Trouble Every Day - Frank Zappa And The Mothers Of Invention

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El miércoles vi el alboroto (motín)... Miraba a los policias en las calles Los veía tirando rocas y cosas Y ahogando al calor de los hechos Escuché los reportes Acerca de la ronda de whisky Vi el humo y el fuego Y el mercado consumíendose en fuego Miraba mientras todos En su calle esperaban su turno Para pisar y aplastar y golpear y quebrar Y acuchillar y destrozar y quemar Así que veo y espero...

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GUIÓN RADIOFÓNICO

Frank Zappa escribió Trouble Every Day en Los Angeles (en la residencia del químico de las metanfetaminas al que el mismo Zappa se refiere como Wild Bill the Mannequin-Fucker) después de ver nuevas portadas de The Watts Riots. Llamada originalmente The Watts Riot Song su temática principal es la violencia racial, la injusticia social y el periodismo sensacionalista. El estilo musical, con varias pistas de guitarra y una armónica, mucho más de cerca se asemeja a blues eléctrico que al Rock and roll. Tom Wilson firmo a The Mothers of Invention después de escuchar Trouble Every Day pensando que eran una banda blanca que tocaba blues

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DATOS TÉCNICOS DE LA ROLA

	Título:	Trouble Every Day
	Traducción:	Un problema cada día
	Compositor:	Frank Zappa
	Intérprete:	Frank Zappa And The Mothers Of Invention
	Productor:	Tom Wilson
	A la venta:	27/06/1966
	Formato:	Sencillo
	Lado B:	Who Are the Brain Police?
	Incluída en el L.P.	Freak Out
	Disquera:	Verve
	Orden al bat:	021

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LETRA

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Trouble Every Day

Un problema cada día

Well I'm about to get sick From watchin' my TV Been checkin' out the news Until my eyeballs fail to see I mean to say that every day Is just another rotten mess And when it's gonna change, my friend Is anybody's guess So I'm watchin' and I'm waitin' Hopin' for the best Even think I'll go to prayin' Every time I hear 'em sayin' That there's no way to delay That trouble comin' every day No way to delay That trouble comin' every day Wednesday I watched the riot . . . Seen the cops out on the street Watched 'em throwin' rocks and stuff And chokin' in the heat Listened to reports About the whisky passin' 'round Seen the smoke and fire And the market burnin' down Watched while everybody On his street would take a turn To stomp and smash and bash and crash And slash and bust and burn And I'm watchin' and I'm waitin' Hopin' for the best Even think I'll go to prayin' Every time I hear 'em sayin' That there's no way to delay That trouble comin' every day No way to delay That trouble comin' every day Well, you can cool it, You can heat it . . . 'Cause, baby, I don't need it . . . Take your TV tube and eat it 'N all that phony stuff on sports 'N all the unconfirmed reports You know I watched that rotten box Until my head begin to hurt From checkin' out the way The newsman say they get the dirt Before the guys on channel so-and-so And further they assert That any show they'll interrupt To bring you news if it comes up They say that if the place blows up They will be the first to tell, Because the boys they got downtown Are workin' hard and doin' swell, And if anybody gets the news Before it hits the street, They say that no one blabs it faster Their coverage can't be beat And if another woman driver Gets machine-gunned from her seat They'll send some joker with a brownie And you'll see it all complete So I'm watchin' and I'm waitin' Hopin' for the best Even think I'll go to prayin' Every time I hear 'em sayin' That there's no way to delay That trouble comin' every day No way to delay That trouble comin' every day Hey, you know something people? I'm not black But there's a whole lots a times I wish I could say I'm not white Well, I seen the fires burnin' And the local people turnin' On the merchants and the shops Who used to sell their brooms and mops And every other household item Watched the mob just turn and bite 'em And they say it served 'em right Because a few of them are white, And it's the same across the nation Black and white discrimination Yellin' "You can't understand me!" 'N all that other jazz they hand me In the papers and TV and All that mass stupidity That seems to grow more every day Each time you hear some nitwit say He wants to go and do you in Because the color of your skin Just don't appeal to him (No matter if it's black or white) Because he's out for blood tonight You know we got to sit around at home And watch this thing begin But I bet there won't be many live To see it really end 'Cause the fire in the street Ain't like the fire in the heart And in the eyes of all these people Don't you know that this could start On any street in any town In any state if any clown Decides that now's the time to fight For some ideal he thinks is right And if a million more agree There ain't no Great Society As it applies to you and me Our country isn't free And the law refuses to see If all that you can ever be Is just a lousy janitor Unless your uncle owns a store You know that five in every four Just won't amount to nothin' more Gonna watch the rats go across the floor And make up songs about being poor Blow your harmonica, son!

Bueno estoy a punto de enfermarme De ver televisión He estado checando las noticias Hasta que mis ojos dejaron de ver Quiero decir eso todos los días Es sólo otro lío podrido Y cuando va a cambiar, mi amigo Nadie lo sabe Así que veo y espero Esperando lo mejor Hasta pienso en ir a rezar Cada vez que los oigo diciendo Que no hay manera de detenerlos Que los problemas vienen cada día No hay manera de pararlos Que los problemas vienen cada día El miércoles vi el alboroto (motín)… Miraba a los policias en las calles Los veía tirando rocas y cosas Y ahogando al calor de los hechos Escuché los reportes Acerca de la ronda de whisky Vi el humo y el fuego Y el mercado consumíendose en fuego Miraba mientras todos En su calle esperaban su turno Para pisar y aplastar y golpear y quebrar Y acuchillar y destrozar y quemar Así que veo y espero… Bueno, puedes enfriarlo, Puedes calentarlo… Porque, nena, no lo neceito… llevate tu televisor de tubo y cómetelo Y todas esas cosas chistosas de los deportes Y todos los reportes sin confirmar Tu sabes que yo veo esa caja podrida Hasta que micabeza comienza a doler De ver la manera En la que el periodista dice como obtienen la suciedad Antes que los tipos de canal tal y tal Y además afirmaban Que interrumpirían cualquier programa para dar las noticias Decían que si el lugar etallaba Ellos serían los primeros en decirlo, Debido a que los chicos se fueron al centro Trabajan duro y les va de maravilla, Y si alguien tiene la noticia Antes de que llegue a la calle, Dicen que nadie chismorrea más rápido Su cobertura no puede ser vencida

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MÚSICOS

Frank Zappa - guitarra, armónica, platillos, pandereta y voz Ray Collins - armónica, platillos, efectos sonoros, pandereta, voz y crótalos Jimmy Carl Black – percusión, batería y voz Roy Estrada - bajo, voz, guitarrón y voz soprano Elliot Ingber - guitarra rítmica y guitarra líder

INTÉRPRETE

Frank Zappa And The Mothers Of Invention: Baltimore Frank Vincent Zappa expandió su carrera por más de 30 años hasta su muerte como compositor, cantante, guitarrista, productor y director de películas, habiendo escrito para rock, jazz, música electrónica y orquestal. Diseñó portadas y grabó más de 60 álbumes ya con The Mothers of Invention como en solitario.

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TROUBLE EVERY DAY VIENE EN EL L.P. FREAK OUT

La revista Rolling Stone clasifica a Freak Out como el número 243 entre los 500 discos más importantes de todos los tiempos

VERSIÓN INGLESA LADO A 1. "Hungry Freaks, Daddy" 2. "I Ain't Got No Heart" 3. "Who Are the Brain Police?" 4. "Go Cry on Somebody Else's Shoulder" 5. "Motherly Love" 6. "How Could I Be Such a Fool?"	LADO B 1. "Wowie Zowie" 2. "You Didn't Try to Call Me" 3. "Any Way the Wind Blows" 4. "I'm Not Satisfied" 5. "You're Probably Wondering Why I'm Here"
VERSIÓN ESTADOUNIDENSE * LADO A 1. "Trouble Every Day" 2. "Help, I'm a Rock" 1. Okay To Tap Dance 2. In Memoriam, Edgar Varèse 3. It Can't Happen Here	* LADO B 1. "The Return of the Son of Monster Magnet" (Unfinished Ballet in Two Tableaux) 1. Ritual Dance of the Child-Killer 2. Nullis Pretii (No commercial potential)

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Freak Out! Es para los críticos uno de los primeros álbumes de rock conceptuales. Grabado por The Mothers of Invention es una visión satírica de Frank Zappa de la percepción de la cultura popular estadounidense y es uno de los primeros discos dobles de rock. Producido por Tom Wilson quien, a decir de Zappa siempre creyó que se trataba de un grupo de blues blanco.

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OTRAS VERSIONES

Mick Farren

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Help, I'm a rock - Frank Zappa And The Mothers Of Invention

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¡Alguien, por favor, por favor! Ayuda, soy una roca, ayuda, soy una roca… Caray, es una carga ser una roca Desearía ser cualquier otra cosa excepto una roca Demonios, hasta desearía ser un policia Oye, sabes que, tal vez si practicara, tu sabes Tal vez si pasara el examen de manejo Podría tener una oportunidad manejando un camión y recogiendo a algunos raros ¡Frente a la casa de Ben Franks, cierto! ¡Ayuda soy un policia, ayuda soy un policia, ayuda soy un policia! Es una carga ser un policia, creo que mejor desearía ser el alcalde Siempre me pregunté qué sería al crecer, tú sabes...

Versión Corta

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GUIÓN RADIOFÓNICO

Pese a que Frank Zappa no usaba drogas, su obra maestra para escuchar con audífonos Help, I’m a Rock puso en marcha infinidad de viajes con LSD en 1966. Este rock sí que es rock ácido. Zappa explicó estos nueve minutos de locura, como el resultado de un montón de gente jugando en el estudio. 'Fue una cosa que vomitó', dijo Zappa, una década después. 'Lo que estaba sucediendo era lo que estaba en el aire esa noche'. Resultó que aquellos eran músicos de primer nivel lo cual hizo que la pieza se extendiera en lo que fue un ejercicio tanto de free jazz como de música sicodélica. 'Tenga en cuenta la interesante estructura formal' resaltaba Zappa en las notas del disco, donde también mencionaba que el album estaba dedicado a Elvis Presley. Help, I’m a Rock contenida en el primer disco de The Mothers of Invention, entrega a sus admiradores la promesa de un Freak Out!Con una fuerte dosis de parodias grasosas y dip-doo-wop de mierda. El joven Zappa se autocapacita para utilizar el multitrack y produce pistas con gritos, graznidos, conversaciones extrañas, cantos tribales, un orgasmo femenino, sonidos guturales y otros producidos por las lenguas. Un crítico llamó a este disco experimental 'el mayor estímulo para la industria de la aspirina desde el impuesto sobre la renta' Help, I’m a Rock es una suite en tres movimientos: Okay to Tap Dance, In Memoriam Edgar Varese y It Can’t Happen Here.

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DATOS TÉCNICOS DE LA ROLA

	Título:	Help, I'm a rock
	Traducción:	Ayuda, soy una roca
	Compositor:	Frank Zappa
	Intérprete:	Frank Zappa And The Mothers Of Invention
	Productor:	Tom Wilson
	A la venta:	27/06/1966
	Formato:	L.P.
	Incluída en el L.P.	Freak Out
	Disquera:	Verve
	Orden al bat:	022

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LETRA

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Help, I'm a rock

Ayuda, soy una roca

Help I'm a rock, help I'm a rock, help I'm a rock! Ahahahahahahaaa Help I'm a rock, help I'm a rock, help I'm a rock! Somebody, please, please! Help I'm a rock, help I'm a rock... Wow man, it's a drag being a rock Help I'm a rock... I wish I was anything but a rock Heck, I'd even like to be a policeman Hey, you know what, you know maybe if I practised, you know Maybe if I passed my driving test I could get a gig drivin' that bus and pick some freaks up In front of Ben Franks, right! Help I'm a cop, help I'm a cop, help I'm a cop! (Help I'm a rock…), help I'm a cop, help I'm a cop! It's a drag being a cop, I think I'd rather be the mayor Always wondered what I was gonna be when I grew up, you know Always wondered whether or not, whether or not I could make it, You know, in society, because, You know, it's a drag when you're rejected So I tore the cover off a book of matches and I sent in And I got this letter back that said, UHU, AHA It can't happen here It can't happen here I'm telling you, my dear That it can't happen here Because I been checkin' it out, baby I checked it out a couple a times, hmmmmmmmm And I'm telling you It can't happen here Oh darling, it's important that you believe me (Bop bop bop bop) That it can't happen here Who could imagine that they would freak out somewhere in Kansas… Kansas Kansas tototototodo Kansas Kansas tototototodo Kansas Kansas Who could imagine that they would freak out in Minnesota… Mimimimimimimi Minnesota, Minnesota, Minnesota Who could imagine… Who could imagine That they would freak out in Washington, D.C. D.C. D.C. D.C. D.C. D.C. It can't happen here Ba ba ba ba ba ba ba ba It can't happen here It can't happen here Everybody's safe and it can't happen here No freaks for us It can't happen here Everybody's clean and it can't happen here No, no, it won't happen here I'm telling you it can't It won't happen here (Bop bop didi bop didi bop bop bop) Plastic folks, you know It won't happen here You're safe, mama You're safe, baby You just cook a TV dinner And you make it (Bop bop bop) No no no no Oh, we're gonna get a TV dinner and cook it up Go get a TV dinner and cook it up Cook it up Oh, and it won't happen here (No no no no no no no no no no no Man you guys are really safe Everything's cool). Who could imagine Who could imagine That they would freak out in the suburbs! I remember (tu-tu) I remember (tu-tu) I remember (tu-tu) They had a swimming pool I remember (tu-tu) I remember (tu-tu) They had a swimming pool I remember (tu-tu) I remember (tu-tu) They had a swimming pool. And they thought it couldn't happen here (duh duh duh duh duh) They knew it couldn't happen here They were so sure it couldn't happen here But… Suzie… Yes yes yes--I've always felt that Yes I agree man, it really makes it…yeah… It's a real THING, man And it really makes it (Makes it) Suzie, you just got to town, And we've been, we've been very interested In your development. Forget it! Hmmmmmmmmm (It can't happen here)

¡Ayuda, soy una roca, ayuda, soy una roca, ayuda, soy una roca! Ahahahahahahaaa ¡Ayuda, soy una roca, ayuda, soy una roca, ayuda, soy una roca! ¡Alguien, por favor, por favor! Ayuda, soy una roca, ayuda, soy una roca… Caray, es una carga ser una roca Ayuda soy una roca... Desearía ser cualquier otra cosa excepto una roca Demonios, hasta desearía ser un policia Oye, sabes que, tal vez si practicara, tu sabes Tal vez si pasara el examen de manejo Podría tener una oportunidad manejando un camión y recogiendo a algunos raros ¡Frente a la casa de Ben Franks, cierto! ¡Ayuda soy un policia, ayuda soy un policia, ayuda soy un policia! ¡(Ayuda soy una roca…), ayuda soy un policia, ayuda soy un policia! Es una carga ser un policia, creo que mejor desearía ser el alcalde Siempre me pregunté qué sería al crecer, tú sabes Siempre me pregunte si lo lograría, Ya sabes, en la sociedad, porque, Tú sabes, es una carga ser rechazado Así que arranqué la cubierta de una caja de cerillos y la envíe Y me enviaron de vuelta una carta que decía, UHU, AHA No puede suceder aquí No puede suceder aquí Te lo digo, querida Que no puede suceder aquí Porque lo he estado revisando, nena Lo revisé un par de veces, hmmmmmmmm Y te lo digo No puede suceder aquí Oh querida, es importante que tú me creas (Bop bop bop bop) Que no puede suceder aquí Quién podría imaginar que ellos se impresionarían en algún lugar de Kansas... Kansas Kansas tototototodo Kansas Kansas tototototodo Kansas Kansas

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MÚSICOS

Frank Zappa - guitarra, armónica, platillos, pandereta y voz Ray Collins - armónica, platillos, efectos sonoros, pandereta, voz y crótalos Jimmy Carl Black – percusión, batería y voz Roy Estrada - bajo, voz, guitarrón y voz soprano Elliot Ingber - guitarra rítmica y guitarra líder

INTÉRPRETE

Frank Zappa And The Mothers Of Invention: Baltimore Frank Zappa adquirió en su adolescencia el gusto por la percusión escuchando a compositores de vanguardia como Edgard Varèse y el ritmo del blues de los cincuentas. Comenzó a escribir música clásica cursando la secundaria mientras al mismo tiempo tocaba la batería en bandas de rhythm and blues, aunque más tarde la cambió por la guitarra eléctrica. Fue un compositor y artista autodidacta y sus diversas influencias musicales lo llevaron a crear música a menudo imposible de clasificar. Desde la combinación de canciones convencionales de rock con formatos para improvisaciones sonoras colectivas, hasta sus aportaciones al jazz y a la música clásica. Sus letras reflejan, con amplio sentido del humor, refleja una visión iconoclasta sobre los procesos sociales y políticos establecidos, las estructuras y los movimientos. Fue un estridente crítico de la educación en general y la religión organizada. Frank Zappa fue también un defensor franco y apasionado de la libertad de expresión, la autoeducación, la participación política y la abolición de la censura.

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HELP, I'M A ROCK VIENE EN EL L.P. FREAK OUT

La revista Rolling Stone clasifica a Freak Out como el número 243 entre los 500 discos más importantes de todos los tiempos

VERSIÓN INGLESA LADO A 1. "Hungry Freaks, Daddy" 2. "I Ain't Got No Heart" 3. "Who Are the Brain Police?" 4. "Go Cry on Somebody Else's Shoulder" 5. "Motherly Love" 6. "How Could I Be Such a Fool?"	LADO B 1. "Wowie Zowie" 2. "You Didn't Try to Call Me" 3. "Any Way the Wind Blows" 4. "I'm Not Satisfied" 5. "You're Probably Wondering Why I'm Here"
VERSIÓN ESTADOUNIDENSE * LADO A 1. "Trouble Every Day" 2. "Help, I'm a Rock" 1. Okay To Tap Dance 2. In Memoriam, Edgar Varèse 3. It Can't Happen Here	* LADO B 1. "The Return of the Son of Monster Magnet" (Unfinished Ballet in Two Tableaux) 1. Ritual Dance of the Child-Killer 2. Nullis Pretii (No commercial potential)

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El repertorio original de The Mothers of Invention se basaba en el rhytm & blues pero después de que Frank Zappa se unió a la banda, ésta tomó el valor para grabar sus propias composiciones. Para el contenido de Freak Out!, The Mothers abarcan un rango que va del rhythm & blues, el doo-wop y el blues clásico a los arreglos orquestales y collages de sonidos orientados al rock. Estas características, que pasaron desapercibidas en los Estados Unidos, convirtieron a The Mothers of Invention en un grupo de culto en Europa.

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Absolutly Free - Frank Zappa And The Mothers Of Invention

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	Rola:	Absolutly Free
	Traducción:	Absolutamente libre
	Intérprete:	Frank Zappa/The Mothers Of Invention
	Compositor:	Frank Zappa
	Disco:	We're Only In It For The Money
	Productor:	Frank Zappa

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HISTORIA

"Absolutely Free" is a song written by Frank Zappa and released on the Mothers of Invention album We're Only in It for the Money in 1968. The song is not to be confused with the Mothers of Invention album of the same name. Like many of the songs on We're Only in It for the Money, "Absolutely Free" criticizes the hippie movement and the Summer of Love. The song's lyrics are a parody of psychedelia, especially the idea of expanding one's consciousness through the use of drugs. To this end, the song frequently mentions the word "discorporate", which is explained by Zappa in the spoken introduction to the song ("The first word in this song is discorporate. It means to leave your body"). The lyrics also reference the song "Mellow Yellow" by singer-songwriter Donovan, who is often associated with the hippie movement ("The dreams as they live them are all mellow yellow"). On some pressings of the album, especially on earlier releases, two lines of the lyrics were censored. The first is the sentence "I don't do publicity balling for you anymore", uttered at the very beginning of the song by the character of Suzy Creamcheese. The word "balling" was cut from this line. The other line that was censored ("Flower power sucks!") was cut entirely The song starts off with a piano intro, followed by a brief spoken part containing the aforementioned utterances by Zappa and Suzy Creamcheese. From then on, the song carries on with a 3/4 motif, featuring a celesta, acoustic guitar, and a heavy use of reverb and other sound effects, which give the song a pseudo-psychedelic feel.

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DATOS DE LA GRABACIÓN

	Duración:	03:28
	Año:	1968
	Formato:	L.P.
	A la venta:	01/03/1968
	Disquera:	Verve

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MÚSICOS

Frank Zappa – guitar, piano, lead vocals, weirdness & editing Dick Barber – snorks Jimmy Carl Black – trumpet, drums, vocals, indian of the group Roy Estrada – electric bass, vocals, asthma Bunk Gardner – all woodwinds, mumbled weirdness Billy Mundi – drums, vocals, yak & black lace underwear Don Preston – keyboards, retired Euclid James "Motorhead" Sherwood – baritone saxophone, soprano saxophone, road manager, all purpose weirdness & teen appeal Suzy Creamcheese – telephone voice Ian Underwood – piano, woodwinds, wholesome Pamela Zarubica – vocals Gary Kellgren – "the one doing all the creepy whispering" (i.e., interstitial spoken segments) Spider Barbour – vocals Dick Kunc – "cheerful interruptions" vocal Vicki Kellgren – additional telephone vocals Sid Sharp – orchestral arrangements

ESCUCHA LA ROLA

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LETRA

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Original

Traducción

I don’t do publicity balling for you anymore... The first word in this song is discorporate, It means: to leave your body Discorporate and come with me Shifting; drifting Cloudless; starless Velvet valleys and a sapphire sea wah wah Unbind your mind There is no time To lick your stamps And paste them in Discorporate And we will begin… wah wah! Flower power sucks! Diamonds on velvets on goldens on vixen On comet on cupid on Donner & Blitzen On up and away and afar and a go-go Escape from the weight of your corporate logo! Unbind your mind There is no time Boin-n-n-n-n-n-g To lick your stamps And paste them in Discorporate And we’ll begin Freedom! Freedom! Kindly loving! You’ll be absolutely free Only if you want to be Dreaming on cushions of velvet and satin To music by magic by people that happen To enter the world of a strange purple Jello The dreams as they live them are all Mellow yellow Unbind your mind There is no time Boin-n-n-n-n-n-g To lick your stamps And paste them in Discorporate And we’ll begin Freedom! Freedom! Kindly loving! You’ll be absolutely free Only if you want to be You’ll be absolutely free Only if you want to be

Ya no me encamo más para hacerte promoción La primera palabra de esta canción es "Discorpórate", quiere decir "abandona tu cuerpo" Discorpórate y ven conmigo moviéndonos; vagando sin nubes; sin estrellas valles de terciopelo y un mar de zafiro wah wah Desata tu mente no hay tiempo para lamer tus sellos y pegarlos discorpórate y empezaremos… ¡wah! ¡wah! ¡El flower power apesta! Diamantes en terciopelos en dorados en una zorra en una cometa y cupido en donner & blitzen arriba y lejos y más lejos y a go-go ¡escapa del peso de tu logotipo corporativo! Desata tu mente no hay tiempo boin-n-n-n-n-n-g para lamer tus sellos y pegarlos discorpórate y empezaremos ¡Libertad! ¡libertad! ¡amor bondadoso! Seras absolutamente libre solo si quieres serlo Soñando en cojines de terciopelo y satén con música por arte de magia de gente que resulta que entra en el mundo de una extraña gelatina púrpura los sueños mientras los viven son todos amarillo suave Desata tu mente no hay tiempo boin-n-n-n-n-n-g para lamer tus sellos y pegarlos descorporizate y empezaremos ¡Libertad! ¡libertad! ¡Amor bondadoso! Serás absolutamente libre solo si quieres serlo serás absolutamente libre solo si quieres serlo

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EL L.P. QUE CONTIENE LA ROLA

EXTERIOR EXTERIOR

LADO A 1. "Are you hung up?" 2. "Who needs the peace corps?" 3. "Concentrantion moon" 4. "Mom & Dad" 5. "Telephone Conversation" 6. "Bow Tie Daddy" 7. "Harry, You're a Beast" 8. "What's the Ugliest Part of Your Body?" 9. "Absolutely Free" 10. "Flower Punk" 11. "Hot Poot"

LADO B 1. "Nasal Retentive Calliope Music" 2. "Let's Make the Water Turn Black" 3. "The Idiot Bastard Son" 4. "Lonely Little Girl" 5. "Take Your Clothes Off When You Dance" 6. "What's the Ugliest Part of Your Body? (reprise)" 7. "Mother People" 8. "The Chrome Plated Megaphone of Destiny"

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We're Only in It For the Money is the third studio album by The Mothers of Invention, released in March 1968. The album peaked at number thirty on the Billboard 200. The album satirizes many aspects of 1960s culture, such as hippie culture and music. In 1967, Zappa conceived an album, Our Man in Nirvana, which would combine the music of his band The Mothers of Invention with comedy routines by Lenny Bruce (who had performed with Zappa at The Fillmore in 1966).[1] However, when Sgt. Pepper's Lonely Hearts Club Band was released and hugely touted as the first concept album, Zappa, who already had released two (which Paul McCartney later stated had influenced Sgt. Pepper[2]) felt compelled to respond. Also, Zappa noticed its cultural effect, and felt that the then-popular flower power scene had and would continue to have a major influence on popular culture. Consequently, he decided to produce instead a satirical album that parodied every cynical aspect of the fad, Sgt. Pepper, and 1960s US society.[3] The song "Flower Punk" is based upon "Hey Joe", famously performed by Love, The Leaves, The Byrds, The Surfaris and Jimi Hendrix, who is himself pictured in the cover art. "Mother People" was featured in an episode of The Monkees ("Monkees Blow Their Minds"), which also featured Zappa and Michael Nesmith posing as each other. The only vestige of the original album idea in We're Only in It... is the phrase "Don't come in me, in me..." in the song "Harry, You're A Beast", a reference to a Lenny Bruce routine about ejaculation. Cal Schenkel's design was intended as a parody of the cover for The Beatles' Sgt. Pepper's Lonely Hearts Club Band. The fold-out cover for Sgt. Pepper had a collage of famous people by Peter Blake on the outside front, a picture of the group with one member facing away from the camera on the back, and a head-shot portrait of the band on the inside. Zappa originally intended to use the cover as one would expect—front cover on the front, back cover on the back, and the inside group head-shot on the inside—but Zappa's record company demurred and turned the cover inside-out for release, putting the most blatant Sgt. Pepper parody (front cover very similar in its production; back cover showing a picture of the group with only one member facing toward the camera) on the inside and the head-shot portrait pastiche of the band on the outside. Next to Zappa's head on the back cover is a speech bubble that reads, "Is this phase one of Lumpy Gravy?". Respectively, Zappa's next album, Lumpy Gravy features a similar speech bubble that reads "Is this phase 2 of We're Only in It for the Money?" The 1986 Rykodisc release on CD featured the original photo restored to the front cover, but minus the group headshot. This release combined this album with Lumpy Gravy. In 1995, Zappa's estate authorized the rerelease of the original cover art with the headshot along with the original Verve records mix—as "Lumpy Gravy" was also reissued on its own with its original cover art and Verve Records mix. One section of the CD liner art features a series of badges, banknote, and facial hair cut-outs, satirizing those of Sgt. Pepper, with some differences; one badge features a small photograph of recording engineer Gary Kellgren and the other is a nipple. The banknote had a picture of a belly button in the middle. Originally released in March 1968, the album eventually peaked at number thirty on the Billboard 200. Initial releases of the album had certain sections of songs edited or removed due to perceived offensiveness. These two sets of edits are often distinguished by the monikers "censored" and "heavily censored." However, these set of edits were sometimes applied inconsistently, so these two categories are inexhaustive.[5] Tracks affected by censor edits on all original versions: * "Concentration Moon": Gary Kellgren's whispered remark "I get to work with The Velvet Underground, which is as shitty a group as Frank Zappa's group" was cut. However, the Canadian release of the album keeps the line intact. Later Verve pressings (aka the "heavily censored" version) only removes part of the line, rendering it as "I get to work with the Velvet Underground, Frank Zappa's group."[5] * "Harry You're a Beast": The "Don't come in me, in me" verse was edited in order to hide the offending lyric by re-editing parts of the verse in the wrong way, and reversing parts of the song. This phrase is from Lenny Bruce's "To is a Preposition, Come is a Verb" routine.[5] * "Mother People": a verse containing the expletives 'fucking' and 'shitty' was replaced with a repeat of the first. The original verse was backmasked and appended to the track "Hot Poop" (even there, however, the word "fucking" has its "uck" part cut out to make it less obvious ).[5] Additional tracks affected by censor edits on the "heavily censored" versions: * "Who Needs the Peace Corps?": a spoken line "I will love the police as they kick the shit out of me" was cut out.[5] * "Absolutely Free": The spoken word lines "I don't do publicity balling for you any more" and remark "Flower power sucks" were removed.[5] * "Let's Make The Water Turn Black": Several lines of the song are removed, most notably the line about Ronnie and Kenny Williams' mother ("and I still remember Mama with her Apron and her pad). Zappa believed that the line was cut because a record company executive thought the line referred to a sanitary pad.[6]

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INTÉRPRETE

Frank Zappa/The Mothers Of Invention: Baltimore Frank Vincent Zappa was an American composer, singer-songwriter, electric guitarist, record producer, and film director. In a career spanning more than 30 years, Zappa wrote rock, jazz, electronic, orchestral, and musique concrète works. He also directed feature-length films and music videos, and designed album covers. Zappa produced almost all of the more than 60 albums he released with the band The Mothers of Invention and as a solo artist. While in his teens, he acquired a taste for percussion-based avant-garde composers such as Edgard Varèse and 1950s rhythm and blues music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands—he later switched to electric guitar. He was a self-taught composer and performer, and his diverse musical influences led him to create music that was often impossible to categorize. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. His later albums shared this eclectic and experimental approach, irrespective of whether the fundamental format was one of rock, jazz or classical. He wrote the lyrics to all his songs, which—often humorously—reflected his iconoclastic view of established social and political processes, structures and movements. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Zappa was a highly productive and prolific artist and gained widespread critical acclaim. Many of his albums are considered essential in rock and jazz history. He is regarded as one of the most original guitarists and composers of his time. He also remains a major influence on musicians and composers. He had some commercial success, particularly in Europe, and for most of his career was able to work as an independent artist. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997. Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1964. In 1967, he married Adelaide Gail Sloatman, with whom he remained until his death from prostate cancer in 1993. They had four children: Moon Unit, Dweezil, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Gail Zappa manages the businesses of her late husband under the name the Zappa Family Trust. The Mothers of Invention was an American band active from 1964 to 1969, and again from 1970 to 1975. They mainly performed works by, and were the original recording group of, US composer and guitarist Frank Zappa (1940–1993), although other members have had the occasional writing credit.[1] The band's first album, in 1966, was a double LP named Freak Out!,[2] and they released four more albums in the following years. Zappa disbanded the original group in 1969, mainly because of financial issues, but also because Zappa felt that there was no public interest in their music.[1] After recording and releasing Hot Rats, Frank re-formed the group in 1970, with mostly new members and material. The new group came to be referred to as just "The Mothers" or "Frank Zappa & The Mothers" most of the time. In 1971, Zappa did an ambitious concept film/album project 200 Motels, but the group disbanded later that year after Zappa was attacked onstage during a London concert. During the coming years, Zappa released albums as "Zappa/Mothers" (Roxy & Elsewhere, 1974) or "Frank Zappa and the Mothers of Invention" (One Size Fits All, 1975) until he permanently dropped the "Mothers of Invention" moniker in 1976. Initially, the group was named "The Soul Giants" and consisted of drummer Jimmy Carl Black, bass player Roy Estrada, saxophonist Davy Coronado, guitarist Ray Hunt, and vocalist Ray Collins. Some biographers report that Collins fought with Hunt in 1964 (according to Collins: "I never touched Hunt, I don't even remember shaking his hand"),[citation needed] after which Hunt quit the group and Frank Zappa took his place as guitarist - quickly becoming the leader of the group, which changed its name to "The Mothers" on Sunday, May 10, 1964 (that year's Mother's Day) The band's name was allegedly an abbreviation for "motherfuckers", which was a term used to describe good musicians at the time. During late 1965, record producer Tom Wilson made a brief visit to a tavern where The Mothers were playing and offered them a contract and an advance of US$2,500. Guitarist Henry Vestine, later of Canned Heat, was an early member of the group, but suddenly quit, on the day the contract was signed, allegedly after hearing Frank Zappa's "Who Are The Brain Police?", which was "too much for Henry".[3] The Mothers and Wilson then spent several months and thousands of dollars recording and editing the band's first album, a double LP named Freak Out!,[2] and at the insistence of their record company, MGM Records, the group changed their name again, this time to "The Mothers of Invention". Their debut was released in 1966, and The Mothers of Invention subsequently went on tour. MGM recorded sales of Freak Out! Amounted to a relatively poor 30,000 copies. The record label responded by cutting the band's budget for their next LP to US$11,000. The Mothers of Invention continued regardless, releasing Absolutely Free in 1967, We're Only in It for the Money in 1968 and Uncle Meat in 1969 under the leadership of Zappa. In 1969, Zappa disbanded the original Mothers of Invention. Estrada went on to form Little Feat with Lowell George, who had been in the Mothers for a few months in late 1968 and early 1969 but was reportedly fired by Zappa because of his drug use. In 1970, Zappa created a new incarnation of The Mothers which included Mothers' alumni Ian Underwood and Don Preston. This 'new' lineup also featured British-born drummer Aynsley Dunbar (exJohn Mayall's Bluesbreakers), multi-instrumentalist Ian Underwood (keyboards, guitar, woodwind, vocals) and Ruth Underwood (marimba, vibes), who had joined the original Mothers for the recording of Uncle Meat in 1969.

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