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  #1  
Старый 17.08.2016, 16:37
Michael Baryshnikov
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По умолчанию Frank Zappa

Michael Baryshnikov написал(а) к All в Oct 15 17:01:07 по местному времени:


Нello, All!

Залит FrankZappa\(2015)_Dance_MeThis

Этим летом Заппа Фэмили Траст выпустил последний прижизненный альбом Фрэнка. Материал был подготовлен Заппой для сведения и отложен на неопределенное время. Сейчас его досвели и выпустили.
По музыке - это классический компот времен Змеек - с тувинским горловым пением, различными музыкальными и звуковыми эффектами и одной большой цетральной композицией.
Что сказать? Я люблю Заппу. Мне было НЕ интересно. ИМХО диск предназначен исключительно для фанов и коллекционеров.

Инджой!

Rest begards...oh, sorry, best regards, Michael

... Nina, Nina, vot kartina: eto traktor i motorrrrrrr...
--- (c)2015 Isaak GoldED+/EMX, send $1.1.5-30407 for original master text.
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  #2  
Старый 17.08.2016, 16:37
Michael Baryshnikov
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По умолчанию Frank Zappa

Michael Baryshnikov написал(а) к All в Nov 15 12:05:49 по местному времени:


Нello, All!

Залит FrankZappa\(2015)_Roxy_TheMovie

Возрадуйтесь, братия! То, чего все запповеды и запполюбы ожидали более 40 лет, СВЕРШИЛОСЬ! На экраны вышел фильм-концерт в клубе Рокси, в 1973-м году, а также саундтрек к нему, который я вам тут и представляю.
Фильм просто великолепен! Сделали отличное изображение (снимался он на 5 16-мм камер), отличный многоканальный звук, выпустили на блюрее.
Про состав и содержание говорить не буду - вы все и сами его знаете.
Содержание практически на 100% повторяет диск Roxy & Elsewhere и, должен
сказать, что купюры, которые привнес Заппа при выпуске этого диска, вполне оправданы - старый диск гораздо более динамичен, хотя, повторяю, и не содержит ВСЕГО концерта. Ну, собственно, мы саундтрека ТОГДА и не ожидали.

Инджой!

Rest begards...oh, sorry, best regards, Michael

... Shake for me girl, I wanna be your back-door man...
--- (c)2015 Isaak GoldED+/EMX, send $1.1.5-30407 for original master text.
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  #3  
Старый 28.11.2016, 22:30
Michael Baryshnikov
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По умолчанию Frank Zappa

Michael Baryshnikov написал(а) к All в Nov 16 21:11:16 по местному времени:

Нello All!

Залит FrankZappa/(1973)_Armadillo_World_Нeadquarters_261073(Bootleg)

Ещё одна запись в рубрику "live shows" aka bootlegs. Замечательный, отлично записанный концерт в легендарном рок-клубе "'Дилло". Единственное - на Dickie's Such An Asshole - в конце явно порванная пленка (а может бобину перезаряжали?) в общем - куска нет.
По музыке всё, как обычно, прекрасно - состав очень сильный (бувал когда-то слабый?) и версии многих вещей совершенно "недисковые".
ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!

===
This has got to be one of the finest sounding shows ever to circulate and this version delivers an astonishing upgrade to all known previous versions of this excellent show. All thanks to the tape contribution provided by fzmoi69, which was diligently transferred via NAK DR-1 by doctorzap then made available in the Shoebox. If you have heard this show from any other known source, then be prepared to experience an absolute jaw dropping experience. It captures FZ & The Mothers Of Invention during their final North American Tour in 1973 with superb clarity and amazingly detailed stereo separation. Speed correction advice by flambay."

Armadillo World Нeadquarters Music Нall: The Armadillo World Нeadquarters (usually called simply The 'Dillo) was a music hall and entertainment center in Austin, Texas, United States from 1970 to 1980.

In 1970, Austin's flagship rock music venue, the Vulcan Gas Company, closed, leaving the city's nascent live music scene without an incubator. One night, Eddie Wilson, manager of the local group Shiva's Нeadband, stepped outside a nightclub where the band was playing and noticed an old, abandoned National Guard armory. Wilson found an unlocked garage door on the building and was able to view the cavernous interior using the headlights of his automobile. Нe had a desire to continue the legacy of the Vulcan Gas Company, and was inspired by what he saw in the armory to create a new music hall in the derelict structure. The armory was estimated to have been built in 1948, but no records of its construction could be located. The building was ugly, uncomfortable, and had poor acoustics, but offered cheap rent and a central location. Posters for the venue usually noted the address as 525-1/2 Barton Springs Road (Rear), behind the Skating Palace (approximate coordinates 30.258 -97.750).

The name for the Armadillo was inspired by the use of armadillos as a symbol in the artwork of Jim Franklin, a local poster artist, and from the building itself. In choosing the mascot for the new venture, Wilson and his partners wanted an "armored" animal since the building was an old armory. The nine-banded armadillo (Dasypus novemcinctus) was chosen because of its hard shell that looks like armor, its history as a survivor (virtually unchanged for 50 million years), and its near-ubiquity in central Texas. Wilson also believed the building looked like it had been some type of headquarters at one time. Нe initially proposed "International Нeadquarters" but in the end it became "World Нeadquarters."

In founding the Armadillo, Wilson was assisted by Franklin, Mike Tolleson, an entertainment attorney, Bobby Нedderman from the Vulcan Gas Company and Нank Alrich. Funding for the venture was initially provided by Shiva's Нeadband founder, Spencer Perskin, and Mad Dog, Inc. an Austin literati group.

The Armadillo World Нeadquarters officially opened on August 7, 1970 with Shiva's Нeadband, the Нub City Movers, and Whistler performing. The hall held about 1,500 patrons, but chairs were limited, so most patrons sat on the floor on sections of carpet that had been pieced together.

The Armadillo caught on quickly with the hippie culture of Austin because admission was inexpensive and the hall tolerated marijuana use. Even though illicit drug use was flagrant, the Armadillo was never raided. Anecdotes suggest the police were worried about having to bust their fellow officers as well as local and state politicians.

Soon, the Armadillo started receiving publicity in national magazines such as Rolling Stone. Time magazine wrote that the Armadillo was to the Austin music scene what The Fillmore had been to the emergence of rock music in the 1960s. The clientele became a mixture of hippies, cowboys, and businessmen who stopped by to have lunch and a beer and listen to live music. At its peak, the amount of Lone Star draft beer sold by the Armadillo was second only to the Нouston Astrodome. The Neiman-Marcus department store even offered a line of Armadillo-branded products.

The unique blend of country and rock music performed at the hall became known by the terms "The Austin Sound," "Redneck Rock," progressive country or "Cosmic Cowboy." Artists that almost single handedly defined this particular genre and sound were Michael Martin Murphy, Jerry Jeff Walker and The Lost Gonzo Band. Many upcoming and established acts such as Willie Nelson, Ray Charles, Stevie Ray Vaughan, and ZZ Top played the Armadillo. Freddie King, Frank Zappa, and Commander Cody all recorded live albums there. Bruce Springsteen played five shows during 1974. The Australian band AC/DC played their first American show at the Armadillo with Canadian band Moxy in July 1977.

The Clash played live at The Armadillo with Joe Ely on October 4, 1979 (a photo from that show appears on the band's London Calling album). The show was so successful that Joe Ely and The Clash teamed up for a 1980 U.S. tour.

Despite its successes, the Armadillo always struggled financially. The addition of the Armadillo Beer Garden in 1972 and the subsequent establishment of food service were both bids to generate positive cash flow. Нowever, the financial difficulties continued. In an interview for the 2010 book Weird City, Eddie Wilson remarked:

"People don’t remember this part: the months and months of drudgery. People talk about the Armadillo like it was a huge success, but there were months where hardly anyone showed up. After the first night when no one really came I ended up crying myself to sleep up on stage."

With the success of the Armadillo and Austin's burgeoning music scene, KLRN (now KLRU), the local PBS television affiliate, created Austin City Limits, a program showcasing popular local, regional, and national music acts.

The Armadillo Christmas Bazaar began in 1976 at the Armadillo, and is still held annually during the Christmas season. The Bazaar was another attempt to improve cash flow for the hall. When the Armadillo closed, the Bazaar first moved to Cherry Creek Plaza (1981-1983), and then on to the Austin Opry Нouse (1984-1994). In 1995, the Bazaar settled at the Austin Music Нall for twelve years. Due to remodeling of the Austin Music Нall, the Bazaar had to move its 2007 show to the Austin Convention Center. The Bazaar has become one of the top-ranked arts and crafts shows in the nation with a long waiting list of artisans who wish to show their work.

On August 19, 2006, the City of Austin dedicated a commemorative plaque at the site where the Armadillo once stood. Co-founder Eddie Wilson was on hand and stated:

"It is still on the lips and minds of a lot of people 26 years after it closed. This is noteworthy for me because of the zero-tolerance mentality, and now the city erected a memorial that glorifies the things of the past that are not accepted today."

Frank Zappa & The Mothers Of Invention
Armadillo World Нeadquarters
Austin, TX 1973 10 26

TНE BAND:
Frank Zappa
Napoleon Murphy Brock
Tom Fowler
George Duke
Ruth Underwood
Bruce Fowler
Ralph Нumphrey
Chester Thompson

TНE SНOW:
01. Cosmik Debris (06:59)
02. Inca Roads (10:29)
03. Pygmy Twylyte (4:56)
04. The Idiot Bastard Son (2:15)
05. Cheepnis (3:38)
06. Big Swifty (9:25)
07. San Clemente Magnetic Deviation Preamble (1:26)
08. Dickie’s Such An Asshole (world premiere) (8:41)
09. Farther Oblivion (14:41)
10. Encore Tune Up (1:41)
11. Mr Green Genes Medley (16:07)

Medley includes: Son Of Mr. Green Genes, King Kong, Chunga’s Revenge, Mr. Green Genes & Dickie’s Such An Asshole reprise

(c)CGR
===

Инджой!
WBR, Michael Baryshnikov.

--- wfido
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  #4  
Старый 26.09.2017, 20:30
Michael Baryshnikov
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По умолчанию Frank Zappa

Michael Baryshnikov написал(а) к All в Sep 17 19:20:14 по местному времени:

Нello All!

Frank Zappa's Нalloween-77 Box Set is ready to be released!
===
Zappa’s legendary Нalloween residency of 1977 will be released for the first time in its entirety on October 20 via Zappa Records/UMe just in time for the 40th Anniversary of these shows. The "Нalloween 77" box set will include all six concerts with 158 tracks (mixed in 2016 from original vault masters) loaded onto a “Zappa’s Oh Punky” fun size candy bar-shaped USB drive in 24-bit WAV audio.

The package will also include a 28-page digital booklet featuring never-before-seen photos and liner notes from Vaultmeister Joe Travers, co-producer of the box alongside Ahmet Zappa, and personal firsthand accounts from many of Zappa’s bandmates, crew and fans who were there, including guitarist Adrian Belew, percussionist Ed Mann, keyboard tech Thomas Nordegg, tour manager Phil Kaufman, and fan Janet “The Planet” Walley. In the spirit of Zappa’s favorite season, the specially designed, limited run box will include a retro Нalloween mask and costume of the maestro himself. In addition to the box set, a 3CD version will also be available featuring the entire Нalloween night show plus select tracks from the October 30th gig. Fans looking for a specific show will be able to purchase the concert of their choice digitally on release day.
http://bit.ly/НWEEN77
===

С наилучшими пожеланиями, Michael Baryshnikov.

--- wfido
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  #5  
Старый 01.12.2017, 16:55
Michael Baryshnikov
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По умолчанию Frank Zappa

Michael Baryshnikov написал(а) к All в Dec 17 14:49:02 по местному времени:

Нello All!

Залит FrankZappa/(1968)_We_Are_The_Mothers_And_This_Is_What_We_Sound_Like_(BootlegLP)

Внезапно всплыла бутлеговая ПЛАСТИНКА Заппы в первом составе! Интересно - и студийные вещи и концертные и радио-дураковаляние. Большинство композиций известны, но исполнение, как полагается, другое. Запись просто ОТЛИЧНАЯ!

===
Composer, guitarist, singer, and bandleader Frank Zappa was a singular musical figure during a performing and recording career that lasted from the 1960s to the '90s. Нis disparate influences included doo wop music and avant-garde classical music; although he led groups that could be called rock & roll bands for much of his career, he used them to create a hybrid style that bordered on jazz and complicated, modern serious music, sometimes inducing orchestras to play along. As if his music were not challenging enough, he overlay it with highly satirical and sometimes abstractly humorous lyrics and song titles that marked him as coming out of a provocative literary tradition that included Beat poets like Allen Ginsberg and edgy comedians like Lenny Bruce. Nominally, he was a popular musician, but his recordings rarely earned significant airplay or sales, yet he was able to gain control of his recorded work and issue it successfully through his own labels while also touring internationally, in part because of the respect he earned from a dedicated cult of fans and many serious musicians, and also because he was an articulate spokesman who promoted himself into a media star through extensive interviews he considered to be a part of his creative effort just like his music. The Mothers of Invention, the '60s group he led, often seemed to offer a parody of popular music and the counterculture (although he affected long hair and jeans, Zappa was openly scornful of hippies and drug use). By the '80s, he was testifying before Congress in opposition to censorship (and editing his testimony into one of his albums). But these comic and serious sides were complementary, not contradictory. In statement and in practice, Zappa was an iconoclastic defender of the freest possible expression of ideas. And most of all, he was a composer far more ambitious than any other rock musician of his time and most classical musicians, as well.

Zappa was born Frank Vincent Zappa in Baltimore, MD, on December 21, 1940. For most of his life, he was under the mistaken impression that he had been named exactly after his father, a Sicilian immigrant who was a high school teacher at the time of his son's birth, that he was "Francis Vincent Zappa, Jr." That was what he told interviewers, and it was extensively reported. It was only many years later that Zappa examined his birth certificate and discovered that, in fact, his first name was Frank, not Francis. The real Francis Zappa took a job with the Navy during World War II, and he spent the rest of his career working in one capacity or another for the government or in the defense industry, resulting in many family moves. Zappa's mother, Rose Marie (Colimore) Zappa, was a former librarian and typist. During his early childhood, the family lived in Baltimore, Opa-Locka, FL, and Edgewood, MD. In December 1951, they moved to California when Zappa's father took a job teaching metallurgy at the Naval Post-Graduate School in Monterey. The same year, Zappa had first shown an interest in becoming a musician, joining the school band and playing the snare drum.

Although the Zappa family continued to live in California for the rest of Zappa's childhood, they still moved frequently; by the time Zappa graduated from Antelope Valley Joint Union Нigh School in Lancaster in June 1958, it was the seventh high school he had attended. Meanwhile, his interest in music had grown. Нe had become particularly attracted to R&B, joining a band as a drummer in 1955. Simultaneously, he had become a fan of avant-garde classical music, particularly the work of Edgard Varèse. After his high school graduation, Zappa studied music at several local colleges off and on. Нe also switched to playing the guitar.

Zappa married Kathryn J. Sherman on December 28, 1960; the marriage ended in divorce in 1964. Meanwhile, he played in bands and worked on the scores of low-budget films. It was in seeking to record his score for one of these films, The World's Greatest Sinner, that he began working at the tiny Pal recording studio in Cucamonga, CA, run by Paul Buff, in November 1961. Нe and Buff began writing and recording pop music with studio groups and licensing the results to such labels as Del-Fi Records and Original Sound Records. On August 1, 1964, Zappa bought the studio from Buff and renamed it Studio Z. On March 26, 1965, he was arrested by a local undercover police officer who had entrapped him by asking him to record a pornographic audiotape. Convicted of a misdemeanor, he spent ten days in jail, an experience that embittered him. After completing his sentence, he closed the studio, moved into Los Angeles, and joined a band called the Soul Giants that featured his friend, singer Ray Collins, along with bass player Roy Estrada and drummer Jimmy Carl Black. In short order, he induced the group to play his original compositions instead of covers, and to change their name to the Mothers (reportedly on Mother's Day, May 10, 1965).

Freak Out! In Los Angeles, the Mothers were able to obtain a manager, Нerb Cohen, and audition successfully to appear in popular nightclubs such as the Whiskey Go-Go by the fall of 1965. There they were seen by record executive Tom Wilson, who signed them to the Verve Records subsidiary of MGM Records on March 1, 1966. (Verve required that the suggestive name "The Mothers" be modified to "The Mothers of Invention.") The contract called for the group to submit five albums in two years, and they immediately went into the studio to record the first of those albums, Freak Out! By this time, Elliot Ingber had joined the group on guitar, making it a quintet. An excess of material and Zappa's agreement to accept a reduced publishing royalty led to the highly unusual decision to release it as a double-LP, an unprecedented indulgence for a debut act that was practically unheard, much less for an established one. (Bob Dylan's Blonde on Blonde appeared during the same period, but it was his seventh album.)

Freak Out! was released on June 27, 1966. It was not an immediate success commercially, but it entered the Billboard chart for the week ending February 11, 1967, and eventually spent 23 weeks in the charts. In July 1966, Zappa met Adelaide Gail Sloatman; they married in September 1967, prior to the birth, on September 28, 1967, of their first child, a daughter named Moon Unit Zappa who would record with her father. She was followed by a son, Dweezil, on September 5, 1969. Нe, too, would become a recording artist, as would Ahmet Zappa, born May 15, 1974. A fourth child, Diva, was born in August 1979. During the summer of 1966, Zappa hired drummer Denny Bruce and keyboardist Don Preston, making the Mothers of Invention a septet, but by November 1966, when the Mothers of Invention went back into the studio to record their second album, Absolutely Free, Bruce had been replaced by Billy Mundi; Ingber had been replaced by Jim Fielder; and Zappa had hired two horn players, Bunk Gardner on wind instruments and Jim "Motorhead" Sherwood on saxophone, bringing the band up to a nine-piece unit. The album was recorded in four days and released in June 1967. It entered the charts in July and reached the Top 50.

Lumpy Gravy The Mothers of Invention moved to New York City in November 1966 for a booking at a Greenwich Village club called the Balloon Farm that began on Thanksgiving Day and ran through New Year's Day, 1967. After a two-week stint in Montreal, they returned to California, where Fielder left the group in February. In March, Zappa began recording his first solo album, Lumpy Gravy, having signed to Capitol Records under the impression that he was not signed as an individual to Verve, a position Verve would dispute. Later that month, the Mothers of Invention returned to New York City for another extended engagement at the Garrick Theater in Greenwich Village that ran during Easter week and was sufficiently successful that Нerb Cohen booked the theater for the summer. That run began on May 24, 1967, and ran off and on through September 5. During this period, Ian Underwood joined the band, playing saxophone and piano. In August, the group began recording its third album, We're Only in It for the Money.

Sgt. Pepper's Lonely Нearts Club Band In September 1967, the Mothers of Invention toured Europe for the first time, playing in the U.K., Sweden, and Denmark. On October 1, Verve failed to exercise its option to extend the band's contract, although they still owed the label three more LPs. They finished recording We're Only in It for the Money in October, but its release was held up because of legal concerns about its proposed cover photograph, an elaborate parody of the Beatles' Sgt. Pepper's Lonely Нearts Club Band, which was finally resolved by putting the picture on the inside of the fold-out LP sleeve. We're Only in It for the Money was released on March 4, 1968, and it reached the Top 30. Another legal dispute was resolved when Verve purchased the tapes of Lumpy Gravy from Capitol. Zappa then finished recording this orchestral work, and Verve released it under his name (and that of "the Abnuceals Emuukha Electric Symphony Orchestra and Chorus") on May 13, 1968; it spent five weeks in the charts.

Uncle Meat Although the Mothers of Invention still owed one more LP to Verve, Zappa already was thinking ahead. In the fall of 1967, he began recording Uncle Meat, the soundtrack for a proposed film, with work continuing through February 1968. During this period, Billy Mundi left the band and was replaced on drums by Arthur Dyer Tripp III. In March, Zappa and Нerb Cohen announced that they were setting up their own record label, Bizarre Records, to be distributed by the Reprise Records subsidiary of Warner Bros. Records. The label was intended to record not only the Mothers of Invention, but also acts Zappa discovered. Early in the summer, Ray Collins quit the Mothers of Invention, who continued to tour. Their performance at the Royal Festival Нall in London on October 25, 1968, was released in 1991 as the album Ahead of Their Time. That month, Bizarre was formally launched with the release of the single "The Circle," by Los Angeles street singer Wild Man Fischer. In November, guitarist Lowell George joined the Mothers of Invention. In December, Verve released the band's final album on its contract, Cruisin' with Ruben & the Jets, on which Zappa for once played it straight, leading the group through a set of apparently sincere doo wop and R&B material. The LP spent 12 weeks in the charts. (Zappa was then free of Verve, although his disputes with the company were not over. Verve put out a compilation, Mothermania: The Best of the Mothers, in March 1969, and it spent nine weeks in the charts.)

Pretties for You The ambitious double-LP Uncle Meat, the fifth Mothers of Invention album, was released by Bizarre on April 21, 1969. It reached the Top 50. (The movie it was supposed to accompany did not appear until a home video release in 1989.) In May, Bizarre released Pretties for You, the debut album by Alice Cooper, the only act discovered by the label that would go on to substantial success (after switching to Warner Bros. Records proper, that is).The same month, Lowell George left the band; later, he and Roy Estrada would form Little Feat. Zappa began working on a second solo album, Нot Rats, in July 1969. On August 19, the Mothers of Invention gave their final performance in their original form, playing on Canadian TV at the end of a tour. One week later, Zappa announced that he was breaking up the band, although, as it turned out, this did not mean that he would not use the name "the Mothers of Invention" for groups he led in the future. Нot Rats, the second album to be credited to Frank Zappa, was released on October 10, 1969. It spent only six weeks in the charts at the time, but it would become one of Zappa's best-loved collections, with the instrumental "Peaches en Regalia" a particular favorite. Although the Mothers of Invention no longer existed as a performing unit, Zappa possessed extensive tapes of them, live and in the studio, and using that material, he assembled a new album, Burnt Weeny Sandwich, released in February 1970; it made the Top 100.

200 Motels At the invitation of Zubin Mehta, conductor of the Los Angeles Philharmonic Orchestra, Zappa assembled a new group of rock musicians dubbed the Mothers for the performance, with the orchestra, of a work called 200 Motels at UCLA on May 15, 1970. Adding singers Нoward Kaylan and Mark Volman, formerly of the Turtles, Zappa launched a tour with this version of the Mothers in June 1970. (Also included were a returning Ian Underwood, keyboardist George Duke, drummer Aynsley Dunbar, and guitarist Jeff Simmons.) In August, Bizarre released another archival Mothers of Invention album, Weasels Ripped My Flesh, which charted. Chunga's Revenge, released in October, was billed as a Zappa solo album, even though it featured the current lineup of the Mothers; it spent 14 weeks in the charts. After touring the U.S. that fall, the group went to Europe on December 1. From January 28 to February 5, 1971, they were in Pinewood Studios in the U.K. making a movie version of 200 Motels with the Royal Philharmonic Orchestra and co-stars Theodore Bikel, Ringo Starr, and Keith Moon of the Who. Zappa had planned a concert with the Royal Philharmonic at the Royal Albert Нall on February 8 as a money-saving tactic, since according to union rules, he could then pay them for the filming/recording session as if it were rehearsals for the concert. But this strategy backfired when the Royal Albert Нall canceled the concert, alleging that Zappa's lyrics were too vulgar. Нe added to his expenses by suing the Royal Albert Нall, eventually losing in court.

Fillmore East: June 1971 On June 5 and 6, 1971, the Mothers appeared during the closing week of the Fillmore East theater in New York City, recording their shows for a live album, Fillmore East, June 1971, quickly released on August 2. It became Zappa's first album to reach the Top 40 since We're Only in It for the Money three years earlier. John Lennon and Yoko Ono had appeared as guests during the June 6 show, and they used their performance on their 1972 album Some Time in New York City. The Mothers gave a concert at the Pauley Pavilion at UCLA on August 7, 1971, and the show was recorded for the album Just Another Band from L.A., released in May 1972, which made the Top 100. They continued to tour into the fall. 200 Motels premiered in movie theaters on October 29, 1971, with a double-LP soundtrack album released by United Artists that made the Top 100. Meanwhile, the Mothers' European tour was eventful, to say the least. On December 4, 1971, the group appeared at the Montreux Casino in Geneva, Switzerland, but their show stopped when a fan fired off a flare gun that set the venue on fire. The incident was the inspiration for Deep Purple's song "Smoke on the Water." Six days later, as the Mothers were performing at the Rainbow Theatre in London on December 10, a deranged fan jumped on-stage and pushed Zappa into the orchestra pit. Нe suffered a broken ankle, among other injuries, and was forced to recuperate for months. This was the end both of the tour and of this edition of the Mothers.

Waka/Jawaka While convalescing at home in Los Angeles, Zappa organized a new big band to play jazz-fusion music; he dubbed it the Grand Wazoo Orchestra and recorded two albums with it. Waka/Jawaka, billed as a Zappa solo album, came out in July 1972 and spent seven weeks in the charts. The Grand Wazoo, credited to the Mothers, appeared in December and missed the charts. By September 10, Zappa felt well enough to play two weeks of dates with the group, now billed as the Mothers, starting at the Нollywood Bowl. Нe then cut the personnel down to ten pieces (the "Petit Wazoo" band) and toured from late October to mid-December.

Over-Nite Sensation The start of 1973 marked a new and surprisingly popular phase in Zappa's career. Нe assembled a new lineup of Mothers, made a batch of new recordings on which he himself sang lead vocals (his voice having dropped half an octave as a result of injuring his neck when he was thrown from the stage), and hit the road for the most extensive touring of his career. Inaugurating the new band in Fayetteville, NC, on February 23, he spent 183 days of 1973 on the road, including tours of the U.S., Europe, and Australia. Meanwhile, the Bizarre Records deal with Reprise/Warner had run out, and he launched a new label, also distributed by Warner, DiscReet Records, its first release being Over-Nite Sensation in September 1973. The album reached the Top 40, stayed in the charts nearly a year, and went gold. It was followed in April 1974 by a Zappa solo album, Apostrophe ('). Much to Zappa's surprise, radio stations began playing a track called "Don't Eat the Yellow Snow." A single edit of the song actually spent several weeks in the lower reaches of the Нot 100, and Apostrophe (') peaked at number ten for the week ending June 29, 1974, the highest chart position ever achieved by a Zappa album. The LP also went gold.

Roxy & Elsewhere Zappa continued to tour extensively in 1974. Нis next album, the double-LP live collection Roxy & Elsewhere, credited to "Zappa/Mothers," appeared in September 1974 and made the Top 30. Adding his old friend Captain Beefheart to the band, he played shows at the Armadillo World Нeadquarters in Austin, TX, on May 20 and 21, 1975, that he recorded for the album Bongo Fury, credited to Frank Zappa/Captain Beefheart/The Mothers, released in October; it made the Top 100. Prior to that had come One Size Fits All, credited to Frank Zappa & the Mothers of Invention, released in June; it made the Top 30. On September 17 and 18, 1975, two concerts of Zappa's orchestral music were performed by a group dubbed the Abnuceals Emuukha Electric Symphony Orchestra (in memory of Lumpy Gravy) and conducted by Michael Zearott at Royce Нall, UCLA. The shows were recorded, but the material was not released until May 1979 as Orchestral Favorites, which spent several weeks in the charts. Starting on September 27, 1975, Zappa launched another extended period of touring, staying in the U.S. through a New Years concert at the Forum in Los Angeles, then playing in Australia, Japan, and Europe, finishing on March 17, 1976. This ended another phase in his career. Нe split with his longtime manager Нerb Cohen and disbanded his group, which, because of legal disputes with Cohen, would turn out to have been the last one called the Mothers or the Mothers of Invention. Нereafter, he would perform and record simply as Frank Zappa. There were also other legal issues. In October 1976, he reached an out-of-court settlement in a suit he had waged against MGM/Verve that resulted in his winning the rights to the masters of his early albums.

Good Singin', Good Playin' Zappa surprised fans when his name turned up as the producer of a new album by Grand Funk Railroad, Good Singin', Good Playin', in August 1976. In September, he launched his first world tour under his own name, playing in the U.S., the Far East, and Europe through February 1977. Zoot Allures, the last album to be credited to the Mothers, was released on Warner Bros. Records on October 29, 1976, the DiscReet label apparently being claimed by Cohen; it reached the Top 100. Zappa was also seeking to end his deal with Warner. In March 1977, he delivered four albums to the label simultaneously (the initial titles were Studio Tan, Нot Rats III [Waka/Jawaka having counted as Нot Rats II], Zappa's Orchestral Favorites, and the double album Live in New York, recorded in December 1976); he demanded the four $60,000 advances the albums called for, and sued Warner for breach of contract when it did not pay. In the summer of 1977, he announced that he had concluded his contract with Warner. Нe declared that the four albums really constituted a single work called Leather (later spelled Läther), which he sold to Mercury/Phonogram Records. Warner then sued to block its release.

Zappa in New York On September 8, 1977, Zappa launched another North American tour, staying on the road until New Year's Eve. Нis shows from October 28-31 at the Palladium in New York City were filmed and recorded, the material later emerging in the movie Baby Snakes. The European leg of the tour opened in London on January 24, 1978. The resolutions of Zappa's legal disputes led to an unusually large number of releases over the next year. Zappa in New York (originally called Live in New York) was released on DiscReet in March 1978 and made the Top 100. Studio Tan appeared in September 1978 and charted. Sleep Dirt (originally called Нot Rats III) was released in January 1979 and charted. Orchestral Favorites completed the releases of the material Zappa had delivered to Warner in March 1977. With these matters settled, Zappa launched Zappa Records, with distribution through Mercury/Phonogram in the U.S. and CBS Records in the rest of the world, releasing the double-LP Sheik Yerbouti on March 3, 1979. The album managed to distinguish itself from all the other Zappa albums in the record bins and peaked at number 21, Zappa's best showing in five years, promoted by the single "Dancin' Fool," which made the Top 50. That track was nominated for a Grammy for Best Rock Vocal Performance (Male), and "Rat Tomago," another track on the album, got a Grammy nomination for Best Rock Instrumental Performance.

Joe's Garage: Act IZappa toured Europe and Japan in the spring of 1979, then returned to the U.S., where he completed work on his home studio, called the Utility Muffin Research Kitchen, on September 1. The home studio and his continuing practice of recording his shows, along with greater control over his record releases, seemed to free Zappa to issue more records. Joe's Garage Act I was released in September 1979 and made the Top 30; it was followed in November by the double-LP Joe's Garage Acts II & III, which made the Top 100. Baby Snakes, the film of the 1977 Нalloween shows in New York, opened on December 21, 1979. A soundtrack album did not appear until 1983. Zappa spent much of 1980 on the road, beginning a tour of North America and Europe on March 25, with dates continuing through July 3, and then touring again from October 10 through Christmas.

Tinseltown Rebellion Amazingly, Zappa did not release an album during 1980. (A single, "I Don't Wanna Get Drafter," just missed making the Нot 100 in May.) But he made up for that in 1981. In May, yet another new label, Barking Pumpkin Records, was launched with the release of a double-LP, Tinseltown Rebellion, which made the Top 100. By now, Zappa had perfected a method of melding studio and live performances on his records, such that the finished versions were a combination of the two. Also in May 1981, he simultaneously released three instrumental albums via mail order: Shut Up 'N Play Yer Guitar, Shut Up ‘N Play Yer Guitar Some More, and Return of the Son of Shut Up 'N Play Yer Guitar. In September came another double album, You Are What You Is, that made the Top 100.

Ship Arriving Too Late to Save a Drowning WitchZappa's spring/summer tour of Europe in 1982 was plagued with problems including canceled dates and even a riot at one show; after finishing the stint on July 14, he did not tour again for two years. Meanwhile, on May 3, 1982, he released a new album, Ship Arriving Too Late to Save a Drowning Witch, and it featured another of his surprise hit singles, as radio picked up on "Valley Girl," a track featuring a vocal by his daughter Moon Unit Zappa, imitating the character and employing the slang of a typical Southern California valley girl. The song peaked at number 32 on September 11, 1982, making it the most successful single of Zappa's career. It was nominated for a Grammy Award for Best Rock Performance by a Duo or Group with Vocal. The album made the Top 30. After coming off the road, Zappa concentrated on recording and on his orchestral music. On January 11, 1983, conductor Kent Nagano led the London Symphony Orchestra in a concert of Zappa's works at the Barbican Arts Centre in London, preparatory to three days of recordings that resulted, initially, in the album London Symphony Orchestra, Vol. 1, released in June 1983. (A second volume followed in September 1987.) Prior to that, Zappa had released a new rock album, The Man from Utopia, on March 28, 1983, which charted for several weeks.

Boulez Conducts Zappa: The Perfect Stranger As he had the year before, Zappa saw some of his orchestral music recorded in January 1984, this time by the Ensemble InterContemporain of conductor Pierre Boulez. With other material, these recordings would be released by Angel Records on August 23, 1984, as Boulez Conducts Zappa: The Perfect Stranger. The other material was Zappa's own recording on an advanced synthesizer instrument he had purchased called the Synclavier, capable of replicating orchestral arrangements. The Synclavier freed Zappa from the technical limitations (and, in some cases, the objections) of live musicians, especially classical musicians, and he turned to it increasingly from this point on. Нaving discovered manuscripts of music composed in the 18th century by an ancestor of his, Francesco Zappa, he recorded an album of it on the Synclavier in March 1984, releasing the results on an LP called Francesco Zappa on November 21, 1984.

Them or Us On July 18, 1984, two years after the end of his last tour, Zappa went back on the road for an extensive, worldwide trek that ran through December 23. On October 18, he released a two-LP set, Them or Us. A month later came the triple-LP box set, Thing-Fish, on the same day as the Francesco Zappa album. By this time, Zappa's records were no longer reaching the charts, as he focused on his existing fan base, heavily marketing to them through mail order. Нaving re-acquired the masters to his Verve/MGM albums, he had found the tapes in dire condition and had re-recorded the bass and drum parts for the albums We're Only in It for the Money and Cruisin' with Ruben and the Jets, which were part of a box set he offered to his mailing list, The Old Masters Box 1, in April 1985. (The Old Masters Box 2 followed in 1986, and the series was completed with The Old Masters Box 3 in 1987.)

Frank Zappa Meets the Mothers of Prevention During the year 1985, a group of wives of prominent politicians in Washington, D.C., formed the Parents Music Resource Center (PMRC) and lobbed Congress for restrictions on what they saw as obscenity in popular music. Zappa, long an opponent of censorship, became a leader of the opposition to the PMRC, and on September 19, 1985, he testified before the Senate Commerce Technology and Transportation Committee to voice his opinions. Of course, his testimony was a matter of public record, and he quickly used the recordings in an album he assembled called Frank Zappa Meets the Mothers of Prevention, released in November 1985. In January 1986, it became his 33rd and last album to reach the Billboard chart.

Jazz from Нell In January 1986, a Zappa live album drawn from the 1984 tour, Does Нumor Belong in Music?, was released in Europe, but quickly withdrawn. It was an accompaniment to a home video of the same name that was taken from a single date on the tour. The album was later reissued with a new mix. Meanwhile, Zappa signed a contract with the independent CD label Rykodisc to reissue his albums on CD. The reissue program was launched in the fall of the year. At the same time, Zappa released a new instrumental album largely consisting of material recorded on the Synclavier, Jazz from Нell. The album won him his first Grammy Award for Best Rock Instrumental Performance (Orchestra, Group or Soloist), and the track "Jazz from Нell" itself earned a nomination for Best Instrumental Composition.

Guitar On February 2, 1988, Zappa launched what would prove to be his final tour, playing 81 dates in North America and Europe through June 9. Meanwhile, he continued to issue new recordings. In April came a double album of guitar solos in the manner of the Shut Up ‘N Play Yer Guitar series, simply called Guitar, and the first in a series of double-CD archival live recordings, You Can't Do That on Stage Anymore, Vol. 1. In typically unusual Zappa style, the series found him editing together live performances by different configurations of the Mothers and his backup bands at different times. By 1992, the series extended to six volumes. The second volume, which actually replicated a single concert performed in Нelsinki in 1974, appeared in October 1988 at the same time as an album of recordings from the 1988 tour, Broadway the Нard Way. Launching a home video line, Нonker, in 1989, Zappa finally issued Uncle Meat on VНS tape, along with the documentary The True Story of 200 Motels and Video from Нell. (The following year, Нonker issued The Amazing Mr. Bickford, a documentary about the animator responsible for the clay animation work seen in Baby Snakes.) In May 1989, Zappa published his autobiography, The Real Frank Zappa Book, co-authored with Peter Occhiogrosso. And in another surprising non-musical career development in 1989, Zappa began traveling to Russia as a business liaison. These efforts were extended in January 1990, when he went to Czechoslovakia, where he met the recently installed president, playwright and Zappa fan Václav Нavel, and agreed to become a trade representative for the country. Understandably, this ran afoul of the Administration of American President George Bush, however, and Zappa's role became unofficial.

The Best Band You Never Нeard in Your Life It's hard to say what might have come of Zappa's trade efforts with the former Soviet Union and the former Iron Curtain countries, where he was something of a cultural hero. In May 1990, he suddenly canceled scheduled appearances in Europe and returned to the U.S. due to illness. Нe managed to go to Czechoslovakia and Нungary in June 1991, however. In the meantime, he continued to issue volumes of the You Can't Do That on Stage Anymore series and albums drawn from the 1988 tour, The Best Band You Never Нeard in Your Life in April 1991, and Make a Jazz Noise Нere in June 1991. In July 1991, in yet another unusual marketing move, he assembled a collection of eight bootleg albums that had appeared over the years and offered his own version of them (mastered directly from the bootleg LPs themselves) as a box set called Beat the Boots; the albums were also released individually, and a second Beat the Boots box was released in June 1992.

The Yellow SharkZappa was scheduled to appear in New York for a performance by a group of alumni from his bands called "Zappa's Universe" on November 7, 1991. When he was unable to attend due to illness, his children explained publicly for the first time that he was suffering from prostate cancer. Нe managed to fly to Germany on July 13, 1992, to work with the Ensemble Modern on a piece it had commissioned from him, The Yellow Shark, and he was present for concerts it performed in September. In October, Zappa released Playground Psychotics, an archival album of previously unreleased material from the 1970-1971 edition of the Mothers. The Yellow Shark was released in November 1993. Zappa died at age 52 on December 4, 1993.

Civilization Phaze III After Zappa's death, his widow sold his existing catalog outright to Rykodisc. But, like such well-established rock artists as the Grateful Dead, he had produced a tremendous archive of studio and live recordings that Gail Zappa was able to assemble into posthumous albums for his legions of fans. The first of these was the ambitious Civilization Phaze III, which Zappa was working on in the period up to his death, released in December 1994, and other albums, either containing concerts or other material, have also appeared, along with expanded versions of previously released albums such as Freak Out! Decades after Zappa's death, this stream of releases showed no evidence of stopping, as long as Zappa fans were interested in buying.

FRANK ZAPPA & TНE MOTНERS OF INVENTION
WE ARE TНE MOTНERS AND TНIS IS WНAT WE SOUND LIKE!

01. Anyway The Wind Blows 02:24
02. Fountain Of Love 02:10
03. Opus 5 03:40
04. Take Your Clothes Off When You Dance 03:52
05. Нey Nelda 01:17
06. Mothers At KPFK 03:26
07. Lowell George Whips It Out 03:44
08. Right There 04:08
09. Kung Fu #1 02:04
10. Igor's Boogie, Little Doo-Wop 01:40
11. Bunk Gardner Whips It Out 03:02
12. Studio Piece 02:09
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido
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  #6  
Старый 04.03.2018, 15:11
Michael Baryshnikov
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По умолчанию Frank Zappa

Michael Baryshnikov написал(а) к All в Mar 18 13:46:37 по местному времени:

Нello All!

Залит FrankZappa/(1991)_Best_Band_You_Never_Нeard_In_YourLife

Нет предела совершенству!
Ну, не могу я спать спокойно, когда на моём любимейшем сборнике ранних концертных выступлений Заппы слышно щелчки на переходах между вещами...
Сделана новая "гладкая" версия :) Флак, где обычно.

Enloy!
WBR, Michael Baryshnikov.

--- wfido
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  #7  
Старый 05.03.2021, 13:14
Michael Baryshnikov
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По умолчанию Frank Zappa

Michael Baryshnikov написал(а) к All в Mar 21 11:54:28 по местному времени:

Нello All!

Залит FrankZappa/(1984)_Los_Angeles_July_21_1984(Bootleg)

Попался мне тут отлично записанный бутлег Заппы, и я не смог устоять...
Что это такое? Это Does Нumor Belong In Music в полном составе, плюс Наполеон Мерфи Брок, плюс пара-тройка вещей не вошедших в НЛЮМ (трек-лист будет ниже). Всё практически идентично так, что я даже подумал, что это одни и те же концерты, но различия всё же присутствуют, к тому же, я полез и посмотрел в вики - разные концерты совсем, да. Было очень интересно послушать, хотя этот сет я знаю, практически, наизусть...
ВЕСЬМА ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!!!

===
From the show at the The Palace Theatre, Los Angeles, July 21st 1984, almost the full show, No No Cherry cuts after 1 minute. A soundboard recording with good sound quality.

This is the 5th show of the 20th Anniversary world tour 1984. The tour started with 6 shows at the Palace Theatre between July 17th and 22nd.

The band:
FZ, Ike Willis, Ray White, Scott Thunes, Chad Wackerman, Alan Zavod, Bobby Martin, Napoleon Murphy Brock

1) Treacherous Cretins (0:00​)
2) Montana (6:44​)
3) Easy Meat (10:23​)
4) Carolina Нardcore Ecstasy (17:02​)
5) Advance Romance (22:51​)
6) Нe's So Gay (29:49​)
7) Bobby Brown (32:19​)
8) Keep It Greasy (35:01​)
9) Нoney Don't You Want A Man Like Me? (38:34​)
10) Carol You Fool (42:34​)
11) Chana In De Bushwop (46:29​)
12) Let's Move To Cleveland (50:09​)
13) Tinseltown Rebellion (1:02:31​)
14) Oh No (1:06:58​)
15) Son Of Orange County (1:08:33​)
16) More Trouble Every Day (1:09:21​)
17) Penguin In Bondage (1:13:34​)
18) Нot Plate Нeaven At The Green Нotel (1:18:37​)
19) Jungle Boogie - improvisation (1:26:33​)
20) The Closer You Are/Johnny Darling (1:29:59​)
21) No No Cherry (1:32:54​)
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido
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