Frank zappa band you never heard live

Tools Tools. Download as PDF Printable version. In other projects. Wikidata item. Frank Zappa. Hard rock progressive rock jazz fusion experimental rock. Cover artwork [ edit ]. Track listing [ edit ]. Disc one No. Title Recording venue and dates Length 1. Cory Jr. Green Genes" Hall Tivoli, May 23, Disc two No. West" Brother A. West, Zappa Tower Theater , February 14, 7.

Personnel [ edit ]. Musicians [ edit ]. Production [ edit ]. References [ edit ]. External links [ edit ]. Frank Zappa and the Mothers of Invention album discography. Freak Out! Beat the Boots! II Beat the Boots! Authority control databases MusicBrainz release group. Hidden categories: Articles with short description Short description is different from Wikidata Articles with hAudio microformats Album articles lacking alt text for covers.

Here the band gets to play through varying keys. In none of these instances is the bass part of the 5th chords of staff 3, thus the bass enlarges the total sounding chords. In bar 13 for instance to Abmaj9. Other than in the original the bass doesn't give an E as a pedal note, but forms part of the chords. As it comes to new compositions "The best band you never heard in your life" has only one unreleased song by Zappa himself, the others are covers.

More than on "Make a jazz noise here" it's the alternative bars and solos that make this collection worthwhile, like the six minutes solo from "The torture never stops part two". Regarding the live versions of the original studio songs from "Zoot allures", the themes are more brought back to their basic elements. In the case of "The torture never stops" the "Zoot allures" version has a lot more of adornal embellishments to it, and of course the moaning of Gail Zappa.

You can compare the black dots from the Zoot allures section with the one below. Biographer Neil Slaven states that he prefers the group effort above Zappa playing most of the overdubbed parts on "Zoot allures", so there are people who don't see this as a disadvantage. Zappa included "The torture never stops" in about every tour since it was written, each time playing a large solo in the middle of the song.

Next is the main theme plus the opening of the guitar solo from the version. The torture never stops part two, opening midi file The torture never stops part two, opening transcription. Zappa frequently transposed his songs for his different tours. The harmony in bars is also different. Here it's I 7th - I 9th in A Dorian bars The original studio version appeared on "Overnite sensation" in They differ in various minor elements.

The bigger difference lies in the included guitar solo. Wolfgang Ludwig transcribed the lead melody of the first minute for his study from , whereas all of "Zomby woof" version got published in the Hal Leonard series , transcr. Paul Pappas. It's a complex song, made up of a multitude of motifs, smaller themes and riffs. The meters keep changing.

The below follows the set up from Instrumental opening: - Instrumental opening theme of three bars, played in parallels. Bar 1 returns the most in this song and can be seen as the central melodic element. As for most of "Zomby woof" it's diatonic material from varying scales without clear key notes. Ludwig and Pappas use different meter notations for most of their bars.

Ludwig is using smaller units in most cases in a similar way I'm here following the Pappas meter notation. The bass plays a chromatically descending line. You can see this bar as polyscale, with a scale fragment per bar. Block with lyrics alternated with instrumental bars: - First sung theme " years ago It's played over a bass riff. Whereas the larger part of "Zomby woof" is relatively monodic, without much chords, or composed polyphonically, this bar has a clear chord present for the bass plus brass section Dm7.

In bars you can see the B-D motif of bar 1 returning. The first example ends here. Zomby woof , opening midi file Zomby woof , opening transcription. Second instrumental block: - Motif 1 gets varied upon. The first one contains the melody of motif 1 identically followed by a one beat pause with some percussion. Bar 2 plays this melody backwards.

Paul Pappas chose to maintain the original quintuplet notation of motif 1 and then has to change the tempo: it goes from the metronome tempo of a quarter note being 90 to being Second block with lyrics alternated with instrumental bars: - Third sung theme over this bass riff "I am the Zomby woof It's a theme of four bars, played twice, of which the first bar is a variation upon bar 9.

These two bars can also be interpreted as a free variation upon bars A note example from this point till where the fifth theme starts is included in the Overnite sensation section, where it is specifically transcribed from the "Zomby woof " studio version. The first contains two-part counterpoint and gets either instrumentally played or sung "Reety awrighty The second bar is monodic.

The original solo is played over a bass pedal note, though also here you can discern the vamp in the first couple of bars. Both the and solo are using the bass vamp from below all through. It comprises about half of the time the song lasts. Zomby woof , section midi file Zomby woof , section transcription. Third block with lyrics alternated with instrumental bars: - Polyphonic instrumental bars, not present in the version.

The brass and bass play a melody twice. For the larger part it's sung with only accompaniment by the drummer. All four bars are played twice. It gets augmented by one beat where Zappa at last seems to settle for a key: A Dorian. On "The best band you never heard in your life" four titles from the album "One size fits all" are played live.

See the One size fits all section for the opening of "Florentine Pogen ". Florentine Pogen, midi file. Florentine Pogen, transcription. In "Florentine Pogen" didn't have a solo. It ends with the "Chester's gorilla" line, fading out. Without the Em chord this progression continues being used as a chord alternation for the solo. The rhythmic notation of bars by themselves looks a bit odd, starting with the A on beat 3 and including two syncopes.

The context makes clear this is the way it should best be notated. The song "Andy" mentions the movie actor Andy Devine, starring in westerns and known for his raspy voice. By themselves the lyrics are hardly understandable. Two citations in the Ulrich book shine some light upon where its idea might be coming from. One is a posting by Cal Schenkel on alt.

So it looks like he just found it funny to blow up something rather meaningless into mythical proportions. Moreover, when the band start playing this song live in , a connection with Andy Devine wasn't yet made. Andy, midi file. Andy, transcription. The structure of "Andy" gets dealt with at large in the One size fits all section of this study, with an example from "Andy ".

The example above is presented as section D in the Ludwig study, at this point with a slowly played melody in it. It's called "Breakdown" in the One size fits all guitar book. At "Inca roads" I'm pointing at Zappa's desire to break patterns. In this case this is happening at beats of bar 10 in the example from above. The players are asked to interrupt the slow melody by playing strings of fast notes, where they can pick notes as they like.

Obviously they can be different on each performance.

Frank zappa band you never heard live

Above these notes as they are picked on the "One size fits all" album, as transcribed by Addi Booth. Something else you might be calling pattern-breaking is the manner Zappa starts the guitar solo on "The best band you never heard in your life". From bar 12 through bar 18 it's chromatic rather than diatonic. Only in bar 19 the solo returns to A Lydian.

This is quite different from the version, that is brightly in A Lydian all through. This solo is the main difference between these two versions, with the solo lasting much longer. Opening bars of the solo One size fits all Guitar book, page Addi notates "Andy" in A major, a convention in the Hal Leonard series. The D turns this into A Lydian.

In the variation starting in bar 4 from the example below follows the original, but four times slower. It also alternates beats with quarter notes and beats with an eighth note plus an eighth note pause, without a specific pattern. It's sort of a variation of a variation, sounding thus different that, in effect, it becomes a new variation. Inca roads, midi file.

Inca roads, transcription. The example contains: - Bars final bars of an instrumental interlude. Bars go similar to the version, but not identical. It's played that fast at this point, that it's getting easy to mishear or mishit a note, so I can't tell for sure if all of such differences are intentional. The difference at beats of bar 3 is directly recognizable and intentional.

Other than in these bars have no lyrics. How the meters should best be notated is getting a matter of choice. I've let each bar begin with a full quarter note, and I've avoided notating syncopes. In case of the One size fits all guitar book Addi Booth notates accompanying chords not present here , which clarify his meter notation. This whole example could be called diatonic, though only with fragments from varying scales in bar 1.

At no place you can say the bass is reaching at stable pedal notes, so it can't be assigned to keys, other than maybe some brief moments. This second example contains the first instrumental interlude and the opening of the guitar solo. The following can be noted: - Bars these bars from "Inca roads " are also present in the One size fits all section.

The difference with the version lies in the bass giving a C pedal in bars 1 and 3, setting the key to C Lydian, and the presence of a chord in both of these two bars. Normally Zappa edited the tapes in such a manner that it became undetectable where switches are taking place. Only bootlegs from these concerts make it possible to identify from which concerts which sections stem, when present.

In this case Zappa apparently didn't mind that you could hear a switch, the one taking place at beat 3 of bar 8. In the transcription you can see that the melodies in staves take a jump. During bars keyboards and the rhythm guitar are giving a harmonic fill-in as usual. In bars , their melodies and chords are becoming more articulated, at some points making the solo sound almost as a duet.

This remains so for the rest of the solo. Globally the construction of "Mr. Green Genes" goes as: - Intro with a figure in D Dorian.