before going into the dance. When all of a sudden, three young teenage boys come poppin' out the door, and two of them 'locked horns', and started to furiously goin' at each other. They fell, with their arms, hands and legs all wrapped around and grappled to each other, just like two young buck deer with their impressive racks of late fall antlers all locked together in territorial combat.
Let em tell ya' now, them two boys were kickin' up some dust from the dry, bare earth they were rolling around on there. But they weren't actually hurting each other very much.
Gary and I thought that it was hilarious, because no one was actually getting hurt, and it was a fair match-up. Gary and I never would have stood there and allowed some bigger kid to beat up a smaller, less evenly matched guy.
Due to the fact that I was not a natural born native of Patten, if I got into a fight there in town with a guy who was also a native of Patten, then Patten native Gary would have had to back up his life-long fellow P-townsman. But I could have helped Gary hold two fighting Patten boys apart, to peace'ify them.
Welp', the larger of them two battling lads says, "Stop! Hold on now!"
The combatants both relaxed their 'death grips' that they had held onto each other with, and the bigger guy lets go of the other boy.
They both stand back up, and the bigger kid asks, "What are we fightin for anyway? You just walked up to me and said let's go, we gotta go outside and fight, but you never said why. I don't wanna fight you. Why are we fighting?"
The smaller, former combatant says, "Because I shot your brother in the ass with a BB gun. And he said that he was going to get his bigger brother to beat me up. So I figured that we might as well get it over with right now."
"What!" Replies the larger, former combatant, "We're fightin' because you shot my dumb-ass little brother in the butt? I don't give a crap if you shot him in the butt or not. Next time, you can shoot him once for me too. C'mon, let's go back inside to the dance and have some fun. I ain't gonna fight you because of that little twerp. I'd rather go kick my dumb little brother's ass, than fight you. I do it all the time."
At that, they each slapped one of their arms around the other's shoulders and proudly walked back inside; to where some girls were most certainly waiting to be asked by one of them to get up and dance. They were proud to have proven that they each could fight fairly hard and take, and that they had shown common sense in choosing not to continue the brief battle.
In the later 1960s, in and around Baltimore, my closest friends and I were painfully aware that Baltimore was averaging one year behind New York City, and two years behind California, when it came to clothing trends, music and 1960s life style changes. One of Jimi Hendix's 45 RPM single releases, either Hey Joe or Purple Haze, was a number one hit in NYC nearly a full year before it was ever even played on a Baltimore radio station. I can't remember which song it was, I just remember some other original Hendrix fan telling me about it, right after I told him about The Great DHS Cafeteria Jimi Hendrix Fiasco.
The well known song Sunshine Of Your Love by Cream was the first Cream song played on Baltimore's only Rock station at the time, WCAO AM. And that song is off Cream's second album. I had that second Cream album, Disraeli Gears, for 3 or 4 months before any of it was allowed on the airwaves in Baltimore.
Several months after that, when I moved to northern Maine, most of the teens up there had never heard of Cream or Hendrix yet. Those cutting edge musician's albums were already for sale in Houlton, the largest town around, a small college town, but it was 35 miles away from Katahdin Lodge. And in the summer of 1969, there was even a few of my kind of albums for sale in a little country store in tiny Sherman, Maine. I was happily surprised to see that. The records weren't selling yet, but they sure did in due time.
Many of northern Maine's young people eventually got into my kind of music. And the very first time I heard one of my favorite Cream songs, Badge, was when it was played by a live band, made up of Maine kids from further south in Maine who played at a dance in the Patten Town Hall. (bawuwm-bawumm-bawumm-ba-wumm-bwumm-bwumm-bwumm-bwumm-bawuumm-bawumm Thinkin' 'bout the times that you drove in my car)
Patten Maine teens were some Rockin' and Rollin' kids, Top 40 records only, but them kids had a natural 4/4 beat poundin' in their hearts. They were some dancin' Top 40 fans too. 1968 Baltimore teenage dancers didn't have a thing on them Mainer kids.
Maine kids were cool in their own ways, that's why I dug 'um so.
It was all Top 40 at the town hall record hops, cabin parties and on the Patten Drug Store jukebox, of coarse.
At the cabin parties and town hall dances rarely were any of the all-white folk there afraid to get up and boogie. Northern Maine was the only place I'd ever been where most young Euro American men at social affairs got up and danced more than they sat around and hoped they didn't do anything to embarrass themselves.
Anytime that I was sitting at the lunch counter in the Patten Drug Store, and a good 1967-68-69 Rock n' Roll song was playing, I could watch out the huge windows there and spot at least one passing pedestrian who was walking to the beat of the music--that could not be heard out there at all.
I conducted controlled social experiments on this phenomena.
I would spend the longest periods of time sippin' sodas and eating tuna sandwiches at the lunch counter, while pretending to have the hots for the sweet, curvy, young thang' working behind the counter; but I was actually confirming my hopeful expectations that Patten did indeed have a Rock n' Roll Soul.
Northern Maine Adventures
"Stay in your own movie". Neal Cassady, the Merry Prankster who skillfully drove the bus—Further.
© David Robert Crews {a.k.a. ursusdave}
email: ursusdave{at}yahoo{dot}com
Happy Together Tour 2014 ~ 60's and 70's Classic Pop/Rock
Coral Springs Center For The Arts ~ Coral Springs, Florida U.S.A.
note: NOT A TRIBUTE ACT. Original members playing THEIR hits.
The Turtles Featuring Flo & Eddie ~ Chuck Negron Formerly of Three Dog Night ~ Mark Farner Formerly of Grand Funk Railroad ~ Mitch Ryder & The Detroit Wheels and Gary Lewis & the Playboys
(note: all 5 acts play with the same incredibly talented backup-band)
www.fraze.com/happy-together-tour-2014/
theturtles.com/tour/ www.coralspringscenterforthearts.com/ai1ec_event/happy-to...
www.prnewswire.com/news-releases/the-happy-together-tour-...
Every night, listeners hear their favorite songs as the performers play numerous hits including "We're An American Band" "Some Kind of Wonderful" "Devil With A Blue Dress" "Good Golly Miss Molly" "Mama Told Me Not To Come" "Joy To The World" "This Diamond Ring" and of course "Happy Together" and many more.
During the show, the multi–media highlights during each of the performances will reference the time period of the music on a huge screen behind them as they perform. Listeners can truly feel and see the soundtrack of their youth during a Happy Together show as they are transported back in time...50+ years! Fun!
**********************************************************************
The Happy Together Tour of 2014 is once again highlighted by Flo and Eddie of The Turtles. Their debut single, Dylan’s “It Ain’t Me Babe,” went Top Ten in 1965 and launched the band on a brief string of hits: “Let Me Be,” “You Baby,” “Grim Reaper of Love,” and “Can I Get to Know You Better.” The Turtles weren’t content, however, and were about to break up; but first they released “Happy Together,” which proved to be their biggest hit, and one of 1967′s Top Ten records. With their career reinvigorated, “She’d Rather Be with Me,” “You Know What I Mean,” “Elenore,” and “You Showed Me” were their last single releases. theturtles.com/
Like the 1960s themselves, The Turtles were a remarkable harmonic convergence that served up the most innocent psychedelia that California could deliver. For five years of hits and 40 more of memories, their legacy has grown stronger every time their name gets mentioned. Today that sound continues to be a part of concerts, movies, television and commercials.
The Turtles are an American rock band led by vocalists Howard Kaylan and Mark Volman, later known as Flo and Eddie. The band became notable for several Top 40 hits beginning with their cover version of Bob Dylan's "It Ain't Me Babe" in 1965. They scored their biggest and best-known hit in 1967 with the song "Happy Together".
Kaylan and Volman later joined Frank Zappa's Mothers of Invention Band as The Phlorescent Leech & Eddie (nicknames of Turtles roadies), since the use of the Turtles name (and even their own names in billings) was prohibited by their contract. Flo & Eddie, as they soon became known, recorded albums with the Mothers, appeared in Frank Zappa's film 200 Motels in 1971 and later released records on their own. en.wikipedia.org/wiki/The_Turtles
FYI: Professor Mark Volman (on left in main photo), wrote many of the songs for The Turtles and went on to become a member of Zappa's Mother's Of Invention. Over 25 years later in 1992 at age 45 he started his bachelor's degree at Loyola Marymount University. Volman graduated with a B.A. degree in 1997 Magna cum Laude and was the class valedictorian speaker. During the speech he led the graduates in a chorus of "Happy Together". He later became, Assistant Professor and Coordinator of the Entertainment Industry Studies program at Belmont University and only tours in the summer as he teaches the rest of the year.
It Ain't Me Babe 1965:
www.youtube.com/watch?v=xXCqDbCQVdw
Happy Together 1967 - Ed Sullivan Show:
www.youtube.com/watch?v=mRCe5L1imxg
Happy Together 1967 - Smothers Brothers Show:
www.youtube.com/watch?v=gdUjmDjm_Bk
She'd Rather Be With Me:
www.youtube.com/watch?v=WkWDVBAwn_4
"This Happy Together Tour 2014 sizes up to be the strongest and most rocking summer we've had so far. The artists who are with us make us excited to get started and the audience is in for a great night of music and memories."
-- Mark Volman / The Turtles featuring Flo & Eddie --
Way back in 1962, when I was just 18 years old, I was walking past the London Palladium theatre, and there was a bit of a commotion going on, with a crowd gathering and someone clearly the centre of attention.
I went to have a look – and the man causing the attention was a bespectacled, flamboyant man whom I had neither heard of nor recognised. But he spotted me, pulled me forward from the crowd, told me to stand sideways… and he drew a caricature at lightning speed, which he then gave to me (he was doing the same with selected other people, too).
His name was Roger Price – who, I later discovered, was an American comedy writer and the creator of a 1950s fad drawing called the Droodle. This was a representation of an object, idea or situation done with the simplicity of a doodle, but containing a clever idea.
For example, a circle containing jagged lines at the top and bottom was a ‘vicious circle’. Well-known now, but invented by him more than half a century ago. In due course, his quirky art work took off in a big way, resulting in newspaper syndication, countless stage and television appearances, and a best-selling book, Droodles.
Roger Price (1918-90) began writing for Bob Hope in the 1940s before developing his humour for his own benefit. Droodles became a hugely popular craze in the US, with one of his drawings being used as the cover art for Frank Zappa’s album Ship Arriving Too Late to Save a Drowning Witch (see below, in Comments).
And this, above, is my own personal, individual, hand-drawn original Droodle: Peter Denton by Roger Price.
© FotocineCapozzi
Nel 1983 FZ venne a Napoli, suonò con uno dei migliori gruppi dopo le Mothers, allo stadio San Paolo. Memorabile! Il mio secondo concerto di Frank Zappa, dopo quello del 1973 a Roma al Palasport.
Il fotografo da cui mi servivo per sviluppo e stampa delle mie foto era accreditato per il concerto e gli chiesi di regalarmi una diapositiva, molto gentilmente lui acconsentì e io gli riconosco i diritti di autore citandolo: Luciano Capozzi, Napoli.
La cromia della foto è falsata dal colore delle luci di scena.
Purtroppo la resa della dia non è il massimo ma è un ricordo. Dieci anni dopo F.Z. è morto...
Renamed in 2007, formerly Straße 13.
Named after Frank Zappa 21/12.1940 – 04/12.1993) an American multi-instrumentalist musician, composer, and bandleader.
The house numbers for this block 10-16 are correct on the newer sign. On the lower sign, the plate has been mounted the wrong way around.
Normally, when you buy a 5 CD box of your favourite band you get a good mix of greatest hits, obscure B-sides and a few unreleased rarities. Not here. These are 4 hours of previously unreleased music.
The anthology includes the Trout Masc Replica sessions - instrumental tracks played by the Magic Band before Frank dubbed Don's vocals over them. Which is great, but it's not even the highlight. The highlights are "Tupelo" (recorded in 1966, so it's the John Lee Hooker song not the Nick Cave number) and "Black Snake Moan" (by Blind Lemon Jefferson). These are the 2 songs I play when I want to introduce a newcomer to the Captain's world.
Design and layout by Susan Archie. The front cover is here.
The box includes an illustrated booklet of 112 pages, with John 'Drumbo' French's history of the band, some other stories and many photos, all published for the first time. The whole set was released on John Fahey's Revenant label in 1999. Not cheap: I bought it in 2001 for 219 Deutschmark, about 100 US$ at that time, but worth it. It is out of print now and has become a collectors' item. It was even available on vinyl for a short while.
CD 1: Just Got Back From the City (1965 - 1967)
Obeah Man - 2:47
Just got Back from the City - 1:53
I'm Glad - 3:44
Triple Combination - 2:48
Here I Am I Always Am - 3:15
Here I Am I Always Am - 2:32
Somebody in My Home - 3:03
Tupelo - 4:15
Evil Is Going on - 2:33
Old Folks Boogie - 3:15
Call on Me - 3:04
Sure 'Nuff 'n Yes I Do - 2:11
Yellow Brick Road - 1:45
Plastic Factory - 2:57
CD 2: Electricity (1968)
Electricity - 3:42
Sure 'Nuff 'n Yes I Do - 2:57
Rollin n Tumblin - 11:08
Electricity - 3:54
Yer Gonna Need Somebody on Yer Bond - 6:25
Kandy Korn - 4:21
Korn Ring Finger - 7:23
CD 3: Trout Mask House Sessions (1969)
- 4:59
- 8:18
Hair Pie: Bake 1 - 5:04
Hair Pie: Bake 2 - 2:44
- 1:04
Hobo Chang Ba - 3:08
- 1:57
Hobo Chang Ba - 3:08
Dachau Blues - 2:06
Old Fart at Play - 1:23
- 1:01
Pachuco Cadaver - 4:08
Sugar 'n Spikes - 2:40
- 1:00
Sweet Sweet Bulbs - 2:30
Frownland (Take 1) - 2:51
Frownland - 1:52
- 1:10
Ella Guru - 2:33
- 0:08
She's too Much for My Mirror - 1:30
- 0:35
Steal Softly thru Snow - 2:22
- 1:51
My Human Gets Me Blues - 2:53
- 1:05
When Big Joan Sets up - 4:32
- 0:04
- 0:56
China Pig - 4:14
CD 4: Trout Mask House Sessions (continued) (1969)
This CD also includes some CD-ROM-accessible video/audio footage with live performances of "Electricity", "Sure Nuff" (1968), "Click Clack" (1973), "Big Joan," "Woe Is Me," "Bellerin Plain" (1970/1971), "Too Much For My Mirror" and "Human Gets Me Blues" (1969).
Blimp - 5:09
Herb - 1:06
Septic Tank - 0:51
Overdub - 5:26
CD 5: Captain Beefheart & His Magic Band Grow Fins (1969 - 1981)
My Human Gets Me Blues - 3:54
When Big Joan Sets up - 6:12
Woe Is Uh Me Bop - 2:46
Bellerin' Plain - 3:23
Black Snake Moan I - 1:01
Grow Fins - 5:09
Black Snake Moan II - 1:49
Spitball Scalped Uh Baby - 9:12
Harp Boogie I - 1:32
One Red Rose that I Mean - 1:45
Harp Boogie II - 0:53
Natchez Burning - 0:43
Harp Boogie III - 0:50
Click Clack - 2:49
Orange Claw Hammer - 4:36
Odd Jobs - 5:10
Odd Jobs - 5:08
Vampire Suite - 3:46
Mellotron Improv - 1:22
Evening Bell - 0:54
Evening Bell - 2:15
Mellotron Improv - 2:19
Flavor Bud Living - 1:14
The Mothers of Invention / Just Another Band from L.A.
Side one:
- "Billy the Mountain" (Interpolates sections of "Johnny's Theme" by Paul Anka and Johnny Carson, and of "Suite: Judy Blue Eyes" by Stephen Stills.) - 24:47
Side two:
- "Call Any Vegetable"- 7:22
- "Eddie, Are You Kidding?" (John Seiter, Mark Volman, Howard Kaylan, Zappa) - 3:10
- "Magdalena" (Kaylan, Zappa) - 6:24
- "Dog Breath" - 3:39
[All songs written, composed and arranged by Frank Zappa except where noted.]
Frank Zappa – guitar, vocals
Don Preston – keyboards
Ian Underwood – woodwinds, keyboards, vocals
Aynsley Dunbar – drums
Howard Kaylan – lead vocals
Mark Volman – lead vocals
Jim Pons – bass guitar, vocals
Recorded live on August 7, 1971 in Pauley Pavilion on the campus of UCLA in Los Angeles.
sleeve design: cover by Cal Schenkel
Label: Bizarre/Reprise Records / 1972
ex Vinyl-Collection MTP
Backstage during an interview after a concert
Louisville Gardens
1977
Photo copyright By Michael Redman
Please do not use without permission
Prints of this photo are available on eBay
Montreux is the main resort of the so-called Swiss Riviera, lying between Lausanne and Villeneuve. Montreux was home to many famous writers, musicians and artists like Charlie Chaplin, Freddie Mercury, Ernest Hemingway and Lord Bryon.
From Wikipedia :
Deep Purple made Montreux famous with their song "Smoke on the Water"
“We all came out to Montreux on the Lake Geneva shoreline / To make records with a mobile - We didn't have -much time / Frank Zappa & the Mothers were at the best place around / But some stupid with a flare gun burned the place to the ground / Smoke on the water, fire in the sky”
The lyrics of the song tell a true story: on December 4, 1971, Deep Purple had set up camp in Montreux to record an album using a mobile recording studio (rented from the Rolling Stones and known as the Rolling Stones Mobile Studio - referred to as the "Rolling truck Stones thing" and "the mobile" in the song lyrics) at the entertainment complex that was part of the Montreux Casino (referred to as "the gambling house" in the song lyric). On the eve of the recording session a "Frank Zappa" and "The Mothers of Invention" concert was held in the casino's theatre. During the gig a fire broke out: "In the middle of Don Preston's synthesizer solo on 'King Kong', the place suddenly caught fire. Somebody in the audience had fired a flare gun into the ceiling, at which point the rattan covering started to burn",[1][2] as mentioned in the "some stupid with a flare gun" line. The resulting fire destroyed the entire casino complex, along with all the Mothers' equipment. The "smoke on the water" that became the title of the song (credited to bass guitarist Roger Glover, who related how the title occurred to him when he suddenly woke from a dream a few days later) referred to the smoke from the fire spreading over Lake Geneva from the burning casino as the members of Deep Purple watched the fire from their hotel across the lake.
For the fans of Hemingway, Montreux was a haven for Catherine Barkley and Lt. Frederic Henry in the classic, A Farewell to Arms.
Pic used under Creative Commons License here : www.europealacarte.co.uk/blog/2009/12/18/getting-jazzed-u...
Frank Zappa / Joe's Garage Act I.
Trackliste: Act 1 / Joe's Exploits
- "The Central Scrutinizer" - 3:28
- "Joe's Garage" - 6:10
- "Catholic Girls" - 4:26
- "Crew Slut" - 6:31
Trackliste: Act 1 / Sex and Side Gigs
- "Wet T-Shirt Nite (retitled "Fembot In A Wet T-Shirt" in 1987)"- 4:45
- "Toad-O Line (retitled "On The Bus" in 1987)" - 4:19
- "Why Does It Hurt When I Pee?" - 2:36
- "Lucille Has Messed My Mind Up" - 5:43
- "Scrutinizer Postlude" - 1:35
(All tracks are written by Frank Zappa.)
Frank Zappa – lead guitar, vocals
Warren Cuccurullo – rhythm guitar, vocals
Denny Walley – slide guitar, vocals
Ike Willis – lead vocals
Peter Wolf – keyboards
Tommy Mars – keyboards
Arthur Barrow – bass guitar, guitar (on "Joe's Garage"), vocals
Ed Mann – percussion, vocals
Vinnie Colaiuta – drums
Jeff (Jeff Hollie) – tenor sax
Marginal Chagrin (Earle Dumler) – baritone sax
Stumuk (Bill Nugent) – bass sax
Dale Bozzio – vocals
Al Malkin – vocals
Craig Steward – harmonica
Recorded: March–June 1979 at Village Recorders "B" Studio, Hollywood
sleeve design: Ferenc Dobronyi
Label: Zappa Records / 1979
ex Vinyl-Collection MTP
it´s my new guitar. don´t have a name. maybe the name of my ex-girlfriend? what do you think?
a bit sun for your hearts charlie brown