The ironic part is that the encore is pretty lame and the weakest part of the 4 shows. I totally get the hype around it but musically it’s kind of a wet fart.
After living with the Spotify stream for about three weeks now, yesterday I finally received my boxset. I'm very happy and I consider this release one of the best so far. As my friend Scott Parker (@SM7609) can attest, the Fillmore East 1971 shows were, along The Record Plant 1970 studio sessions, my most requested item. I was under the impression that it would have never happened because not everything was found but these are the occasions where I'm definitely glad to be proven wrong. Warning: long review coming. Pardon any typo or misconstruction. PRESENTATION I really like it. It looks great, functional and the booklet is quite attractive. Great liner notes by the Vaultmeister and Jim Pons and a really good interview with Ian Underwood conducted by Ahmet. SOUND QUALITY Mixing by Craig Parker Adams is excellent as always. This material has never sounded better and going back to the original album is quite a shocker now. It does retrain its charm because that production has a very specific sound and the overdubs make some sections sound quite different (I still expect to hear extra backing vocals on "The Mud Shark") but the clarity is staggering, even better than on "Playground Psychotics" whose new mixes sounded considerably better. Although the panning and the instrument balance of the Barry Keene 1971 mixes is weird, at least it gives prominence to things that aren't often as present in the mix. For example, I like how clear and upfront Jim Pons' vocals are during these sections. Eddie Kramer's mix of The Rainbow Theater show is a very different approach which, admittedly, has not satisfied everyone but I like what he did here. Yes, it's a tad bassier than I'd usually like, but it's still very nice and detailed. Finally, I think there's something to like even in the way the hybrid show's quality: it's a bit rough but it also sounds very lively and it gives the impression of listening to a loud live band. Also, the two shows sound fairly similar so the edit point is quite smooth. THE BAND This release is a further proof that Frank didn't really represent this band that well on the official discography. He basically made them sound like a comedy group with the occasional technical chops thrown in. These full unedited performances prove how musical this bunch of musicians actually was. Frank's playing is furious and has a great tone, Flo & Eddie are amazing singers, Ian Underwood and Aynsley Dunbar are two of the best musicians Zappa ever had and for the first time we can really appreciate Jim Pons, whose bass playing is more adequate than he thinks, based on what he wrote on the booklet, and his low pitched voice and sense of humor gelled quite well with the line-up. Finally, Bob Harris is also an interesting addition, if not for the electric piano sound which is rarely found on Zappa's albums. However, no disrespect to him, but every time Don Preston comes in there's no contest: that guy is simply a keyboard genius or, rather, a mad scientist! THE CONCERTS Fillmore show #1 is a bit of a warmup concert. Unsurpisingly, this is the least used show in the official releases: just some bits of "Billy The Mountain" on "Playground Psychotics". The band is probably late or something: almost no interaction between Frank and the audience and FZ even comes back at the end to say the show is over and no more will be played. This reflects a bit in the first part of the performance which, although solidly performed, doesn't offer anything special. However, the last part of the concert is definitely worthy of interest: Frank plays a totally ripping solo on "Billy The Mountain" and "King Kong" is probably the best version of the run. Show #2 is one of the two that were used on the Fillmore album. Frank was quite good at switching between this and show #4 for the record: as it has been mentioned several times on this thread, these two shows were recorded a bit differently but they sound quite consistent on the official album. Compared to the first show it's a longer and more relaxedly paced performance. Don Preston joins onstage for the encore of "King Kong" and a fragment of that was used on the FE record as "Lonesome Electric Turkey". In turn, Bob Harris plays some nice soloing on "Billy The Mountain". Show #3 is yet another good performance and, although nothing from it was used on the main album, most of the Fillmore stuff on "Playground Psychotics" is sourced from here. The big prize is the version of "Chunga's Revenge", interestingly a composition that although was a live staple throughout Frank's career, it wasn't performed much during this era. An interesting bit of information: during "King Kong" on show #1, Jim Pons plays the "Chunga's Revenge" bass part during the slow solo vamp. On this version of "Chunga", instead, he plays the bass part that he usually does on that section of "King Kong"! Finally, show #4 is perhaps the most well known one because of John Lennon and Yoko Ono's appearence during the encore. More on that later. Interestingly enough, the show start is a bit slow, with the very first numbers being quite uninspired compared to the rest of the run. However, it definitely picks up steam as it goes on and by the time we have reached the Groupie Opera the band is a total powerhouse. It's especially a joy to listen to Frank's unedited solo on "Willie The Pimp", an edited version of which had appeared on the main album as "Part 2" (and, unfortunately, until 2012 never made available on CD). As for the Lennon/Ono jam... I think I can safely say it was an historical occasion and a very interesting one too but one that you probably had to be there in order to fully enjoy. Lennon sounds great on the opening number ("Well") but appears a bit lost elsewhere. As for Yoko... I don't really mean to bash her: everybody knows what she does vocally so if you have her onstage, you know she's gonna do that. Keeping this in mind, I have no issue with the wailing. My problem with her is that for a large part of the performance, she seems to be doing it with total disregard for the rest of the music: she does it over the keyboard soloing on "Aawk" and during the verses on "Well". I must admit I kinda appreciate the final minutes, though, which give an interestingly eerie conclusion to the whole run. It's not something I wanna play too often but, hey, if people get on on "Metal Machine Music" why should this be any less accepted? The Hybrid Show: as I have already mentioned, I dig the way this sounds like. The roughness of the recording gives the impression a high energy band playing on. The performances themselves are also interesting and definitely worthy of inclusion because they are quite different from the Fillmore shows. First of all, I don't think I have heard a vocal version of "Willie The Pimp" from this era and, although this version is not as killer as the ones on the Fillmore show, it's a great showcase. "Call Any Vegetables" is also slightly different than the usual performances by the 1971 band (it's more similar to the versions on the previous tour) and the oldies medley is a blast. However, to me the highlight is definitely the solo section on "Billy The Mountain": there's a bit on Frank's solo that reminded me a bit Tony Iommi on "Warning" on the first Sabbath album! The Rainbow Concert: this show just had to be included in a release like this, due to its hystorical importance. However, it helps that it's also a solid performance, though a bit marred by some technical problems. I was already quite familiar with this show from the audience tape but it had several cuts and sound quality wasn't really good. Obvious highlights here are: "Zanti Serenade", which opens the set in a very eerie way, a very sick version of "Pound For A Brown" and "King Kong", possibly the best version I have heard coming from this line-up... Frank's solo needs to be heard. Hearing the assault was a bit bone chilling. It's not really the sound of the microphones falling down but the fact that you can sense something really wrong has happened: the atmosphere changes in just two seconds. As a side note, I've always thought Frank sounded quite vulnerable during his banter on this show: he was probably still shaken by the Montreux incident. It makes the attack quite sadder and, although I usually don't advocate for violence, it was nice to read that Herbie Cohen took care of the assailant's nose. Bonus stuff from the vault: not as interesting as usual. In fact, I would have liked the overdubbed "Billy The Mountain" to be included here. This said, it's a blast to finally have "Junier Mintz Boogie" on CD and the Homemade Radio Spot and outtakes are hilarious. VERDICT One of my favorite ZFT releases so far, probably currently only second to the "Hot Rats Sessions" box. It manages to be both essential to the hardcore fan and highly enjoyable for everyone else. So three cheers for the @Vaultmeister and the rest of the team and I hope the future holds similar projects coming in!
In the video it is touching when FZ and Lennon take turns conducting the band, as Lennon seems stunned to have that power.
This site hasn't been updated with the newly released sets, but here's a breakdown of "Billy the Mountain" differences from show to show. Billy The Mountain
No Box for me from Grooves.land. Ordered it in Feb for great price and they kept delaying delivery. I finally contacted them and they say they can't get these and I'll be refunded. Bummer.
The encore will always have special place in my heart, it was the first time I’d heard Zappa when I bought STINYC in the late 70’s. It started me on my FZ journey.
I certainly do not remember hearing Zappa music on the radio as I got older in the 60s/70s. I assume he may have had some Top Gear play on Radio One. I had heard a bit of Weasels Ripped My Flesh having asked in a local shop if they would play a track. I was fascinated by the cover. No one at school I knew had any Zappa records so yes STINYC was my first real exposure. Fortunately Zappa album sleeves are really great and interesting without needing to be censored in a paper bag so I would buy them for the cover unheard. Lots of music press coverage but radio play? I spent ages in 78 trying to find Zappa's version of Why Don't You Do Me Right which was covered on the first Alternative TV album. No handy google search in 1978.
I remember hearing Dancing Fool & Wet T-Shirt Nite on Radio Caroline in the late 70’s these were both after I’d heard STINYC & then excerpts from Shut Up ‘N Play Yer Guitar when it was released in 1981 on The Friday Night Rock Show on Radio One presented by Tommy Vance.
Yesterday I got mine Now I am just wondering: Isn't the picture on the main (outer) cover of the actual box a tad too dark - compared with the online versions e.g. ? Maybe a production side effect of putting a tiny golden spot on the tip of FZ's cigar? Anyway ... Finally I know what "My boyfriend's back" means! For ages I could not make a sense out of what a guy in the audience is screaming during the banter of "Dickie's such an *******" from YCDTOSA Vol 3 . I always thought: Is that guy gay and so happy his partner returned to him ....
I gave in and ordered from Amazon yesterday ($111). I convinced myself that: my purchase helps to fund future vault sets; I've always wanted to hear the entire Fillmore show in context (although I didn't know the LP was assembled from a couple of shows with overdubs); I've always felt this band's prowess was criminally underrepresented; the interviews with Pons and Underwood; and I like having the physical product! I've already listened to the first Fillmore show on Spotify and I'm about halfway thru the 2nd show. So I'll continue tonight when I get the delivery!
I totally missed this the first time. Listening back to Show #1's King Kong: Zappa plays a guitar lick at around 4:59 that resembles one from the the studio version of Chunga's Revenge, then at 8:43 plays the second main Chunga theme. After that moment Pons gets the hint and starts playing the Chunga bass part. Just goes to show how interesting this band was musically.
Yep, looks like the photo on the actual box is black and white with a silvery gloss, instead of the sepia gloss in the ad. My copy arrived today, from Amazon France. Pre-ordered on 1/15/22, € 54,21 incl.p&p. Good deal.
Wifey won some money on the slots, so, I ordered, too! Sadly, "200 Motels" looks like it is no longer available....
Plenty of 200 Motels box sets available. Dozens of buying options from Amazon alone, never mind eBay and discogs, etc. https://www.amazon.com/Motels-Original-Picture-Soundtrack-Anniversary/dp/B09DF24YRN/
Finally went and picked up the box, for 65 euros as promised! Sure a lot to digest, this will keep me busy for some time now. I have always thought that singing about ''Clearasil spattered fantasies'' is hilarious, it cracks me every time. Howard's pseudo-serious delivery is just spot on. It still baffles me that the same mastermind came up with those lyrics, and composed The Black Page!
Wouldn't that release have been the perfect one to ask Flo and Eddie for liner notes/comments? Since none were there for "The Mothers 1970" and a special release of the Pauley Pavilion is questionable. Or did they provide liner notes for a different release which I am not aware of (I do not possess the 200 Motel deluxe one)?
I’ve asked this question here before, not sure if there’s any truth in this, but it seems Mark & Howard aren’t in favour with the ZFT.
FWIW, Kaylan covers the era thoroughly in his book, although maybe the recordings could trigger some new memories.
