Does Humor Belong in Music?
Originally released only in Europe without permission, Does Humor Belong In Music? was reworked by Zappa and released with much more material on CD. A snapshot of Zappa's 1984 band, this live album showcases the pared-down group's energy and ability on a set of concert favorites (with a few special oddities thrown in for good measure). The opening version of the instrumental "Zoot Allures" is one of the best takes on that song released on CD, and the closing "Whippin' Post" finds Zappa trading guitar licks with his son Dweezil. Often overshadowed by some of his other touring ensembles, this group--featuring Chad Wackerman, Scott Thunes, Bobby Martin, Allan Zavod and the dual frontmen of Ike Willis and Ray White-is distinctive and talented, and their performances on songs like "Let's Move to Cleveland" and "What's New in Baltimore" are essential to any Zappa collection. The liner notes would tell you that Frank Zappa pieced "Does Humor Belong In Music?" from miles of tapes across his 1984 tour; guitar solo from Philly, vocal from London. This approach removes some of the LP's cohesion, but brings every good performance from Zappa's band (one of his best)to the fore.
Fans of Zappa's guitar playing and razor-sharp jazz/fusion/progressive rock have much to enjoy here. "Let's Move To Baltimore," and "Hot Plate Heaven" feature fiery guitar solos and a rhythm section (including drummer Chad Wackerman, who turns in outstanding work throughout) which keeps up with FZ's experiments. Son Dweezil turns in some fine blues guitar on "Whippin' Post," but his vocal, and the end result, is a too speedy and showy against the Allmans' pain-wracked original.
Fans of Zappa's guitar playing and razor-sharp jazz/fusion/progressive rock have much to enjoy here. "Let's Move To Baltimore," and "Hot Plate Heaven" feature fiery guitar solos and a rhythm section (including drummer Chad Wackerman, who turns in outstanding work throughout) which keeps up with FZ's experiments. Son Dweezil turns in some fine blues guitar on "Whippin' Post," but his vocal, and the end result, is a too speedy and showy against the Allmans' pain-wracked original.
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