The Frank Zappa "You Can't Do That On Stage Anymore" volume by volume thread

I’d love a set of the Spring 74 tour!

 

CD1 of YCDTOSA 5 is a delight for those of us who can’t get enough 1966-1969 Mothers.

 

Indeed! The more Mothers, the merrier.

 

Featuring my man Lowell George on lead vocals!

 

YEAH MAN, An UNcut DVD with UNcut audio
in a 1982 Box would be lovely!!!

 

He could be a star now.
RIP:/

 

I should probably hold off on reviewing these until we get to them in my track by track thread, but what the hell? I’ll do them anyway. Saves me work anyway.

Volume One
Disc One

1. “The Floria Airport Tape”: A cool little fly-on-the-wall document of the Chunga’s Revenge lineup, like you’re just sort of hanging out with the guys as they’re traveling between gigs. I wouldn’t play this on it’s own, but it’s cool as part of an overall record.
2. “Once Upon A Time”: Ah, the (in)famous Rainbow show, and this has since popped up on Carnegie Hall. Of course Aynsley is masterful, and I love the weird sounds that Ian and Don make on sax and keys/synth. It’s mostly to set up “Sofa#1”, and it’s a rather cornball bit, but I think Frank and the ex-Turtles make it work. Doesn’t need to be its own track, but I like it.
3. “Sofa #1”: Super cool to see that a track from One Size Fits All went this far back, and I dig that from any band. I particularly like hearing how a track developed over time. I do think this was a lot better on One Size Fits All (but then again, that was the Roxy band), but it’s not too bad on here.
4. “The Mammy Anthem”: From the Flo and Eddie band all the way to 1982, and this one cooks! This certainly didn’t come from a Holiday Inn buffet in Fayetteville, NC. And when stripped of the Thing Fish crap, wow, what a killer track. And man do Vai and Frank sound so good on here, they are playing their asses off. So is everyone else, but this is Zappa’s band we’re talking here.
5. “You Didn’t Try To Call Me”: Now we have the Summer 80 band tackling a Mothers classic. Absolutely adore the original on Freak Out!, dig the Cruisin’ version (original mix, not that 85 garbage), but this is one song that I generally feel the later lineups should have left alone. However, Ike’s more relaxed vocal style is very well suited to this song, and the more low-key set up of this lineup also works to the song’s benefit. So here is my favorite non-Mothers version of this song.
6. “Diseases Of The Band”: Now we switch over to 1979 at the Hammersmith Odeon with Frank introducing all the members and their various illnesses. It’s sort of a “meh” bit, nothing to really write home about. It then sets up...
7. “Tryin’ To Grow A Chin”: a Bozzio classic, this time with Denny Walley on vocals. I don’t hate Denny’s voice as much as a lot of people do, but yeah, this doesn’t hold a candle to the original with Bozzio on vocals.
8. “Let’s Make The Water Turn Black/Harry, You’re A Beast/The Orange County Lumber Track”: Ah yes, the Mothers are here! The BWS/WRMF lineup with Lowell and Bunk’s brother Buzz, to be specific. Forgot how rich the horns sounded when Buzz joined on trumpet. And of course, how dense and powerful the double drummer setup sounds on here. And of course, it’s an excellent version of these songs. Depending on my mood, I prefer these to the studio versions. I love this track, easily my favorite so far. Then again, some may have already figured it would be.
   
9. “The Groupie Routine”: Back to Flo and Eddie, I always loved this track on Fillmore East and it’s good on here. It’s not quite up to the Fillmore East version, I prefer the thicker Fender Rhodes sound that Bob Harris #1 had on the original, but it’s still good.
10. “Ruthie Ruthie”: Late 1974 with the OSFA/Helinski lineup, and this is really “Louie Louie” with Napoleon improvising lyrics. “Louie Louie” is one of the most stupid ass songs ever, and I always got a kick when Frank ripped on it. This is no exception. Second best riff on “Louie Louie” (Dom DeWilde getting on the Royal Albert Hall Pipe Organ still gets #1).
11. “Babette”: A little nod to a scrapped concept from 200 Motels, and I love this song. Napoleon shows why he’s right there for my favorite Zappa singers, the band plays so spot on and yet so heartfelt. It’s kind of a shame this was never on a proper album, because it’s actually pretty damn good,
12. “I’m The Slime”: Now at the legendary Roxy shows, which we now have on that glorious Roxy Performances boxset. Needless to say, it’s pretty swell.
13. “Big Swifty”: Everything I just said applies to this one as well, and it’s naturally cool to hear a Wazoo era track performed by a comparatively smaller lineup of Frank’s.
14. “Don’t Eat the Yellow Snow”: The Nanook Suite, the track(s) that made me dig into this man’s work, as performed by the 79 lineup. I dig the synth work by Tommy and Peter Wolf (not that one) on here, it adds a cool flavor to the proceedings. Seriously, certain synth sounds that I usually dislike, but when Tommy uses them? They don’t bother me at all. And of course, Ed’s marimba (or vibraphone?) work is a pure joy to listen to. Let’s not forget some of Frank’s smoking guitar work on here. I even enjoy the audience participation. Frankly (ha!), it’s just so cool to hear this as one single epic track. What a fantastic way to close off Disc One.

Disc Two

1. “Plastic People”: Starting off Disc Two is the 69 Mothers doing “Plastic People” to the style of “Louie Louie” as they often did. I definitely prefer the studio arrangement, but I dig this version of the song, works well in a live setting and with Frank’s banter setting up the track. It’s kind of weird going from “Yellow Snow” to this (but then again, this is a Zappa release), but it’s a nice breather.
2. “The Torture Never Stops”: Now we get to my third favorite Zappa band, the Baby Snakes band with Adrian Belew. To me, the best version is still the studio version on Zoot Allures. The cold, bleak atmosphere that fills the track just gives it this darkly compelling quality that none of the live versions captured. However, what we have here is a very strong take on the song. I really like the little piano roll near the beginning, whoever that is, it adds a cool flavor to the song. Bozzio just shreds the kit throughout this song, and Frank’s guitar just oozes sleaze and cool through his solo. It really is a sonic sculpture, one made with point and with passion. The band as a whole offers such a rich, dense character to the proceedings. This track is pure gold man, and wow are we off to the races here.
3. “Fine Girl”: The 82 band takes on this track from Tinseltown Rebellion. Despite being a fan of the album, I always thought “Fine Girl” was one of the weaker tracks on the album, and this doesn’t really change my mind. It is better than the original version, but not by a great deal. I can listen to it, but it’s not a track I’d ever actively seek out.
4. “Zomby Woof”: Now the 82 band tackles a Roxy era track, as well as Zoot Marimba’s favorite track off Over Nite Sensation. Ed handles percussion duties so well they sing “We Love Ruth too, but bitch, get over it. She’s not coming back, and you have it good with this chap here.” Frank and Vai deliver some tasty guitar pyro on here. For me? I might give the edge to Frank. Overall, I dig it, a good version of a classic.
5. “Sweet Leliani”: The 69 Mothers have taken back the wheel with a take on the Bing Crosby classic as it gradually descends into Mothers madness. It’s certainly not easy listening, but for those who have allowed the Mothers to coarse their bloodstreams, you’ll understand. This is the sound of a band losing its mind and coming apart at the seems. And let’s face it, they were coming at the seems in a lot of ways, hence the group ending later that year. But my God is it certainly compelling.
6. “Oh No”: Now we go right into an instrumental version of “Oh No”. Obviously I miss the amazing Ray Collins, but I also miss the swinging shuffle that Billy Mundi played on the studio version. Nonetheless, I can dig it, and it’s a good version with strong guitar work by Frank and some sweet horns by Ian Underwood and the Gardner Brothers.
7. “Be In My Video”: Now to dive into the 84 band. Already hate this song to begin with, and this live version doesn’t make me like it any more. Next!
8. “The Deathless Horsie”: A really cool guitar solo with some lame keyboards by Allan Zavod. Sure he was a nice guy, I’m sorry that he’s gone, but his keys really do negate the coolness of this track. The big drum triggers don’t help either. This is Chad Wackerman, not reunion era Peter Criss, he doesn’t need them. Ignore all of that, and you can enjoy a pretty cool solo.
9. “The Dangerous Kitchen”: Don’t like it much on The Man From Utopia and this version doesn’t win me over anymore.
   
10. “Dumb All Over”: Nice! Love this song and album, and we’re going to the Halloween 81 shows (can’t wait for the set!) Vai’s guitar gives some real bite to the song as Frank’s sardonic delivery matches it for bite and then some. And there’s also a really good groove here as well. Really enjoy this one overall.
11. “Heavenly Bank Account”: Ah, Frank attacking the televangelists before it was cool. Even putting aside the satire and commentary, it’s still a good song with some amazing vocals by Ray White. It’s also rather interesting to have him, a fairly devout Christian, singing this song. But then again, this song isn’t attacking Christianity, it’s attacking those who exploit Christianity for their own personal benefit.
    
12. “Suicide Chump”: Always loved this song (as messed up as it is), and this is a great performance of the song. Also dig Robert Martin’s sax solo on here, as well as Tommy’s keyboard word. Not only his usual synth work but also a pretty sweet organ player. And wow, that cool little bluesy guitar solo is Ray White? Nice!
13. “Tell Me You Love Me”: Always liked this song, and I enjoy the heavier quality that Vai gives it. A pretty cool version from 82 in Frank’s beloved Italy.
14. “Sofa #2”: A nice little callback to Disc One to close the record out with “Sofa #2” to complete the circle so to speak. And it’s a very solid version of this song.

All in all, YCDTOSA starts off on a strong note. Of the various volumes, this is the one I’d say probably dig the best job of executing the “bounce between different eras” concept. And it’s certainly a nice sampler of Frank’s career, particularly for an audience that didn’t have the benefit of the internet or streaming.

 

Frank was an excellent player even at this stage

 

Volume Two (The Helinksi Concert)
Disc One

1. “Tush Tush Tush (A Token Of My Extreme)”: We open with a vamp that serves as a precursor to “A Token Of My Extreme”. Sure am glad Frank did something with this track because it’s such an addictive groove. Plus I’m a sucker for any time that George and Napoleon share the mic, it’s like two old buddy shooting the s**t and busting each other’s balls. And this leads right into...
2. “Stink Foot”: My favorite version of this song. I’ll be honest, something about the studio version always seemed rather plodding, but here, the track has some life and some oomph! to it that carries it well on stage.
3. “Inca Roads”: A Zappa classic, my favorite Zappa song ever, and it comes off very well here. George is in fine form here vocally and playing wise, and Ruth’s marimba is always such a wonderful sound to hear, isn’t it? Napoleon tends to be known more as a singer and personality, and he does show here, but he also shows himself a gifted sax and flute player on here. Tom Fowler and Chester Thompson remind me of what a great rhythm section they were, which I somehow seem to forget sometimes. Maybe because they’re more understated compared to someone like Bozzio and O’Hearn that it’s easy to take them for granted. And of course, Frank’s solo is from another planet. Right here is another example of why he’s my favorite guitarist, because his solos are a journey. Overall, if the studio version is a 10, this one is an 11.
4. “RDNZL”: A track that wouldn’t appear on an album until Studio Tan, yet it was a regular in the Roxy-era sets. Good thing too, because it’s a brilliant track that perfectly highlights both Frank’s compositional work and the musicians in his band at the time. Once again, isn’t Ruth’s marimba one of the most wonderful sounds to hear? It sure is on here, where she does some really brilliant work (as always. She is Ruth, after all). And then Frank follows that with such a wicked solo that perfectly takes the late sixties principles into 1974. I still give it to the Studio Tan version, but this is an excellent take that I can’t complain about.
5. “Village Of The Sun”: On one hand, it’s impressive that the band can double the speed and do so without missing the beat. However, I’m somewhat mixed on it as an artistic choice as it negates the rather nostalgic tone of the Roxy version. And nostalgic isn’t the norm for Frank by any means, so it felt special. But it’s still a good track, and Napoleon gets a nice sax solo in there. For the most part, a very solid version of the song.
6. “Echidna’s Arf (Of You)”: Cool and all, but I’ll take the slower funk groove of the original version.
7. “Don’t You Ever Wash That Thing?”: Ditto, though I do enjoy the “Watch Ruth” bit on here.
8. “Pygmy Twylyte”: In an inverse of the previous three tracks, this expands on the song as we know it on Roxy & Elsewhere, and turns it into an epic track in comparison to the almost interlude-like track we know. And man, this takes the track to another level completely. Love the heavier tone that Frank takes with this version, and it’s pulled off magnificently.
   
9. “Room Service”: Capping off Disc One is “Room Service”, an epic funk jam with some pretty funny ad-libs. Helps that Napoleon has a natural charisma, and can even hold his own with Frank in that sense. Man, am I a sucker for any time Frank and Napoleon banter, it’s always such a treat. And I also want to note Ruth again, because the marimba doesn’t seem like an instrument that would work in this context, but it does indeed. Once again, that’s Ruth. And man, do Chester and Tom play a sweet funk groove. Makes sense that they kept working together even after their time with Frank, because they really gel as players.
   
10. “The Idiot Bastard Son”: I always loved this song, and Napoleon does an amazing job with it. He gives such a beautiful and heartfelt performance on it. Even though I have no problem with Frank’s performance on the studio version, I admit I can’t help but wonder what Ray Collins would sound like tackling the track. But back to this band, it’s a great version, though now I lean towards Halloween 73.
11. “Cheepnis”: As with the previous Roxy & Elsewhere tracks, I think the mid-tempo funk is better suited, but it’s a decent version.

Disc Two

1. “Approximate”: Now we come to “Approximate”. This one is very funny with visual accompaniment, and I’m a sucker for Frank’s players goofing around with each other. Without said accompaniment, the humor doesn’t work as well. That said, the parts with music still hold up very well.
2. “Dupree’s Paradise”: Ah yes, “Dupree’s Paradise”. Love the opening with George on the cymbal as Frank is egging him on and essentially trolling him. Then you get to the actual music, and wow. The sounds that George gets out of those synths is just otherworldly, cosmic even. Right here, you hear just why George is the golden standard that all of Frank’s keyboardists are held to, and why he is a legend even without the Zappa connection. Gradually, the whole band comes through and is just so magnificent. Napoleon really shines on the flute. He didn’t always get a shot to play flute on record, but man, he’s really good at it. Ruth is Ruth. Chester delivers some really tasty, rhythmic coloring, while Tom plays some gorgeous bass lines. Hell, with either George or a singer/guitarist (saying this as Frank had a notably difficult time doing both simultaneously), you’d have a really badass power trio. It’s an absolute classic, what can I say?
3. “Satumaa (Finnish Tango)”: Now we have another tango of sorts. Beautifully played, with a nice classical flair to it. Absolutely love George’s synth solo which is almost crying at times, very beautiful and heartfelt. And then we have the weird little monologue by Napoleon in Finnish(?), and it’s pretty amusing. Overall, I really enjoy this one.
4. “T’Mershi Duween”: A quick little track named for a character from story Moon told as a child (awww), and Frank and company really rip on here.
5. “The Dog Breath Variations”: Always loved this track, always found it rather beautiful in a weird way. Although Uncle Meat and The Yellow Shark remain the quintessential versions for me, this is still a great take on a Zappa/Mothers classic.
   
6. “Uncle Meat”: A brilliant piece that more than earns its place as the title track of what might be the greatest Zappa record, almost certainly the greatest Mothers record. And it’s executed flawlessly here, more than holding its own against the original.
7. “Building A Girl”: Mostly a continuation of “Uncle Meat”. Cool piece, but I don’t think it really warrants its own track.
8. “Montana (Whipping Floss)”: Remember when the song to drunkenly call out was not “Free Bird”? Needless to say, “Montana” is a signature Zappa cut, one that some of us have gotten a little burned out on. But Frank and the band definitely make the track feel fresh here, and that’s without the false starts. And man, does he smoke on here! Probably literally as well, knowing Frank. Needless to say, if I decide to jam on “Montana”, this is one I’ll reach for because it’s an exceptional version. I almost like it more than the original (hard to top Tina and the Ikettes, though.)
9. “Big Swifty”: A short take on the opener to Waka/Jawaka, which we covered in Vol. 1. It’s a pretty cool piece to conclude the Helsinki Concert(s).

Overall, wow. Frank and the band knocked it out of the park here, they were really on fire. The players are so on point, so tight, it’s almost effortless. The band were really on the same wavelength at this point, and it shows.
If one wonders why the Roxy Band is held in such high esteem, to the point of overtaking or almost overtaking the Mothers as the Zappa band, here’s Exhibit A. Can’t recommend it enough!

 

Volume Three
Disc One

1. “Sharleena”: Starting things off in 1984, with Dweezil (THE DWEEZE!) playing lead alongside the Old Man. I will say I enjoy the interplay between him and Frank-and he was fifteen here! Damn, I feel worse about my life now. Hate the actual song parts, just so plastic and soulless.
   
2. “Bamboozled By Love/Owner Of A Lonely Heart”: I love the track on Tinseltown Rebellion, but it’s robbed of any balls on here. Don’t like this version, so let’s move on.
   
3. “Lucille Has Messed My Mind Up”: Always loved the studio version as well as Jeff Simmons’ version. Ike and Ray’s harmonies are stellar, but my God, those keyboards are dreadful.
   
4. “Advance Romance”: Big fan of this track on Bongo Fury, and while it doesn’t really feel right to me having anyone besides Napoleon and George do the watch bit, there has still been some great versions over the years. This isn’t one of them. Seriously, I now remember why it took me so long to actually appreciate Chad Wackerman, because he sounds like ass on those wet cardboard remo pads. Sad thing is the guitar solo is actually really solid, but man, this track could have been a lot better.
5. “Bobby Brown Goes Down”: This was never a favorite to begin with, not even because of the lyrics but because it always seemed kind of dumbed down. This version is about on par with the studio version, but that’s faint praise on my part.
   
6. “Keep It Greasy”: I actually dig this version of “Keep It Greasy”, enjoy Robert Martin’s sax on here, and Scott Thunes and Chad Wackerman hold their own against Barrow/Colaiuta. Sven with the wet cardboard Remo pad drums, Chad still comes off well here. The keyboards aren’t ideal but I can generally tolerate. Overall, the first track on here that I like.
   
7. “Honey, Don’t You Want A Man Like Me?”: A pretty good version of the song, keyboards and Remo sound notwithstanding. And I do enjoy the Twisted Sister part (particularly giving the whole PMRC episode), and the list of insults ending with “Republican”.
8. “In France”: This is one of the songs I dig on Them Or Us, and it comes off well here. Robert plays a pretty good harmonica on here, and Ike and Ray deliver some strong vocals in support of Frank. And Frank himself does a good job filling in for Johnny “Guitar” Watson.
   
9. “Drowning Witch”: While I’m not really the hugest fan of its parent album, I always really liked this track. 1984 with bits of 1982, it’s a very solid version of the song. I certainly enjoy the piano solo at 2:40 (and what a shocker, it’s from 1982 and thus not from Allan Zavod. I’m just stumped on why I can stand listening to it), and Frank also plays a pretty sweet solo on here as well. Overall, I really dig it.
   
10. “Ride My Face To Chicago”: An original that never appeared on any album, and I can’t say we missed out on much. It’s a decent rock and roll styled song, dampened by Allan Zavod. You know, it’s rare for me to be happy at a member leaving Zappa’s band. With Adrian Belew and Lowell George, I think “you know, they needed to do their own thing.” With Allen Zavod, I think “IT IS A SIGN FROM ABOVE!”
11. “Carol, You Fool”: This reminds me of one of the Mothers’ old doo-wop numbers. But with Remo pad drums. And without a good song. This belongs on that horrible 85 remix of Cruising.
12. “Chana In De Bushwap”: Based on a story of Diva’s, this starts with a nice little boogie woogie piano which I’m assuming is Robert Martin. Two reasons for that: his background in rhythm and blues and soul, and it sounds good. Remember how I praised Tommy Mars for making me like synth sounds I normally dislike? That doesn’t apply here to Allan Zavod. Then again, I’m not sure this song merits Tommy Mars’ contributions. I can’t say this was ever a good musical idea, but I also don’t feel right trashing a father bonding with his child. So I’ll just make keep making fun of Allan Zavod.
13. “Joe’s Garage”: I’ve always loved this song, just such a fun, joyous song that makes me wish I had started my own garage band, even if we sucked. Pity, then, that this is a very underwhelming version.
14. “Why Does It Hurt When I Pee?”: It’s a fairly juvenile song on a certain level (what level depends on who you ask), but I still have a soft spot for it. However, this borders on Frank Jovi territory, its terrible.

Disc Two

1. “Dickie’s Such An A-Jerkface (Because That Other Word Is Very, Very Rude)”: We start Disc One at The Roxy. Oh Roxy Band, thank you so much! I’ve missed you so. And it’s a cool piece of political satire with some strong performances by all involved. I like it, it’s easily my favorite track so far. It then ends with some backstage banter from the Baby Snakes shows. Certainly love Adrian imitating Terry near the end, gotta love those two.
2. “Hands With A Hammer”: A drum solo by Terry Ted Bozzio recorded in 1976 at the Osaka shows. Good shows by the way, that should have been the live album for that lineup. And this, right here, is a pretty strong drum solo by Terry. Also, how nice is it to hear real drums again?
   
3. “Zoot Allures”: Now we have the full 75-76 band doing “Zoot Allures”. It’s pretty cool overall, has some nice cymbal and snare work by Terry in support of Frank. It’s cool to hear Frank essentially writing this track and retooling it before he finally puts it on an album. You hear the odd bit of keys and the like from Andre Lewis, but for the most part, this is largely a Frank and Terry affair. It’s not quite as refined as what we’d get on the album (where it’s ironically one of the few tracks to feature a full lineup) or in later tours, but it’s still pretty nifty to hear.
   
4. “Society Pages”: Back to those Halloween shows from 81, we get a really fun, energetic of a standout from YAWYI. Once again, can’t wait for the 81 set.
5. “I’m A Beautiful Guy”: Another YAWYI track that’s done very well on here.
6. “Beauty Knows No Pain”: A pretty good version of the song.
7. “Charlie’s Enormous Mouth”: Love this song, and it’s pretty spot on here.
8. “Cocaine Decisions”: Oh great, back to 84. This is a song I’ve always been mostly indifferent to. It is a favorite off Man From Utopia, but that says more about that record than the track itself. And this version doesn’t endear me to the song.
9. “Nig Biz”: We come back to 82 with the song that Ray White sang as he was choking on tear gas. I’m impressed by Ray being able to do this giving the circumstances, but it’s a pretty middling song for the most part.
10. “King Kong”: 1982 with a dash of 71 at the Rainbow. I give Frank props for doing something different, and I do enjoy the solos, but this track needs the sense of chaos and danger that the Mothers gave it. This feels too safe, too sanitized.
11. “Cosmik Debris”: Another Zappa staple, fairly respectable version aside from the terrible Remo pad drums and some of Zavod’s keyboard playing.

This one is a mixed bag. There are some worthwhile tracks but also a lot of rubbish, particularly Disc One. I can recommend it for completists, but I feel you should look elsewhere otherwise.

 

Poor Allan! I like him!

Apparently the tape in the vault has the vocals buried so it's one of the cases where the (good) audience tape circulating is probably an overall more adequate listen.

 

"Nice Volcano!"

 

Volume 5 was a nice return to form compared to (for me) the less interesting Volumes 3 and 4.

The Mothers stuff on disc 1 was the biggest draw but the '82 band stuff on disc 2 was a nice surprise since I hadn't heard much from that line up until Vol. 5 was released.

 

I dig just about everything Zappa ever released, as he's my all time favourite solo artist. But believe it or not, most of the early Mothers' material still isn't that appealing to me. So despite disc 1 of Vol. 5 being unique, it's not something I listen to often. However, disc 2 is an amazing document of the '82 band. And the segue What's New In Baltimore? / Moggio, is by far the highlight of this 2 disc set for me.

 

For some reason I wasn't quite so eager for the next volume after volume 4, and the release of volumes 5 and 6 was odd as they first came out as part of a large purple case where you could store them with the previous four volumes. I only saw that once in a store and it was too bulky and expensive for me to be interested, but it did let me learn the tracklists of these sets. By this time I was subscribing to the fanzine Society Pages so I had an idea of the concepts of these sets. Eventually I got the last two volumes as standalone releases.

As nice an idea as an all-60's CD is, for me volume 5 disc 1 is too fragmented and not a lot happens on it, although it was cool to hear "Charles Ives." From the '82 disc I liked "Easy Meat" (excellent FZ solo) and "RDNZL" and remember finding the beginning of the "Black Page" guitar solo so uninspired on first listen that I started fast forwarding through it, only to be surprised when I found that the second half was "Which One Is It?" from Guitar. Knowing that now, it is interesting how FZ redirects the solo after the strange beginning. Overall, my least favorite volume.

 

Did he mention if they've started concept and design work for the Halloween '78 obligatory mask/gloves/cape/whatever yet? I can't wait.

 

Vol. 5 is the double album that could've been two separate albums.

Disc 1 - As much as I like the early Mothers, there's just not much to get my teeth into on disc 1. I find only about half the tracks actually worth having, and the spoken word and on-stage shenanigans just aren't as interesting, effective or funny as they are on other Mothers albums. Having said that, I must admit it all flows together rather well and it's a good listen. Enjoyable as a patchwork collection. A trip back in time to 60s Motherhood. Nice, but inessential.

Disc 2 - Here's where things get really good. A whole disc dedicated to the 1982 band, with plenty (and I mean plenty) of guitar goodness. Not only do we get to listen to Frank Zappa stretching out on 7 (!) guitar solos over the masterful backing of Thunes and Wackerman, but we also get wonderful band extravaganzas such as A Pound For A Brown, The Black Page, an amazing RDNZL, or the incredible Moggio (check out Vai's guitar work on this one!). There's a lot of energy in these 1982 recordings and Ray White's flawless performance song after song is the cherry on top.

Disc 2 is a monster, I give it my heart. When disc 2 is playing, the heavens will part.

 

Today, something from 1982. @pbuzby is right: this solo is amazing.

 

Not to derail the thread but it would be nice to see a one or two cd playlist with the highlights of the whole series from you guys who like it. I wasn't ever able to get throught the whole thing systematially with a repeated listening. You may exclude the Helsinki concert which I love.

 

How about something from 69:



Scarf the cookie

 

There's a band on the latest XTC tribute album that call themselves the Tiny Sick Tears!

 

Not to discourage others who may want to offer their highlight-collection tracklists for you...

But something you can do if you find going through it all a bit much, is take it in small doses. Listen to the CDs in sessions of 30 minutes or so, make it half a disc each time, for example, and give it your attention for each session. Take notes on what stands out. In 2 or 3 weeks you'll have your very own list of highlights, tailored to your personal taste!

 

Yes, I know I could do that. Or rather, I know I could not, because, man, I tried. As I said in my post: !I wasn't ever able to get throught the whole thing systematially with a repeated listening."

 

I made a playlist with only the 1982 band materiel. I did include Drowning Witch from Vol 3 as it is half 1982.