UK – Danger Money

   The band U.K. became the progressive rock legend when punk was already on the run for high positions on charts and popular music was active probably more than ever. I could be the strong evidence the real greatness doesn’t need too many reasons to be recognized. Only two studio albums of the band, recorded with two lineups in 1978 and 1979, were enough reason to be remembered. The band has achieved great fame in the group of progressive rock listeners which was at those times already fast diminishing subculture. Reflections of society exhausted with depraved politics and economic recession were explicitly pronounced in many artistic and popular media. Danger Money in 1979 was the statement many considered their own. And it was not an isolated voice. In the same 1979 Pink Floyd published their anti-system manifesto The Wall and The Clash recorded London Calling.
   U.K. was absolute super group in terms of historic progrock ideas and in experience. Musicians created their own sound and new generation of musical improvements in post-disco era. The band was formed by John Wetton playing bass and singing and Eddie Jobson playing keyboards and electric violin. Wetton was known for his work with King Crimson and Uriah Heep, Jobson was remembered from Curved Air and Frank Zappa’s band. Both were playing in Roxy Music. First lineup was formed by Wetton with Bill Bruford, drummer of Yes, King Crimson and Genesis who recruited Allan Holdsworth, guitarist of Soft Machine and Gong. 

UK – Danger Money (1979)

   After self titled debut U.K. album, the quartet had split as the consequence of artistic disagreements. Allan Holdsworth parted the band and Bill Bruford shortly goes after him. John Wetton and Eddie Jobson hired Terry Bozzio, phenomenal young drummer already known for great appearances in Frank Zappa’s bands. As the trio U.K. became one most famous progrock bands, it is worth to remember the whole fame came with the one studio album Danger Money. Recording sessions took place in London AIR Studios between November 1978 and January 1979. After European tour in December 1979 trio was disbanded as a consequence of differences between Wetton and Jobson. In 2011 the band was reformed with the same trio lineup for reunion world tour.
   Between many progressive bands of late 70’s, the U.K., especially in its second embodiment, was quite exceptional project. Unlike other bands of these times, this trio was playing with some radical ideas of early progrock. With steady rock riffs and appealing melodies, close harmony vocals, harmonic coloristics and complex, changing and often odd time signatures, music of U.K. was well established in progressive style, perfectly done and enriched with expressive solos. Special place took art of Terry Bozzio who was probably most influential drummer of late seventies generation. What made this trio and it’s record so famous was the style which those times was quite unique, but even the style wouldn’t be enough if not the personalities of artists. Four stars for this album means featured position in the history of rock.

Zappa in New York

★★★★★

   Live record from New York was moot point in the crisis between Frank Zappa and his manager. The imbroglio became Zappa’s victory, leading to full artistic and business independence and forming phenomenon of mature Zappa’s live performances. In December 1976, between Christmas and New Year Frank Zappa and his band had played in Palladium four shows for 14 000 listeners. In 1977 he edited some material for double LP which was released the same year in UK by DiscReet Records label. Album has been immediately withdrawn and reedited by DiscReet distributor Warner Bros. This was the moment small Zappa’s company has been losing its independence. The original idea became the part of 3CD album Läther, the project realized in 1996. Censored and shortened version of the album has been published in March 1978. Despite these manipulations album has won commercial success and in Billboard 200 albums chart Zappa in New York it took 57th position.
   Even in such form Zappa in New York was the album setting new trends. Totally renewed band was not the straight continuation of the idea of consecutive Mothers of Invention lineups. New faces were singer and guitarist Ray White, bass guitarist and singer Patrick O’Hearn and both were active in next years. From Saturday Night Live band came strong wind and brass section with Brecker brothers Randy (tp) and Mike (ts), Lou Marini (as), Ronnie Cuber (bs, cl) and Tom Malone (tb). It was like new incarnation of Hot Rats band. And musicians known from Mothers of Invention, Ruth Underwood and Terry Bozzio who was also singing, were the core of the band. Interesting member of this lineup was Eddie Jobson, singer, keyboardist and violinist, a legend of British progressive rock playing with Frank Zappa for short period only.

Zappa in New York (1978)

   Due to corporation censorship, album was shorter than usual. Side one was 11 minutes only, side two 15 minutes and side three and side four were 17 minutes each. It was easy to figure out that something was missing. Opening Titties and Beer has been shortened to 5:31 omitting long fragments of improvising dialogue with the devil played by Terry Bozzio. Another intended for this album narrative with Terry Bozzio acting one of Warner Bros. stars Punky’s Whips was excluded and published five years later, when Zappa has regained full rights to his own material. Other great narrative songs were two songs filling the entire side three – sung by Zappa satirical ballad defined as “just another love song”, Honey, Don't You Want a Man Like Me? and blues ballad The Illinois Enema Bandit, based on a true story on criminal activity of Michael H. Kenyon a great performance of Ray White opening his long stage with Frank Zappa’s bands.
   Narrative, satirical songs and even improvised sketches were always extremely popular part of Zappa’s public performances. But Zappa in New York was composed as contrasting juxtaposition of quite easy popular songs and pieces of highest complexity level. In such compositions as Manx Needs Women and Black Page Zappa was using techniques and ideas taken from serialism and other conceptions of composition. Thanks to some citations and references to masters of contemporary music like Igor Stravinsky, Edgar Varese and many others, he made outstanding chance of intellectual adventure, bridging the gap between listeners with different experiences and levels of musical knowledge. As I can say observing my friends listening to Frank Zappa’s records, this idea was quite effective way to promote language of new music.

Frank Zappa • Zoot Allures

★★★★★

   Frank Zappa was not only the legend of progressive rock. After his early productions he was seen predominantly as avant-garde composer, fusion big bands leader and experimental movie maker. When Apostrophe and Bongo Fury became hits of progressive rock in common memory of mid 70’s he was already associated with Discreet label. This company was joint undertaking of both Zappa and manager herb Cohen. They were connected for years. With Herb Cohen who was Zappa’s manager and business partner, they run together Straight/Bizarre Records and Discreet Records. In early 1976 they parted due to disagreements on artistic ideas of Zappa and pro-corporation politics of the manager. In effect Herb Cohen took total control over Discreet label and demanded new Zappa’s albums for release. The contract was temporarily re-assigned to Warner Bros and the first of the series of Zappa's records was album Zoot Allures published in October 1976.
   It was the first and only Zappa’s record published under the Warner Bros label. And many listeners rated this album as more mainstream and popular than any of Zappa’s records before. The frame for A-Side was two songs in style of satirical rock – criticizing system of education Wind up Working in a Gas Station and Ms. Pinky. First with vocals by Davey Moire, second with Zappa lead and Roy Estrada background vocals. The impression of the popular character of the music was superficial. Second and third songs were instrumental Black Napkins beautiful guitar solo recorded in Osaka on February 1976 and Torture Never Stops which was recorded in duo by drummer Terry Bozzio and Frank Zappa playing guitar, bass, keyboards, vocal and directing recreational activities. This became a favorite song for many tours live performances and different versions have been published on various official albums and bootlegs.

Frank Zappa – Zoot Allures (1976)

   Songs filling B-side are even more specific. After Find Her Finer where Zappa and Bozzio play with Captain Beefheart’s harmonica (credited as Donnie Vliet) and background vocals of Andre Lewis, Roy Estrada and Ruben Ladron de Guevara, Frank Zappa is jamming with Terry Bozzio and Ruth Underwood in Friendly Little Finger. Next song is written by Jeff Simmons and Frank Zappa Wonderful Wino. This old song of 1970 gives the album straight connection to the Zappa’s older style. Recorded by Zappa and Bozzio in progressive way still sounds somehow familiar but it is a real good chance to observe the change. And then comes phenomenal piece opening the way to Zappa’s guitar frenzy known from Shut Up and Guitar albums. This is guitar solo Zoot Allures with Terry Bozzio on drums, Dave Parlato on bass, Ruth Underwood on marimba and Lu Ann Neil on harp. As instrumental composition Zoot Allures has indications of improvisational origins. But here it can be seen as a kind of answer for Black Napkins. The intended hit Disco Boy, has closed whole album with jester’s wry face.
   The sound of Zoot Allures is innovative and recognizable. Deeply resonating bass lines, clear guitar sound and drums tracks exploding with energy – this was the readable sign of the basic change in Zappa’s musical experiments. The lineups of his band were changing faster than recordings sessions. On front and rear side of the cover for Zoot Allures there are photos of four musicians. Frank Zappa and Terry Bozzio posed in white pants and with them the two new musicians who during recording sessions were not present yet. These two were Eddie Jobson sitting on the chair and bass player Patrick O’Hearn. Both became good support for Zappa’s band and both made lots of good music also in later bands. Zoot Allures was not immediately and not completely accepted, for many Zappa’s followers it looks too easy, but in longer time perspective this unpretentious album gives even more creative incentives than some more complex and ultimate releases.

Frank Zappa • Orchestral Favorites

★★★★★

   The 1979 with five new albums was record year in Frank Zappa’s discography. Warner Bros. has released two further albums from material provided by Zappa as a consequence of a contract – Sleep Dirt in January and Orchestral Favorites in May. And in March launching new label, Zappa Records opened with Sheik Yerbouti double album and continued in September and November with two albums of Joe’s Garage Act I and double Joe’s Garage Act II & III. This year was also record for the number of three singles – Dancing Fool, Bobby Brown Goes Down and Joe’s Garage. Every 1979 album is different in style which is one of great features of Zappa’s works. Publication of two albums with instrumental music proved to be fortunate event. The 1979 edition was published by Warner Bros under DiscReet label without permission from the author. And even with the tracks which had not been edited, issued hastily and without the participation of artists, the compositions are able to defend itself.

   Material for this album was recorded in Royce Hall, Los Angeles in September 1975 with large group of more than three dozen artists. The core of the orchestra were Terry Bozzio on drums, Dave Parlato on bass, Emil Richards playing percussions and playing guitar and keyboards Frank Zappa who was leader, composer and producer. Many musicians involved in this project were known as members of Abnuceals Emuukha Electric Symphony Orchestra & Chorus from Lumpy Gravy album. Zappologists separate the existence of this bands as – first Lumpy Gravy 1967 incarnation and second Orchestral Favorites 1975 incarnation. Many musicians were hired just for September 17 and 18, 1975 concerts in Royce Hall.  From 1967’ AEESOC incarnation there were keyboardist Mike Lang, playing french horn David Duke, cellist Jerry Kessler and percussionist Emil Richards. Some musicians came to Zappa’s bands after Lumpy Gravy. From The Grand Wazoo trumpeter Malcolm McNabb, oboist Earle Dumler, flutist, clarinetist and saxophonist Mike Altschul, from latest Mothers lineup Bruce Fawler, Terry Bozzio. New musicians in AEESOC were John Wittenberg, Bobby Dubow (violin) Pamela Goldsmith (viola), Dana Hughes (bass trombone), Ray Reed (flute), David Shostak (flute) and Tommy Morgan (harmonica). The conductors of the orchestra in Royce concerts were Frank Zappa and Michael Zearott.

Frank Zappa – Orchestral Favorites (1979)

   First and last works are instrumental versions of 200 Motels compositions. Opening A-Side Strictly Genteel was published as vocal finale of 1971 soundtrack and later in orchestral form with London Symphony Orchestra and in rock band version from October 31, 1981 concert in Palladium, NYC on You Can’t Do That On Stage Anymore vol. 6. Next two compositions were new works and like many other were later reworked and republished – Pedro’s Dowry in January 1983 recorded London Symphony Orchestra conducted by Kent Nagano and Naval Aviation in Art in January 1984 recorded Ensemble Intercontemporain conducted by Pierre Boulez.

   Opening B-Side Duke of Prunes later known as The Orchestral Duke of Prunes is instrumental version of 1966 song published on Absolutely Free and Mothermania albums. Zappa called it „surrealistic love song” and this tune was frequently played during Mothers of Invention gigs in sixties. The last piece of this set Bogus Pomp comes from 1968 whet it was played as a prologue to the concert on October 25. The musical material of this composition was base for Sealed Tuna Sandwich suite in 200 Motels soundtrack and then reworked and published as Bogus Pomp on Orchestral Favorites (13:29) and in much wider form on London Symphony Orchestra album (24:31).
Closing series of three Warner Bros’ editions, the Orchestral Favorites album was a kind of conclusion for this exposure. Three records giving balanced picture of Zappa’s creative works with very little rock songs, well developed narrative work and various instrumental compositions pointing directions of future developments. Many evil can be said about the policies of big corporations towards artists. Many talented people never fully developed their talents. Frank Zappa had a sufficiently strong position to fight for freedom of his artistic expression. Reduced to the status of the product, art defended itself once more. This series was like cuckoo egg in the nest of corporative governance, a formation of independent post in the world of supermarkets. It was in fact enough anti-system to provoke a series of furious attacks of the Washington generals' wives so much politically involved in the coming era of Reaganite neo-conservatism.

Frank Zappa • Sleep Dirt

★★★★★

   Four months after premiere of Studio Tan, January 19, 1979 next Zappa’s album Sleep Dirt has been released by Discreet Records (DSK 2292). For customers this looked like continuation of previous publications and maybe new series but this time Discreet Records label was totally controlled by big record company and three albums delivered to Warner Bros were treated as a legally secured debt. Zappa has treated these recordings rather as lost and not fully edited. But from today’s point of view this three albums should be treated more as the series of recordings establishing new position for composer’s creative output. In late seventies Zappa was already a well-known artist, so it was no surprise that the company has struggled with the artist to gain control over the largest possible amount of his music. In fact this became first commercial success of Zappa’s instrumental music and at Billboard’s North America Pop Albums Chart Sleep Dirt reached 175 position.
   Sound and constructive ideas of Sleep Dirt were something new, maybe not revolutionary but quite different than music dominating on earlier records. After all these albums merging satiric song, rock and fusion jazz, Zappa played some more abstract music of pure aesthetic meaning. This album has relatively fresh shape even in comparison to Studio Tan, which in fact was evolution of 200 Motels and Billy the Mountain ideas. After narrative Greggeary Peccary and two orchestral compositions from Studio Tan, second album was example of more jamming than symphonic attitude. What was the intention it's clear considering this album was titled by Zappa as Hot Rats III. Violating contract, company changed the album title. In effect program of Sleep Dirt was the cycle of instrumental works for various groups, from guitar duo with James Youman to compositions played by Mothers group with some extended sound structures developed through the multi-track recording, but not connected by title to earlier Hot Rats music. Republishing this album Zappa didn’t changed the title.

Frank Zappa – Sleep Dirt (1979)

   The meaning of the title was not clear for many listeners. Especially with the creature getting up from bed shown on Gary Panter’s cover painting. Taken from 1971 Japanese movie Godzilla vs. Hedorah, in seventies Hedorah a.k.a. “Smog monster” was symbol of pollution. It was clear reference to Zappa’s works from his first movie attempts to Cheepnis, song known from many concert events and 1974 double album Roxy and Elsewhere. In Zappa’s individual style combining pop culture artifacts and surreal imagination was one of distinctive features. Most convincing explanation of this title is an assumption that Zappa refers to popular description of excretions and contaminants gathering in the corner of an eye during sleep, also called „sleeping dirt”. This is reasonable clarification since the title track has something of a dream at the edge of sleep and wakefulness. This inspired miniature is sound simple but is organized in impressionist way, thus may evoke early 20th century music with its power of unreal expression. At the end, when sounds of accompanying guitarist James Youman has weakened Zappa asked “You getting tired?” and Youman answered “No, my fingers got stuck”.
   Material for Sleep Dirt was recorded by group of musicians in various configurations. All of them are well known from Zappa’s previous records. As always the core of the group was Frank Zappa playing guitars, keyboards, percussion instruments and programming synthesizers. His companion were playing keyboards George Duke, Ruth Underwood with variety of percussion instruments, bassists James Youman and Patrick O’Hearn and drummer Chester Thompson. This album was something distinct from the recordings for which listeners were previously accustomed.

   From opening composition Filthy Habits showing soloing Zappa with accompanying bass player Dave Parlato and drummer Terry Bozzio. In this trio Zappa was featured artist playing guitars as well as some keyboards. Strong guitar phrases over steady ostinato has its role in preparing the ground for Zappa’s improvised music which blossomed few years later on Shut Up And Play Yer Guitar triple album. In next two pieces Zappa switches to easy jazz, even piano bar style, but these are only externals. In fact Zappa was constructing this compositions from elements of jazz style, exactly the same as he was doing in his debut album.
   Patrick O’Hearn played perfectly musical bass parts in Flambay and Spider of Destiny and this was beginning of his fruitful collaboration with Zappa. In fact he was not new on music scene, after private studies with Garry Peacock he was playing in San Francisco jazz groups with best artists - Charles Lloyd, Joe Henderson, Dexter Gordon, Joe Pass, Woody Shaw, Eddie Henderson, and Bobby Hutcherson. His bass has great jazzy sound, perfect articulation and was recognizable for his own style. He has his own contribution to the success of Shut Up And Play Yer Guitar. It’s easy to find the foretaste of this work in the closing composition of Sleep Dirt album The Ocean Is the Ultimate Solution were Zappa shows with Patrick O’Hearn playing bass and Terry Bozzio playing drums. In Zappa’s intention this was probably an answer for Filthy Habits, but this time it’s much more than jamming. Whole piece sounds perfectly different – unless first trio was rock, this is jazz.
   This recording was republished in 1991 with drums overdubs by Chad Wackerman and some instrumentation changes. Songs Flambay, Spider of Destiny and Time is Money were originally composed for abandoned 1972 musical Hunchentoot. Digital versions of this songs had been enriched by vocals by Thana Harris. Although well written and perfectly performed, for many listeners this version was just surprise. Once more Zappa’s works occurred beyond the boundaries of fashion and style.

Zappa / Beefheart / Mothers • Bongo Fury

★★★★★

   There are many good live recordings by Frank Zappa and his bands. Definitely it is hard to count every great gig played by successive groups in the span of more than quarter of the century. And it was always a question, which one is best to take first. Almost ultimate choice is Bongo Fury, recorded in Austin, Texas May 20 and 21, 1975 and released October 2, 1975. This is album, mainly covering recordings of two concerts, that can be seen as a turning point both in Frank Zappa’s and Captain Beefheart’s career. 

   The place of the concert was quite magic. Despite its ugliness and poor acoustics, its worth to notice, the adopted old military depot, named Armadillo World Headquarters, became main music and entertainment center in Austin during the seventies. In early years it became the center of hippie culture, because of inexpensive tickets, tolerating using of the marijuana and no police raids. These freedoms established an asylum for any kind of the audience, especially for the counterculture and progressive music, but in second half of decade jazz concerts and pop music events were also located here. Conforming didn’t save the Austin’s concert center. December 31, 1980 it has closed and torn down to make place for office building of One Texas Center. 

   Zappa was playing in Armadillo not for the first time, but in 1975 it happened to be the place for the breakthrough change in Zappa’s career. It was the last time Zappa played with Mothers in its early seventies line-up with Tom Fowler on bass and George Duke on keyboard instruments. Some of them he will play again after years – Bruce Fowler came back in Broadway the Hardway and Napoleon Murphy Brock in some albums in forthcoming years, including Thing Fish where he played the role of Evil Prince. In Austin concert and main part of Bongo Fury for the first time appeared as a member of Zappa's group Terry Bozzio – long time drummer and frontline personality on numerous Zappa’s records. In two studio songs on drums was still playing Chester Thompson – drummer of last Mothers line-up featured on Roxy and Elsewhere and One Size Fits All.

Frank Zappa & Captain Beefheart - Bongo Fury (1975)

   Bongo Fury was also last time Frank Zappa and Captain Beefheart appeared together. Two great artists, personalities and friends, made outstanding performance. For Don Van Vliet it looked like trying to comeback into the mainstream of progressive music. Which itself in 1975 was on its way to change. Two songs credited as his works are in fact melodic recitations of his poems - Sam With the Showing Scalp Flat Top (ended with refrain Bongo Fury) and Man With the Woman Head. Despite this Captain Beefheart sings with great blues feeling. He is also playing saxophone and harmonica like old delta blues recordings in Smithsonian archives. 

   Even if most of pieces was composed by Zappa, Beefheart’s contribution is huge. His vocals in Debra Kadabra, one couplet in Carolina Hard-Core Extasy, phenomenal narrative singing and harmonica solo in Poofter’s Froth Wyoming Plans Ahead, and so on in every consecutive piece of this album. And there is a quite vocal personnel – singers are Frank Zappa, George Duke, Napoleon Murphy Brock and Denny Walley. But hearing the voice of Captain Beefheart in first part of Advance Romance, there can be no doubts about who is leading this spectacle. Great stage personality and outstanding artist!

   Zappa is quite out of any trend he was before or after. His solo in Carolina Hard-Core Extasy gives foretaste of next ten years of jamming documented in numerous live recordings and two huge collections of guitar solos, beginning with Shut Up And Play Yer Guitar in 1981. The Bongo Fury album shows one more time Zappa as great leader who can stand down and give place for concurrent musicians. Two studio recordings and some overdubs were recorded one year before, January and February 1974 at The Record Plant in Los Angeles. No matter what part of his work you like best, rock, orchestral, social or political satire, comedy or electronic, Bongo Fury belongs to most important albums by Frank Zappa, Captain Beefheart and musicians of the Mothers group.