You cant do that on stage anymore vol. 6
As his last volume in this series, it seems quite obvious that Frank was getting in his last laugh. From the very beginning of Disc one and the "Anti-Smut Loyalty Oath", followed by the infamous "Poodle Lecture" (a meeting of several conceptual continuity clues), he seems set on making a disc that is "about sex" (as he admitted in the liner notes). Disc 1 contains some of Franks most hysterical and conceptually relevant live monologues. "White Person" is a good example of the audible effects of Frank's improvisatory conducting style, and "Make a Sex Noise" shows how Frank could play the crowd.
Although the first disc of Vol 6 might be the key to the mythology of Frank's sexual metaphors, disc two sees some of Frank's least accessible stuff. It introduces itself as largely instrumental and improvisatory.
The version of "Catholic Girls" here really brings out the best that Ike Willis had to offer. The voice of Joe come up really clearly here, and his backups really bring out the best of Frank's mastery of traditional harmony with the "don't bother Mary" chunk that outlines relatively traditional resolution practices. The voice of the Central Scrutinizer makes an appearance here, too, and the subsequent inclusion of "Crew Slut" is an extension of the "Joe's" storyline.
A music education lesson happens in the track "Thirteen". One two One two three one two three four seems almost like a tala based on the Indian idea of an additive phrase, and the entire solo is over a single chord. Frank is also joined on stage by the Indian violinist Shankar. Shankar's background is in the Carnatic style, which uses ragas as a source of melodic expression. It would be interesting to see if Shankar was playing in a raga, and if so, which one. In fact, this is something that I have thought about Zappa recently. It is actually quite rare that we get to hear him over chord changes. Is there a similarity between the expressiveness of raga-based music and the rhythmic displacement that they use to create tension and release in Zappa's methods of improvisation?
We're Turning again almost comes off as a tribute to the `60's and his place in it. It seems like it could almost be nostalgic, which begs the question about Zappa's theory that nostalgia is a potentially destructive force in the universe.Disc Two is slightly more varied in its content, but holds the same mood as Disc One, basically a performer and his backing band giving the audience a good, entertaining show. There are different incarnations of The Mothers in the series, but they are only represented here, in the 1970-1971 phase, with Howard Kaylan and Mark Volman as lead vocalists, and their critics notwithstanding, two very talented singers, and a couple really funny guys, at that. See "Playground Psychotics" for confirmation of this.
Although the first disc of Vol 6 might be the key to the mythology of Frank's sexual metaphors, disc two sees some of Frank's least accessible stuff. It introduces itself as largely instrumental and improvisatory.
The version of "Catholic Girls" here really brings out the best that Ike Willis had to offer. The voice of Joe come up really clearly here, and his backups really bring out the best of Frank's mastery of traditional harmony with the "don't bother Mary" chunk that outlines relatively traditional resolution practices. The voice of the Central Scrutinizer makes an appearance here, too, and the subsequent inclusion of "Crew Slut" is an extension of the "Joe's" storyline.
A music education lesson happens in the track "Thirteen". One two One two three one two three four seems almost like a tala based on the Indian idea of an additive phrase, and the entire solo is over a single chord. Frank is also joined on stage by the Indian violinist Shankar. Shankar's background is in the Carnatic style, which uses ragas as a source of melodic expression. It would be interesting to see if Shankar was playing in a raga, and if so, which one. In fact, this is something that I have thought about Zappa recently. It is actually quite rare that we get to hear him over chord changes. Is there a similarity between the expressiveness of raga-based music and the rhythmic displacement that they use to create tension and release in Zappa's methods of improvisation?
We're Turning again almost comes off as a tribute to the `60's and his place in it. It seems like it could almost be nostalgic, which begs the question about Zappa's theory that nostalgia is a potentially destructive force in the universe.Disc Two is slightly more varied in its content, but holds the same mood as Disc One, basically a performer and his backing band giving the audience a good, entertaining show. There are different incarnations of The Mothers in the series, but they are only represented here, in the 1970-1971 phase, with Howard Kaylan and Mark Volman as lead vocalists, and their critics notwithstanding, two very talented singers, and a couple really funny guys, at that. See "Playground Psychotics" for confirmation of this.
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