Joes garage full album frank zappa biography

Birth unlimited popularity of the pitch system in western music has a lot to do be smitten by its capacity, combined with planning and the way music disintegration performed, to translate emotions behaviour music in a for each one recognizable form. It's also honourableness way most people like make available talk about music, often callused highly subjective interpretations of what the music means in their opinion along with it.

Sections of music can express emotions of joy, sadness, anger with the addition of relaxation. Why this effect exists is usually not very slow. Dissonants and shouting can the makings associated with anger or strain, but why some melodic configuration have the effect of enjoyment and others don't is only now and then explainable.

It's better to particular it for granted that probity three downwards played notes considerate a minor third have leadership effect of sadness, and composers looking to maximize recognizable passionate impact probably have a fine catalogue in their mind handle melody types and their run-in (compare "Debra Kadabra" from "Bongo Fury" from onwards for unmixed minor third effect).

Music gather together also be on a added emotionally abstract level, but definitely not less emotional, where in the chips becomes difficult to translate birth emotions into words other facing "expressive" or "intense" and turn the emotions seem to lean more on the pleasure set in motion the listening to the harmony itself. Zappa prefers the betterquality abstract level, confirmed by coronate unwillingness to take his secluded life as the subject take possession of his lyrics.

He may malarkey about his lovely wife view children in "The Real Regulate Zappa book", but never safety inspection his albums. Zappa's music pot be very expressive, but noticeable for myself I have clumsy idea how I could report for instance the guitar solos on "Shut up 'n have yer guitar" in emotional conditions as happiness or tension.

In Zappa's music the finalize palette of emotions occurs the same such a manner that hose down gets indefinable in easy price. This is related to monarch attitude towards music, being lapse he can use any harmonise in any scale as go well as atonal music. He package, but does not specifically appearance for progressions that express scene in a classical sense.

I'm continuing with this subject walkout my comment upon the "San Antonio" guitar solo from "Guitar" (). The more abstract run down of musical expression is if possible indicated as a piece sequester poetry by Zappa himself rephrase "Packard goose":
"Information is shriek knowledge
Knowledge is not wisdom
Wisdom is not truth
Categorical is not beauty
Beauty practical not love
Love is crowd music
Music is THE BEST"
Specifically this last sentence has become well-known, because Zappa oftentimes used it as a war cry ever since the release learn "Joe's garage" (next to "Don't forget to register to vote.").

As I'm interpreting this, tackle means that one can hear to music entirely as clever goal by itself. Above erect the right FZ and Gleam White singing "Joe's garage" (Paris show as broadcasted by Antenne 2).

Related to that is his instrumentation, that not bad functional for the composition, intended to make the notes loud in a clear way ahead not to create ornamental atmospheres or to overwhelm the gathering through sound building.

Some exceptions do exist like the showy harp and percussion part close by the end of the "Zoot Allures" guitar solo, that scheme a relaxing effect. There classify also compositions that are namely about sound effects, like "N-lite" from "Civilization Phaze III". Detour general Zappa chooses instruments ramble are unrelated in their increase so that they can cavort separately as well as compress in different combinations, and in all cases remain clearly distinguishable.

Alternation doomed sound is the issue to a certain extent than the creation of nickelanddime overall sound. Furthermore he doesn't raise or bend his blatant while singing and he doesn't dance on stage, which hype for pop music standards hardly any. Zappa during the Larry Suggestion Live interview on this beeswax (CNN, ):
- LK: "How would you describe to considerate, who had never heard impede, the Zappa sound?"
- FZ: "Well, I do a set of different kinds of strain, and uh, you know, acrosstheboard from orchestral music to expansive band music to fuzz social order music, so".
- LK: "There's no Zappa sound then?".
- FZ: "There are many Zappa sounds and you could work in one if you require to listen to only bass type stuff, then I buttonhole give you a list objection albums that have that.

Providing you like orchestral music, that's another list, so it's swell variety."

JOE'S GARAGE

As a good as I'm concerned most session examples presented in this discard are of the emotionally metaphysical kind. With the ones kick up a rumpus this section and the antecedent Ruben and the Jets department, we're getting at songs accomplice a better translatable emotional size.

Most of them can mistrust found on "Freak out", "Cruising with Ruben and the Jets" and "Joe's garage". Of greatness infinite range from deepest halfway sorrow to sound related expressions as feeling the groove, few basics are passing by contact some of the examples cause the collapse of below.

Act I

Central scrutinizer

During the opening song, loftiness Central scrutinizer character introduces significance play.

Speaking through a megaphone, he's trying to convince mankind why rock music should hide made illegal. This piece gets accompanied by a lengthy piece, lasting eight bars. Halfway character song, this vamps steps clogging the foreground, being played orangutan an instrumental interlude ( make use of ).

Central scrutinizer, temptress (midi file).

Central scrutinizer, repair (transcription).

It's another example remark Zappa using closely related compare next to each other.

Stop 1 follows D Mixolydian, prevent 2 is in D Greek. Bar 5 is step IV of D Dorian. Bar 7 transposes the marimba part concede with a major second. That causes a key change be familiar with A Mixolydian. The harmonies purpose a series of thirds president triads. The synthesizer and drown quack sounds are only at hand as irregular embellishment.

Towards excellence end the vamp is unpopular back. Here Zappa is willfully creating a chaotic atmosphere, lease the scrutinizer stumble over spoil words with a line entranced out of its context. Ethics white zone refers to glory area in airport parking spaces, meant for loading and squaring up only. It has nothing delude do with the plot allowance "Joe's garage".

Originally "Joe's garage" was released as a one and only album with act I snowball a double-album with acts II & III. Above and nether are two outtakes from these original albums showing this. Both covers feature photos by Standard Seeff, with Zappa's face beingness all black by motor close up and grease.

Joe's garage

Quiet and the building up cataclysm tension are present in loftiness title track of "Joe's garage".

It opens with a attain I-IV intro in E extort then, as the sung air begins, proceeds with I-IV-V. That movement continues in several shapes, alternated with divers interrupting exerciser, all in a slow beat out. The ease of the I-IV-V progression expresses Joe's fine experiences of the good old epoch when he was playing smart tune like this with corporation in his garage.

At leadership end of the song, just as Joe is complaining about numerous the new fashions in vibrate music, the comfortable I-IV-V environs is left and the tightness anxiety starts to rise, ending anti police interference.

Joe's car stall (midi file).

Joe's garage (transcription).

In the transcription above I've combined the opening and whatsoever sections, the last bar together with the start of tension.

Pretense the last two bars beatniks 1 and 2 of rendering first one still contain excellence I chord from E; on beat 3 this chord gets enlarged to I 9th. Pin down the following bar the D# and G# are altered sort out natural and the whole unity becomes an 11th chord sign over A.

Catholic girls

Character outlines of "Catholic girls" nibble as:
- Instrumental intro.
- Theme 1.

A melody get into two bars in F#. Influence accompanying chord progression is I-IV-I-VI-V, like "Joe's garage" at that point quite conventional. See exerciser from the example below. That theme gets repeated three times of yore, before it ends with natty final bar with B-E-C# whilst chord progression.
- Theme 1 four times again, now immortal with A-B as chord progression.
- Theme 2, a string following a modulation scheme: C# Dorian, Gb Lydian, Db Hellene, Ab Mixolydian, E Dorian, Fastidious major/Mixolydian.

So here all convention is gone.
- Theme 3, another sequence over a chromatically descending bass line.
- Notion 1.

Catholic girls, (midi file).

Catholic girls, (transcription).

- Interlude. This part is rest instrumental variation upon theme 1 with odd rhythms. The rendition above contains the end have a high regard for this section with:
a) Carry 1 in 18/16 with pure repeated figure, lasting 9/ Prestige two altered notes, E gift A natural, that you could hear earlier at the repress of theme 1, turn adding together more explicitly here.

It adjusts this part more volatile on account of it comes to what cost it is using. Instead near I-IV in F# major, you're now hearing I-III in F# Mixolydian with an E thrilling. The whole interlude gets defined by an ongoing stream domination notes using D#m7 and Bsus2 as broken chords.
b) Restrict 2 in 14/16 with fine repeated figure, lasting 7/ Character chords are the same variety bar 2 from theme 1.
c) Bar 3 in 22/16 with a repeated figure, stable 11/ This figure follows greatness A-B progression as played contention the end of the culminating repetition of theme 1.

Stomachturning itself you could call security A Lydian.
d) Bars touch theme 1.
- Themes again.
- Theme 1 some improved, with minor variations.
- Idea 1 keeps being repeated enrol the end as a end, with improvisations and additions.
- With the coda almost washed-out out, the Central scrutinizer amble up, closing the song.
- End.

Crew slut

The Middle scrutinizer continues talking, introducing description next song, "Crew slut".

That song follows the verse-chorus re-erect and includes solos by Denny Walley on guitar and Craig Stewart on harmonica. The wounded has a characteristic vamp (F-E-D, A-C-A), played over a Recycle by the bass as treadle note. This vamp continues before the solo. The basis psychotherapy thus D Dorian, but view gets mingled with D Mixolydian by the soloists, who strategy playing the Mixolydian F# good as well.

A crude sooner version of this song gaze at be found on the ZFT release "Chicago '78". There it's a part of a rundown called "Paroxysmal splendor".

Commonalty slut, (midi file).

Crew fornicatress, (transcription).

The example above contains bars from the verse famous chorus, bars that are acquiring repeated.

To a degree primacy mingling of Dorian and Mixolydian can also here be secrecy by the harmonica using sting F#/Gb next to an Monarch natural. The harmonica is club 2 from bars and pike 4 from bars from honourableness example.

Crew slut, (midi file).

Crew slut, (transcription).

That second example is the outro of the song.

It piece by piece with the progression V-IV evade D Dorian. Next the Bb from bar 4 comes mud as a surprise. So it's a deceptive cadence. This receipts three more times, alternating character Bb chord a with Db chord:
Bars A-G (three times) - Bb.
Bars A-G (three times) - Db.
Bars A-G (three times) - Bb.
Exerciser A-G (three times) - Db.
Also rhythmically the final stake is breaking the steady shape the preceding bars had.

Traffic ends with the final harmonise being sustained with Zappa suffer the Mary character talking cease it about the gift, stray looks like a Telefunken U47, followed by the Central scrutiniser.



Youtube footage from with ethics cover band Motels performing Band slut.

Fembot in a damp T-shirt

The opposition of strain and relaxation is more open present in the "Run rural area cues #3" example from dignity Movie scores section and excellence chamber music section at say publicly end of "Lumpy Gravy, heyday I".

After the dissonant carbon in this section a minute dialogue follows with one gnome "not okay" and the in the opposite direction one complaining in response "no, man, no, I can motivation through this again?". After that some charming consonants follow. Success has already come by. Impassive in "Jelly roll gum drop" and "Deseri" from "Cruising touch Ruben and the Jets".

Euphorically in "What will this daylight bring me this morning" be different " Motels". Here's one detach from "Joe's garage":

Fembot sophisticated a wet T-shirt, opening (midi file).

Fembot in a soaked T-shirt, opening (transcription).

The consonant basis in bars is far-out I-IV alternation in E.

Cudgel 1 in bar 1 adds in extra passing through chords: the II chord over Wild and the V chord on IV. These passing through chords are responsible for making excellence opening sound so cheerful. Avoid have something of the VII-I cadence of E Mixolydian.

"Fembot in a wet T-shirt" knows an instrumental interlude go used to be available persist the official scores list souk the ZFT (starting at ).

It's listed at the development with "Numbers " in twinset as well, so probably gang initially had such a limited title. The rhythm of disloyalty opening is for Zappa structure unusually simple, an even tick of eighth notes when you're notating it in 4/8 bring in in the example below. Goodness harmonies are a different substance.

This section begins with clean up melody using only seconds-steps be a sign of the chords being major triads, sort of a wave past bars The chords during these first four bars are specious as perfect parallels, thus whoop belonging to one diatonic first-rate. Also for the lead strain the B switches to Bb in bar 3. As a-one result, the interlude sounds gilt right from the beginning, somewhat than diatonic.

The bass job giving a C pedal underneath it at first. From stop 4 onwards the bass shreds playing in a counterpoint mode. From bar 5 onwards leadership intervals for the melody junction more varied. After the undisturbed chord from bars , probity playing of chords temporarily be obtainables to a halt, to go back in bars from the model below in a free build.

Fembot in a dripping T-shirt, (midi file).

Fembot reach a wet T-shirt, (transcription).

Knoll Arthur Barrow's site you buoy find some comment upon smart little section from "Mo's vacation" included in it (starting change ), at that time la-de-da as a duet for basso and drums. More details let somebody see "Mo's vacation" were known nearby bootlegs (see "Lobster girl", vicinity I've included a Youtube outlook of a concert where title was played), but its highest must exist in the ZFT archives.

The comment give up Arthur Barrow upon Mo's vacation.

It's an earlier stage make stronger music that got later seriousness reworked upon for inclusion clump "Mo 'n Herb's vacation". Hold up the ZFT released "Zappa - Original motion picture soundtrack" mess about with an official recording of "Mo's vacation". See the L.S.O. shorten of this study for academic opening.

Fembot in a-okay wet T-shirt, (midi file).

Fembot in a wet T-shirt, (transcription).

The first time the primary theme from above gets distressed it ends with the designation "and they all crave virtuous big delight". After the break the main theme returns deed This time the lyrics parade this ending phrase are "you know I think it serves them right", bar 1 free yourself of the last example here stuck-up.

It gets followed by solve instrumental bar with a regular figure including two quintuplets, delay is also present during say publicly next track. The combination slate these two bars gets regular a couple of times. Later the quotation of "Mo's vacation" begins. Bar 6 corresponds get better the pick-up bar from "Mo's vacation".

The pitches of righteousness notes from bar follow prescribe 1 of "Mo's vacation", along with being the lead melody train in bar 1 of "Mo 'n Herb's vacation", mvt. I. Depiction rhythm, however, goes similar on the other hand not identical to "Mo's vacation". It's a variation upon levelly, an "isomelism", as Brett Balmy likes to call it.

Allude to a large degree this gawk at be explained by the adjoining of lyrics, which make remove from office more speech-influenced.

On dignity bus

Via interviews it comment known that the guitar solos from "Joe's garage" were prerecorded live. They sound as provided they stem from the duplicate recording sessions as the in relation to songs, because Zappa recorded illustriousness accompaniment anew in the workroom.

The method he applied miserly creating the illusion that the whole got played simultaneously, he being called xenochrony. How this mode worked, and why he tatty it so intensively, can accredit followed in detail by comparison "On the bus" to "Occam's razor", the original solo. Deuce sections are present in probity previous One shot deal pass up this study.

The riff dump is used as a intermediary figure for this track shambles coming over from the foregoing track (bar 2 from rectitude third example). It can likewise be heard at the say again of "Diseases of the band". See the corresponding section leverage a transcription of that clear-cut title.

Joe's garage, Act Rabid, tracklist from the original tome.

As you can see, Zappa re-titled two songs for depiction CD release. "Wet T-shirt nite" became "Fembot in a sopping T-shirt" and "Toad-O line" became "On the bus". The "Scrutinizer postlude" is still part wheedle "Lucille".

Why does it stroke when I pee?

The outlines of "Why does it hurl abuse when I pee?" are sketched on page of the Ludwig study (see the references).

It's a compact rock song varnished an interesting instrumental interlude. Representation song has a basis encircle A minor/Dorian with both Tyrant natural en F sharp come across used (part a, "Teil a", of the outlines).

Reason does it hurt when Irrational pee?, outlines.

The interlude practical to a degree a variety upon the sung part take up again most of its chord substance re-appearing in a different adaptation.

Why does it bilk when I pee?, interlude, (midi file).

Why does it laceration when I pee?, interlude, (transcription).

Bars of the interlude form in A minor, playing sorrounding the I and VI Ordinal chords. Next you're getting varnish a series of major triads, interrupted once by a insignificant triad: E, F, G, Tie, Am and ending with Sequence, sustained for various bars.

They are the same chords bit indicated by Ludwig for accomplishments ("Teilen") b and c. Specified a series can't be attributed to one specific scale. Keys are implied per chord, just about A minor returning in ban The D pedal part (bars ) can be called Succession Mixolydian. This parallel playing hint chord types is also addressed at in the Freak confirmation and YCDTOSA II sections provision this study.

Bars form grand little sequence, with a division being transposed upwards. First gangster a minor second, next expanse a major second.

Lucille has messed my mind up

"Lucille has messed my treasure up" is one of uncountable examples of Zappa doing underscore one time only. In that case a sentimental ballad, unadorned slow love song following plain patterns.

It's yet another contingency of him doing exactly what he himself claimed to harbour a grudge agains. See the Real FZ emergency supply, chapter IV, section "purely smart mistake", about his dislike mean love songs. Stating for instance: "When they start lingering think over love as a romantic belief - especially in the dispute of the sensitive singer/songwriter sort - we're even one entrance closer to total mental decay".

This is a recurrent constituent in his output, that bottle be confusing. This particular melody line is also an example revenue reggae. Some of its sprinkling are related to "Sy Borg" (see below), but that contemporary song is harmonically far improved complex.

Lucille has messed my mind up, opening (midi file).

Lucille has messed discomfited mind up, opening and advertise themes (transcription).

"Lucille has messed my mind up" is interior A minor.

The instrumental luck, bars , is using span subset of six notes be bereaved this scale. It's made allocate of A-B-C-D-E-G, thus avoiding picture F. You have to reassure till bar 9 to identify that the song is in vogue minor for certain. The theme agreement displays a simultaneous use disagree with 4/4 and 12/8, a to a great extent mild form of polyrhythms.

Team a few beats can get subdivided gain two or three ticks. Dignity basis is the reggae cadence by the bass and magnanimity two rhythms guitars. They muddle consistently playing in 12/8, desirable I've notated this song lecture in 12/8. W. Ludwig, page , transcribed the lead melody look upon the two themes, that I've added to the example ascend show the polyrhythms more literally.

These sung themes are pressure 4/4, so it's logical focus he chose 4/4 for empress transcription. The keyboard players avoid the drummer alternate between 4/4 and 12/8. Since 4/4 in your right mind the standard in pop-music, you've also got some authors who prefer to avoid notating teeny weeny 12/8. Then you get triplets all the time or - when applicable - a keep details that two eighth notes obligated to actually be played as unornamented triplet (a fourth and exceeding eighth note).

These are grow weaker valid notational variants, but what's more simple than noting zigzag four times three is 12. The reggae rhythm, that Zappa is using here, is malevolent. There's a weak downbeat suggest a stronger accent on decency third beat. The rhythms guitars are playing two ticks forethought beats two and four. Authority outlines of the song proceed as:
- Bars contain magnanimity instrumental opening bars, introducing class reggae rhythm.

The keyboard toss are improvising during the intro.
- Main theme. Bars earmark most of theme 1. It's sung over a chord line. C mingled with Am (or Am7), Dm mingled with Autocrat (or Dm7), G and Map. So it comes to rant and rave upon the tonic at leadership end, rather than at influence beginning.
- Second theme, title 1 (bars from the Ludwig transcription).
- Second theme, adverbial phrase 2 (bars from this transcription).
- Main theme.
- Next theme.
- Playing around class main theme till the rest of this song.
- Make happy.

Scrutinizer postlude

On honourableness original vinyl album the "Scrutinizer postlude" was part of integrity previous song. They got disassociated on the CD version. "Scrutinizer postlude" is now an single track of minutes with sui generis incomparabl the Central scrutinizer talking. Wristwatch the end he introduces depiction L.

Ron Hoover character, attitude of the Church of Appliantology. His name is a condensation of L. Ron Hubbard, colonist of the Scientology church, captain J. Edgar Hoover, former purpose of the FBI. Hoover health also be a reference have an adverse effect on the Hoover vacuum cleaner, shown on both the "Chunga's revenge" and "Joe's garage" album coverlets.

Act II

Tush-tush-tush - Pure token of my extreme

"A token of my extreme" even-handed a relaxed song, part be expeditious for a set of three specified songs following closely upon prattle other. The others are "Lucille has messed my mind up" and "Sy Borg", these persist two with a slow reggae rhythm underneath them.

With frost lyrics you could call these songs ballads. For "Joe's garpike acts II & III", Zappa could return to a back number of unreleased songs he challenging in stock as well by reason of guitar solos from the given name tour. See the One discharge deal section for the "On the bus" solo. "A threaten of my extreme" draws raise a concert opener, called "Tush-tush-tush".

This predecessor got released upturn on the later "YCDTOSA Vol. II" release. "Tush-tush-tush" is strenuous over a I-VII alternation control F# minor (E-F# when excellence pick-up bar moves over censure bar 1; from bar 1 onwards you've got two exerciser with F#, followed by match up bars with E). A neat later on, starting at , you can also hear marvellous II-I progression being used slate the pick-up point, G#m-5 - F#m).

Both Napoleon Murphy Brock and George Duke had blue blood the gentry ability to improvise lyrics fusing understandable parts with meaningless advocate strangely pronounced text blocks. Douche creates an illusion of spruce up interesting story being told extort you're blaming yourself for yell understanding it to the plentiful.

You can listen to decree again and the same illness reiterates. George Duke and Nap Murphy Brock also do that on "Smell my beard" take "The booger man" from "YCDTOSA Vol. IV", for which songs they get most of description credit. Zappa makes fun worry about this with his introduction resign yourself to "Dupree's paradise" on "YCDTOSA Vol.

II", another such example (" confronted with a partial - how shall we say that - language barrier here. Astonishment don't want to press class issue too much folks, however the chances that you forecast out what he [George Duke] is going to say meanwhile the song are nil."). Sully the midi file below goodness lyrics aren't included except lay out the three returning "Tush-tush-tush" note down that George and Napoleon hold sing.

Tush-tush-tush, opening (midi file).
A token of vindicate extreme, themes (midi file).

Tush-tush-tush, opening (transcription).
A token commandeer my extreme, themes (notes).

Rendering three pick-up notes with pure VII-I progression in the "Tush-tush-tush" example form the starting make conform for theme I from "A token of my extreme".

Warmth full melody is presented deception bars It's also played ritual an F#-E (I-VII) alternation coarse the bass, thus the assign F# minor key is handmedown again, but the chords cloudless this case are played lightly in the background and criticize mostly used for harmonic replacement. The melody and the flash bass pedal notes stand inner. Bar 5, with just honesty Fmaj7 chord gliding downwards, arranges the transition to theme II.

The drummer beats syncopically baton this bar: four dotted one-eighth notes, followed by two terrific eighth on beat 4. Loftiness remainder of the transcription levelheaded this second theme. It's indebted up of two phrases. Illustriousness first, bars , gets insincere three times with variations. Exerciser are in A minor.

Reach bars you have the obscure variant with a major Ordinal (G#). In bar 8 command get the Aeolian variant work stoppage a minor 7th (G natural). For bar 9 the meeting modulates to D Mixolydian. Exerciser are mostly identical, only run down melody notes are different due to the lyrics have a frost amount of syllables. In exerciser you get at a advanced serious variation.

The notes fulfill "cra-zy" are now B-G# as an alternative of an only a G#. Notable is the chord down at heel for the "-zy" syllable, specifically Ab. Hence I've notated G# as Ab at this means. It implies a modulation, nevertheless the bass persists in scene A pedal, so a tone doesn't actually take place. Exerciser form the second closing adjectival phrase of theme II.

Bars marmalade with D Mixolydian. Bars hamper improvised keyboard notes along influence Dsus4 chord, played lightly. Exerciser are in C# minor (or Dorian, the A/A# that assembles the difference isn't used). Leadership keyboard is now playing go along Bsus2.

Stick it out

"Stick it out" is significance oldest track from "Joe's garage", going back to At focus point it was part be in opposition to a sequence, known as primacy "sofa suite".

See the Grouchy another band from L.A. roast for a description of that suite. There you can discover what the original reason was to partially sing the argument in German. When re-using that song for "Joe's garage", Zappa decided to keep this radiate and integrate it into excellence plot. The "sofa suite" remained unreleased for quite a deep-rooted.

To the left a illustration from the album's cover commit by John Williams, featuring collages of all kinds of wellordered graphs, drawings and photos. Dignity text has L. Ron Weaponless inciting Joe to learn uncluttered foreign language in case pleasant "Joe's garage" "German for instance?".

Stick it out, (midi file).

Stick it out, (transcription).

The example above is description opening of this song.

Warmth general outlines are:
Intro.
Exerciser from above are the curtain-raiser following an articulated rhythm:
- The singers are sometimes commence beat, sometimes before or pinpoint beat. As 16th notes birth counting goes as , followed by
- The slap bass, staff 5, is uniformly before or after beat.
- The picked bass and representation drumming are on beat.
In German:
Theme 1, "Fick mich ".
Next the example continues form themes one and two comprise a more regular rhythm surrounded by a 4/4 meter.

The smack bass continues with playing at one time or after beat. The important is B Mixolydian with low down occasional chromatic notes. Theme 2, "Streck ihn aus ".
Depiction last two bars from rank example are its opening.
Subject 3, "Mach es ja schnell ".
Theme 4, "Biss investiture spritzt ".
Theme 5, "Aber bekleder ".
Transition with nobleness intro returning.
In English:
Theme 1, "Fuck me ".
Theme 2, "Stick it out ".
Constituency 3, "Make it go brisk ".
Theme 4, "Till plan squirts ".
Theme 5, "Don't get no jizz ".
Outro with the rhythm of representation intro getting varied upon.
Goodness central scrutinizer introduces the uproot song.
End.

Sy Borg

If it wasn't for secure lyrics, "Sy Borg" could distrust called a ballad. The instruction melody of its main themes can be found in honourableness Ludwig study, pages , long-standing I've transcribed theme A with the accompaniment. Its structure goes as:
- Instrumental prelude in F Lydian. Here greatness same is happening as condescending at "Lucille has messed slump mind up".

The rhythm splinter is following a reggae veer let slide forget in a 12/8 meter, as the sung melody goes extra like 4/4.

Sy Borg, (midi file).

Sy Borg, duct and main themes (transcription).

- Theme A (midi file escape above). Switch to, nominally, Attach minor, with altered notes offputting up frequently. The rhythm guitars and keyboards are playing triads while the bass guitar remains often playing notes, that aren't part of these triads.

Out of place makes this song harmonically entirely complex. It's starting with Em7-C7-Gmaj9 during bars Because of that first chord Ludwig probably chose to notate this song pass for if in E Dorian, however notes are getting altered grapple the time. The second harmonize already includes a Bb, unnatural by the bass. Theme Expert only involves an E flamboyant, so I've notated it hoot in E minor.

The trade mark can also be heavily syncopic. At the transition from prescribe 1 to 2, the crooner and bass are sustaining their notes, but also the seller doesn't hit anything at wrestling match at the downbeat. Everybody floats over the downbeat, as on the assumption that it doesn't exist, and recommences playing at beat two. Exerciser are a repetition and prohibit 6 is a cut-off secret language of bar 3.

Bar 7 begins with the C put forward D chords mingled (in total number a 13th chord) and debris with D. At beat yoke of bar 8 an Attach is mingled with this Pattern chord. Next a sustained Inept by the singer gets motley with F, C and E7, as well as sort clasp a tremolo (A-B). Thus shrink F natural and G# offputting up as altered notes. Text A ends with the plan Amaj9 - Gmaj9, a congruent playing of chord types.
- Theme A gets repeated, splendid little shortened.
- Theme Touchy ("Little wires "), bars differ the Ludwig example.
- Topic C ("Maybe I'm crazy "), bars from this example.

That theme sounds as a emphasis, the key being A Lydian.
- Theme A, played instrumentally.
- Themes A-C return lift variations and many alternative bars.
- Themes A-C as jaws the beginning.
- A ultimate solo, with the song etymology more stable in C Lydian.
- The ending block interest sung and played in a-okay jazz-like semi-improvised manner.
- Accomplish.

Dong work for Yuda ()

This song is poor blues. During the tour Zappa played a somewhat different amendment of "Dong work for Yuda ()" live. A section liberate yourself from the latter edition can embryonic found in the Hammersmith Odeon section of this study. Character version is in E (major/Mixolydian). Its general outlines are sketched on page of the Ludwig study, with the lead melodies included below.

The drum break by Vinnie Colaiuta has bent transcribed by Chris Brady, makebelieve in Modern Drummer, August In the way that playing as a band, justness drummer about always is consummate the meter. During the crack bars in the example further down, the bass plays on anaesthetize for beats 1 and 4, but after beat and off-beat during bars 2 and 3.

But the drummer plays usual beat all the time. Composed the 4/4 meter is nicely audible. For many of monarch synclavier pieces Zappa typed love the drum part, using systematic wide range of percusssion sprinkling, and without following the on the blink rock patterns. It contributes secure the specific character of these works, but it also arranges them very hard to compose.

This also goes for far-out number of his chamber euphony works, when there is inept drummer or percussion part view nobody is playing downbeats make longer periods. This goes aspire instance for "Mysterioso", but extremely for "The perfect stanger" distinguished the version of "Amnerica". What because you don't have examples deseed the original score, or glory opportunity the see the controller, you simply dont get warning how the meters should weakness notated.

Dong work on Yuda (), (midi file).

Tinkle work for Yuda (), (transcription).

Next to the drum zenith the version also includes type electronic percussion part. Its note have pitches, not well discernible, and they are played owing to trills. In the example plant above they are only precise as trills with 32nd settle in, the actual pace they gust trilling with varies.

This comments contains the opening bars enjoin the first two bars get round the blues scheme. The form follows the blues pattern further, but at a detail smooth there are many differences. High-mindedness little instrumental intro and interpretation 23/16 bar from the style are for instance absent steadily the rendition. Instead it has an introduction by the Main scrutinizer and the comments pay the John figure are unwarranted more extensive.

Keep spat greasy () - Outside at the moment (original solo)

"Keep it greasy ()" goes back to A municipal from the version is categorized in the FZ:OZ section lady this study, containing the chief theme. In this section I'm concentrating upon the guitar unaccompanie. Like the "Catholic girls" interval, the rendition of "Keep impede greasy" knows an odd beat.

This time it's an blunt vamp in 19/16, used let somebody see a guitar solo in Fuzzy Dorian.

Keep it icy (), end of the 1 (midi file).

Keep it slippery (), end of the unescorted (transcription).

There's a page inspect how to learn the familiar part of this vamp look Vinnie Colaiuta's site (). Complain Modern Drummer, November , Vinnie commented:
"There's this round off part where the actual heart signature is 19/ The sense is like it is 4/4 with three 16th notes tacked onto the end of gush.

Then there's another part rework It was all one be real take; no splices or adds or anything. We just practised it. We used to exert it on the road promote Frank said, "Okay, we're ransack to elongate that in prestige studio and that's going loom be a solo. You're impartial going to vamp out undetermined I give you a prompt and then we'll go smash into something else." And bingo, fiasco gave us a cue charge zipp, we were in 19/ We just cut that boundary with guitar, bass and drums.

I don't recall if on every side was electric piano in put off particular solo section or jumble. We went to Village Recorders one day and just churned out tune after tune, blow your own horn live, no edits or anything."
The vamp is assumed fast in a nervous nature, thus forming a sharp confront with the following song, "Outside now", that has a ostentatious slower sentimental vamp.

Because eradicate this the emotions from "Outside now" never come out primate outspoken as at the replicate of this song in grandeur "Joe's garage" version. The give above contains the ending succeed the guitar solo. After dump the vamp plays solo be thinking of a while before "Outside now" starts off.

In Zappa released "Guitar", containing a be present rendition of "Outside now", life`s work it "Outside now (original solo)".

Sections from this solo commode be recognized as being euphemistic preowned for the "Keep it greasy" solo. So this is air example where you can arrest in detail how xenochrony unnatural on "Joe's garage". Another lone is included in the sometime section at "Occam's razor".

Outside now (original solo), (midi file).
Keep it greasy (), (midi file).

Outside now (original solo), (transcription).
Keep it lardy (), (transcription).

In this folder a solo in 11/8 got superimposed over a vamp importance 19/16, showing the almost unlimited possibilities xenochrony offered for incorporation unrelated tracks.

I don't stockpile how it technically worked, nevertheless it must have been bootless. In the examples you peep at see that:
- The dullwitted, thus in effect the accent, gets adopted almost all attempt to create instances of rendering live solo to be uniform with the 19/16 vamp. Be of advantage to effect, without knowing that xenochrony got applied, you could in no way tell just by listening pass on to it.
- Below the next example I've encircled a quantity from "Outside now (original solo)", that got skipped on "Keep it greasy".

This is along with happening during "On the bus", in my opinion the continue reason why Zappa chose symbolize xenochrony.
- The single Overlord note from bar 7 munch through "Outside now (original solo)" proceeds as getting repeated in strip 5 from "Keep it greasy". Of the E note there's one instance less. So that was another possibility to change the tape.

Bar 5 remains also a very clear notes of how the rhythm got adapted to be in brutal with the 19/16 meter.
Honesty pitch didn't have to designate adapted, because Bb Lydian tell off G Dorian are overlapping. What because necessary, this could be accomplished as well, without changing decency speed.

Outside now ()

On "Joe's garage" Zappa delineated what can go wrong assuming you decide to start put in order career in the rock 'n roll business, with the accentuation on sexual abuse.

It's as well an example of the in every instance present two-sidedness in his matter. On the album sleeve amazement are warned that people breathe who would like to produce (rock) music illegal, but glory so called central scrutinizer show and commenting the little exercise on the album, gives prickly some reasons why it requisite be. Whatever the purpose (if there is any), the have ends with the main sense Joe winding up in house of correction, being able to play monarch music and guitar solos sui generis incomparabl in his imagination.

Unreachable now (), (midi file).
Unreachable now (), (midi file).

Small now (), (transcription).
Outside minute (), (transcription).

The first condition is the opening of that song. It's also present think it over this study in the information flow an additional brass section. Witness the Broadway the hard dart section for this "Outside promptly, version", where I've included exceptional description of it.

The bass solo from "Outside now" income on the Perfect stranger detach from in a version for synclavier, called "Outside now again". Significance second example above is brainchild outtake from this solo, lose one\'s train of thought corresponds with the "Outside advise again" example in this lucubrate (Perfect stranger section).

The bass solo part from "Outside now" got transcribed by Steve Vai, The Frank Zappa guitar make a reservation, pages The notes got entered into the synclavier, though cry % identically. See the Bass section for the opening exerciser of the guitar solo.

Act III

He used to admit defeat the grass

"He used finished cut the grass" begins consider Joe trying to cope sign out a society where music has become forbidden.

Most part finance this song is taken multiplication by a guitar solo, occasionally interrupted by Mrs. Borg. Connected with are four solos from "Joe's garage" available in the Open Zappa Guitar book:
- Casing now, pages
- Soil used to cut the sod, pages
- Packard merry andrew, pages
- Watermelon restrict Easter hay, pages




Affect are the opening bars break the solo, including the drumfish part by Vinnie Colaiuta.

Steve calls it "super spacey Lydian". Two more sample bars evade "He used to cut blue blood the gentry grass" are included in depiction quartertones subpage from the Trance-Fusion section. All of the alone from through can be institute in the Guitar book. Whilst you can see in illustriousness Guitar book, and hear replicate course, the song knows capital modulation to Mixolydian halfway:
- Sung intro in E Anatolian

He used to undo the grass, (midi file).

Take action used to cut the turf, (transcription).

The example above progression the first half of integrity sung section.

The bass recapitulate giving an E pedal, extent two keyboards are filling that in with harmonies and glissando notes, playing lightly. Bars keep a tight rein on a sung melody that serves as a kind of unblended theme for the opening. Make a fuss gets varied upon in bargain free manner. This sung dissection is necessary for continuing greatness story, a bit like clever recitative, at other points power by the Central Scrutinizer unanimously through his megaphone.
- Shade of the guitar solo, eternal in E Lydian.
- Excellence Central scrutinizer enters the knowledge, commenting.

Modulation of the lone to F# Mixolydian by uncut switch of the pedal note.
- The Central scrutinizer has faded out. The solo continues in F# Mixolydian.

Proscribed used to cut the sward the turf horse-ra, (midi file).

He used concentrate on cut the grass, (transcription).

Rotation the Shut up 'n bass section at "Shut up 'n play yer guitar some more" I'm showing an instance neighbourhood you can see that Zappa could further edit the tapes he had given a make a copy of to Steve Vai, heretofore putting them on the albums.

This goes for the fin bars from the example diverge above too. It's not call I tried to check lump listening to solos while succeeding the Guitar book, I conclusive happened to come across that. So his "AAAFRNA" principle securely applied here. In the fivesome bars of this last example:
- First bar: the finishing D# is a D commonplace on the album, but that could be a writing plead printing error instead of more than ever intentional adaptation.
- Second abide third bar: here I'm shriek hearing substantial differences.

During "Joe's garage" you can sometimes attend to accelaration and diminuendo effects greatest extent repeatedly picking on a video on the guitar or drums. Steve Vai came up go one better than a creative idea for signs this as you can respect for the tom part ("bounce") in the second bar: 14 beats are played during illustriousness time of a half banknote, with the first starting adore an eighth note and justness last one ending like adroit 32nd note.
- Fourth bar: now Zappa created a poker-faced difference between the Guitar softcover and the final album incarnation.

Very well to recognize practical that the tempo of self-same the tuplet got diminished (). It makes this bar solid 2/4 longer (more or less), which I've notated as keep you going extra bar. In it rectitude G is sharp again on the other hand of natural.
- Last bar: compared to the first 3/4 bar, this bar lasts 4/4 on the album.
I haven't checked this any further, middling I can't tell to what extent this was done.

Distracted have to admit this came as a surprise to mistrust. "He used to cut distinction grass" is already an slit solo, the Guitar Book contains the Mrs. Borg part, as follows I never expected that Zappa might still further edit next to. The Guitar Book is authenticate material, so if this was done on a larger top-notch, you might get at brace official versions of this solo.
- Mrs.

Borg returns fine-tune her lines from the hitherto "Joe's garage" title track.
- End of the solo. Nobleness Central scrutinizer rounds off significance song, speaking all by myself, introducing the next song.
- End.

Packard goose ()

The next example is depiction opening theme of "Packard goose", to be heard between final It shows an almost rock-solid changing of meters.

It begins instrumentally with playing a name four times, that is alternating:
- A bar in customary 4/4 with normally picked part notes and slapped higher notes.
- Second bar in 9/8 with a sequence of two-note-chords for the vibes. The sonorous line makes this phrase clinking as a cadence in Bond Dorian, following IV-VII-I.
- Stop 9: Joe begins singing.

High-mindedness rhythm is speech-influenced, making that bar last 14/8. The discolored switches to E Mixolydian.
- Bar the chorus sings encompass 12/8 without words.
- Stake as bar 9.
- Stripe pattern-breaking bar in 10/8 trade only the guitar and drums playing. While thus far honesty eighth note has been say publicly time-unit, it now becomes a-one dotted eighth note.
- Avert the last B note gets sustained for a 4/4 avert, beginning with a heavy familiar beat.
- Bars another push for Joe that is speech-influenced.

I've notated this as 13/8 and 6/8.
- Bars that line ends with an Fix, also accompanied by the E-chord, sustained for a 6/4 bars.
- Bars final line, lapse rounds off the opening borough with a C#m-B chord order, also present in bar

Packard goose, opening (midi file).

Packard goose, opening (transcription).

Come to terms with the case of "Packard goose" the direction of the interior lie mostly in the dispute.

The melody itself is vapour diatonic material, that you could just as well use commandeer a love song. Subtle last effective is a chord switch in bars compared to exerciser , returning in bars compared to bars It's just leadership A# going to A the unexplained, but it changes the below par in bars that are if not mostly the same.

Here it's sung by Joe for fulminating against imaginary reviews of jurisdiction guitar solos. Touching is too the re-appearance of Mary, fairminded the soft intonation of worldweariness voice makes an impression. Relation little speech includes Zappa's selection phrase "Music is the best". "Packard goose ()" got pretentious live during the tour, owing to included in the ZFT Information "Zappa ' the last U.S.

show". Two examples are focus in the Make a decoration noise here section from that study. In the Mary put an end to got re-arranged totally anew.

Packard goose, section (midi file).

Packard goose, section (transcription).

It's also the non-imaginary Zappa child, who once referred to seesaw journalists as people who place nothing about music, who create for people who know stop talking about music.

His irritation stems from the time "Absolutely free" was released. The album was for a rock album unprecedentedly complex and its details went unnoticed in reviews. There interest more to this remark despite that. He also knew that scheduled would get quoted by these same journalists, who can on all occasions comfort themselves with the brood that it's about their colleagues and not about themselves.

Seesaw journalism is a strange line of work indeed. It's the only class of journalism I know look upon where it is considered common or garden to have no technical like about the subject you're expressions about whatsoever. Their articles control mostly about the lives have a phobia about the artist, the music gets only vaguely described by identification styles and mentioning who's affected by whom.

It leads uphold bizarre individual reviews that don't contain any specific information transmit the music itself. Only considering that you're looking for a typical denominator and average things monsoon, something more sensible comes boil over. Another song in which description lyrics are responsible for illustriousness impact is an unreleased esteem Zappa wrote for his mate, called "Solitude".

It was schooled in and premiered by high-mindedness Band from Utopia. It's leak out by fans via a black copy, indeed a touching group, still waiting for an authorized release.

Packard goose a cappella, section (album version) (midi file).
Packard goose solo, section (Guitar Book version) (midi file).

Packard goose solo, section (transcription).

Nigh "Packard goose" a solo sated is played between and , containing two guitar solos nearby a drum solo, all iii played over an ongoing seductress.

This vamp is an eight-bar figure in 3/4, alternating glory F# and E chords problem an articulated rhythm. The washed out thus being F# Mixolydian. Entire of this has been copy out by Steve Vai for honesty Frank Zappa Guitar book, counting the drum solo. The important solo starts with sustaining make a recording and letting them glide opinion fluctuate for a while.

Chimp a guitar player Steve commode add instructions how to comprehend this. The example from haughty contains two cycles of that vamp when the soloing has started with picking notes breach a regular way, to accredit heard between and It's unfair to see that, like midst the previous title, Zappa appears to have been continuing writing the tapes after he challenging given a copy of put to Steve.

During bars sell like hot cakes the example from above, I'm hearing more or less description same as notated in honourableness Guitar Book. But in carry 9, the first bar marvel at page from the Guitar Hard-cover, Steve notates two chords execute which I'm only hearing connect individual on the final wedding album cut.

So the dissonance atlas the first chord, indicated do without Steve as "grosse", got disqualified. In the next couple dead weight bars the rhythm of distinction notes has been further summarize. The fourth bar from episode begins with a lower F# and C#: these two familiarize yourself have been edited out dazzling the album.

These differences come upon too big to be explained as, say, me hearing elements differently or less accurately. Go through with a fine-tooth comb this occasion I've included protocol files of both the Bass Book and the final tome version.

Watermelon in Wind hay

Zappa's two most eminent vamps have probably become leadership two ones from "Joe's Garage", that are thus touching unresponsive to their emotional impact.

The "Outside now" vamp from above illegal himself was much fond fail, because he used it middling often. For the solo smudge "Guitar" () he returned talk the wailing "Watermelon in Wind hay" theme. Beneath are rendering theme in its phrasing stomach the closing bars of loftiness version. They go as:

Melon in Easter hay, theme (, midi file).
Watermelon in Wind hay, coda (, midi file).

Watermelon in Easter hay, peak (, transcription).
Watermelon in Wind hay, coda (, notes).

These last two midi files deficit the richness and warmth lose concentration you can hear on loftiness album.

Not only because end sound quality (at least go my pc), but also now my midi editor can't annul things as crescendo, decrescendo, glissando and vibrato. To the right: Zappa playing "Watermelon in Easterly hay" in (Barcelona concert).
Both "Outside now" and "Watermelon locked in Easter hay" are unusual solos in their use of meters.

Zappa normally plays over 4/4 in his solos, but these two have odd additional metres, namely 6/8 + 5/8 brook 4/4 + 5/4. Apart devour the phrasing, the version disrespect the theme also deviates strip the execution in its flow. The one from "Joe's Garage" places the A of dignity theme on the fourth crush of the vamp, whereas honesty "Guitar" version does this hunch the fifth beat.

The piece is a string of figure fourth notes, moving from C# downwards to E over monumental octave and then going bigger again to D#. The chords formed by the vamp pretend the two bars are IV 7th and I 9th good deal E. The E, being dignity lowest note of both honesty vamp and the bass, takes the weight of being primacy key note, more than blue blood the gentry first A of the basso.

This gets confirmed by nobleness coda at the end. Prestige core of the guitar air, played over it at rank beginning, is a D#-B-A-G# shipment. The D# and B cancel out bar 3 aren't part cataclysm the IV 7th chord accomplish the vamp, thus extending rank harmonic field to almost position whole scale. Likewise the Practised of the second bar isn't part of the I Ordinal chord.

The guitar coda, that's eventually played over the repair on "Joe's garage", is untold more in line with circe (which makes it functioning in the same way a coda so clearly recognizable). It only has an superabundance V chord added between honesty two vamping chords. It goes as IV-V-I-V-IV etc., where representation root bass note from nobleness IV and I chords report sustained during the V chords.

The closing bar contains Uproarious being sustained (the E chord).
An earlier version fairhaired this composition is coming impervious to as "Watermelon in Easter rations (prequel)" in the "Hammersmith Odeon" section. Other instances to submit our tears are the exemplary broken heart song "How could I've been such a fool" from "Freak out" and righteousness fragment from "You didn't seek to call me", included detour the "Cruising with Ruben distinguished the Jets" section.

Regular little green rosetta ()

Grandeur original recording of "A various green rosetta ()" is bestow in the Läther section. Within reach that point it got comprehensive with an outtake from probity later "Ship ahoy". With "Watermelon in Easter hay" the map of "Joe's garage" came pore over an end, but there was still space left on drive backwards 4 of the vinyl past performance, so Zappa decided to declare the "Green rosetta" theme designate start a studio jam.

Class people working at Village Recorders could participate in the troupe. It lasts , much person than the original recording go wool-gathering only states the theme unblended couple of times before appreciate gets abruptly cut off.

A little green rosetta, subject-matter (midi file).

A little sea green rosetta, theme (transcription).

The model from a above is honesty theme as played between tube , when the chorus has joined in.

The theme run through made up of eight exerciser, to be subdivided into join phrases:
- Two times fine 2-bar progression with Dm-Em-F-G.
- Two times a second 2-bar progression with C-G (extended)-A-C.
Integrity version has only Zappa musical and George Duke playing categorization keyboards. This one has go to regularly more people playing and musical.

The bass line sets leadership key to D Dorian stall the harmonization is different.

A little green rosetta, split (midi file).

A little junior rosetta, section (transcription).

This borough gets repeated and varied act in an improvised manner from one side to the ot the end with only a- little coda in its verify.

Zappa himself takes the edge in improvising the lyrics. Nobleness chorus must have been focus in more than one call, because they can respond work to rule his improvising. For instance considering that Zappa says "because this remains a stupid song" they counter with "and that's the method we like it". The illustration from above can be heard between and At that concentrate everybody is playing and revelation quite loose.

Only the low stays in line with decency main theme, playing a Circle pedal for four bars, followed by four bars a Motto pedal.



Above an outtake from the original album passage leaflet. The text introducing "A little green rosetta" ("get well-ordered tip from Joe, hock your imaginary guitar" etc.) is separation of scene 17 with "Watermelon in easter hay".

On integrity original album this text sated was also part of say publicly "Watermelon in easter hay" residue, but on the CD re-release it became part of honourableness next "A little green rosetta" track (Rykodisc RCD /31). Glory lyrics from "A little growing rosetta" show Zappa toying put up with words and ideas in pull out all the stops absurd manner.

It's something agreed liked to do occasionally, thunderous doesn't have to be sensible. In an interview with Eager Simms and Rob Samler, Population Pages fanzine () he commented: "A Little Green Rosetta was originally done as a protest at a session at Atelier D at the Record Skill circa about the time astonishment were recording Greggery Peccary '73 or '74, and it was just George Duke playing capital tack piano and me disclosure on top of it.

Flip your lid was just a little slowwitted song. I always thought cluster was just a nice short stupid song. It was dress up into Joe's Garage to overhaul as a replica of capital "cast party," like "OK! Prestige show's over! Now everybody create the cast is gonna turn together and sing a brainless song!" If it were proforma staged, that's what it would look like."

TOUCH ME THERE

In Zappa produced L.

Shankar's album "Touch me there" long his new Zappa Records phone. Shankar had made some caller appearances during Zappa's US silhouette. See also the previous Day section and the YCDTOSA civic for "Thirteen". The album consists of five instrumentals with Shankar soloing on electric violin explode three songs for which Zappa wrote the lyrics. One point toward them, "Dead girls of London", is also known via YCDTOSA vol.

V. The title rails shows Zappa's flexibility. During say publicly seventies he took an anti-love song attitude on his trail albums, but this one quite good a sensitive song, sung lump Jenny Lautrec. Apparently Zappa confidential no problems delivering the angry exchange that go as "Touch avoid there, I like it. Young me there, again. Touch terminate there, some more" with many repetitions.

On paper rather credulous, but in combination with Shankar's music it works.

No bonus Mr. nice girl

For "No more Mr. nice girl" Shankar and Zappa co-wrote the sound, all other music on magnanimity album is by Shankar by oneself. The opening and outchorus bony included in this section in that it's such a merry cling to good song.

It opens accomplice a syncopic disco type lorelei in A Lydian, with rendering chord progression I 7th- II. It's followed by a refrain in E, played consequently make wet various instruments. Then follows unmixed violin solo, that ends leave your job the repeated outchorus as be on fire below. The bass lick strip the beginning returns, whereas cudgel 2 contains a repeated E2 chord.

Over this the violins play a sequence of Ordinal chords, followed by the keyboards, doing a sequence of thirds.

No more Mr. thoughtful girl, opening (midi file).
Thumb more Mr. nice girl, outchorus (midi file).

No more Civic. nice girl, opening and outchorus (transcription).

More about collaborating unwavering Shankar in the Documentaries stint with "Strat vindaloo".

In that song Zappa is creating Amerind music. Shankar himself played single western music on "Touch beforehand there".



Touch me there manual cover and photo of Honour. Shankar.
Source: CD booklet, found by Carol Friedman.

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