Share Share Tweet Share Pin it. Audience by Sydney, Australia. Produced by Dweezil Zappa. Vaultmeisterment by Joe Travers. Mastered by Steve Hall at Future Disc. Package concept by GZ. Thanks also to Kent Huffnagle for his timewarp pitch adjustment on Zoot bootleg. Bill Lantz, thanks you bastard for not saying by what means you came by this tape and cooperating anyway.
Honorable mention to Jenny Brown. FZ enjoyed his experiences in Australia as revealed in certain resultant manifestations — Florentine Pogen, for instance — but this is merely an irrelevant clue. This is the concert. The second "Dickie's such an asshole" example shows band members mingling scales.
The overview in the Burnt weeny sandwich section illustrates this en masse. Phyniox take 2 , section from the coda midi file. Phyniox take 2 , section from the coda transcription. Other than "Phyniox, take 1", "Phyniox, take 2" contains a coda with the band changing the vamp to a C-Ab-Gb-Eb progression.
The chords still continue as before. Specifically the chords from the previous major part, now create dissonances with the closing vamp F and G versus Gb. Phrygian is a relatively uncommon scale that Zappa uses every once in a while.
Next are two examples from "Reeny ra". The set-up of this song goes as: - Theme I, played instrumentally first example below. It's a little theme of one bar, played three times, followed by a closing bar. The key is G Mixolydian. The bass ultimately leads to a lower D, as if Zappa would like to end in D Dorian. It has no real lyrics. Possibly Zappa was still working on it. This vamp switches the pedal note from G to B, thus moving over to Locrian, an unusual type of scale that also is rare in Zappa's output.
Here it's B Locrian. The second example below contains a couple of bars from this section. The bass vamp follows B-C-D-C. The guitar part begins with the G7 chord, followed by a melody that involves altered notes. Every two bars you have a chord progression for the brass: Gm-F-Gm-G by itself thus more a G minor towards G major movement. Reeny ra, theme I, midi file. Reeny ra, solo fragment, midi file.
Reeny ra, sections transcription. Compared to the later version on "You are what you is", "Any downers? The bass notes are part of these chords, but in this study I always let such bass notes determine the key note. In general tonics in Zappa's music get determined by bass pedal notes, rather than by harmonic cadences, and one should better follow one approach only. Any downers? This version of "Any downers? This can be done because the I-VII progression is not only applied to the two themes of this song, but is also used similar to a vamp.
A little dialogue can be heard starting with one person asking "are you holding any downers? On "You are what you is" the second theme with "no, I don't have anymore" has been given a chord progression of its own. Zappa plays little guitar solos during the version, one halfway and the other as an outro. The example above contains most of this outro. It begins with ticking the F as 16th notes, followed by the E-chord.
During bars the keyboard players are still playing the VI-VII alternation in a straightforward manner, but this is getting quite loose for the remainder of this example. In bar 6 of the example the actual soloing begins, while the bass continues with ticking the F and E. It ends with the keyboard playing the F m chord, as if the song was to end normally with a chord upon the tonic, but shortly moves over to the D chord again. It's the first done under the Vaulternative Records label and more has appeared since.
It contains an about full length concert from 20 January , recorded at the Hordern Pavilion in Sydney, Australia. It's from the period that, apart from Napoleon Murphy Brock, the members of the Roxy and Elsewhere band had left and Zappa was touring with a smaller five member band in different set ups. Because of this most of the virtuoso pieces were left out and Zappa had to play a lot of guitar himself. It changes the character of the concert a bit to a more pop-like form.
Zappa was in good shape soloing that night. The difficult pieces could return at the end of when Zappa assembled a large band that played on the "Zappa in New York" CD. There's a direct relation between this album and the "Zoot allures" studio album from Also, the disc edits in a couple of bits of audience recordings when the "official" reel was being changed.
It doesn't sound great when this happens, but I do appreciate the fact that they kept the entire recording intact from one, and only one, concert. Frank would never have done this I'm pleased that his family is doing it.
Now for the show. Perhaps the strongest aspect of it is Frank's guitar playing, both lead and rhythm. He was in his ascent towards actually beyond guitar greatness at this time. The rest of the band is great too, possibly with the exception of Andre Lewis on keyboards. His playing is actually interesting at first, again with lots of creative 's effects use, but his style - especially in his long solos - gets boring.
He tended to play what sounds like single-handed solos with little use of chords. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. My Profile. Advanced Search. Track Listing - Disc 1.
Hordern Intro Incan Art Vamp. Frank Zappa. The Poodle Lecture. Dirty Love. Filthy Habits. I Ain't Got No Heart. I'm Not Satisfied. Black Napkins.
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