(Frank Vincent Zappa & The Abnuceals Emuukha Electric Symphony Orchestra & Chorus, Verve V/V6-8741, May 13, 1968)
1. LUMPY GRAVY PART ONE 15:48
2. LUMPY GRAVY PART TWO 15:51
Orchestra:
Capitol Studios, Hollywood
February 13 & March 14-16, 1967
People inside the piano:
Apostolic Studios, NYC
October, 1967
Produced by Frank Zappa
Original sessions produced by Nick
Venet
Engineered by: Joe, Rex, Pete, Jim, Bob, Gary & Dick
Kunc
Liner put together by Cal Schenkel
The ABNUCEALS EMUUKHA electric SYMPHONY orchestra & CHORUS
with maybe even some members of the mothers of invention
PIANO, CELESTE, ELECTRIC HARPSICHORD:
Paul Smith
Mike Lang
Lincoln Mayorga
Pete Jolly
DRUMS:
Johnny Guerin
Frankie Capp
Shelly Manne
PERCUSSION
(Gongs, Bells, Vibes, Marimba, Timpani, Timbales & assorted insanity):
Emil Richards
Gene Estes
Alan Estes
Victor Feldman
Kenneth Watson (uncredited)
Thomas Poole (uncredited)
WOODWINDS
(Flute, Bass Flute, Piccolo, Oboe, English Horn, Eb Clarinet, Bb Clarinet, Bass
Clarinet, Contrabass Clarinet, Alto Sax, Bass Sax, Bassoon & Contrabassoon):
Ted Nash
Jules Jacob
John Rotella
Bunk Gardner
Don Christlieb
Gene Cipriano
FRENCH HORNS:
Arthur Maebe
Vincent De Rosa
Richard Perissi
Arthur E. Briegleb (uncredited)
David A. Duke (uncredited)
George F. Price (uncredited)
TRUMPET:
Jimmy Zito
TROMBONE:
Kenneth Shroyer
Lew McCreary (uncredited)
GUITARS:
Jim Haynes (prob. James Helms)
Tommy Tedesco
Tony Rizzi
Al Viola
Dennis Budimir
BASS:
Bob West
John Balkin
Jimmy Bond
Lyle Ritz
Chuck Berghofer
STRINGS:
Sid Sharp--violin
Alexander Koltun--violin
Tibor Zelig--violin
Ralph Schaeffer--violin
Bernard Kundell--violin
William Kurasch--violin
James Getzoff--violin
Arnold Belnick--violin
Leonard Malarsky--violin
Harold Ayres--violin
Jerome J. Reisler--violin
Phillip Goldberg--viola
Leonard Selic--viola
Harry Hyams--viola
Joseph DiFiore--viola
Jerome A. Kessler--cello
Raymond J. Kelley--cello
Joseph Saxon--cello
Jesse Ehrlich--cello
Harold G. Bemko--cello
CHORUS:
Louie The Turkey
Ronnie Williams
Dick Barber "Foon The Younger"
Roy Estrada
Spider (Barbour)
Motorhead
J.K. & Tony
Gilly (Townley) and the girls
from Apostolic (Maxine,
Becky (Wentworth), Susan Kelly)
All Night John (Kilgore)
The other John (Townley)
Cal
Pumpkin
Larry Fanoga
Monica (Boscia)
Jimmy Carl Black (the Indian
of the group)
ALSO:
Sammy (Whiteside)
Harold (Kelling)
Charlie (Phillips)
Bruce (Hampton)
and the rest of the guys from Atlanta
SPECIAL THANKS TO:
Sid Sharp conductor
Bob Ross arranger
Smiling Jack
Ben Barrett contractor
Normal
Max
my pumpkin
Hurby
John Judnich
Spider: The way I see it, Barry, this should be a very dynamite show.
TTG Studios, LA
April 1, 1966 ?
includes a line from the World's Greatest Sinner soundtrack and Run Home Cues, #2
includes a fragment of Hurricane (Sigarlaki)
Spider: Bit of nostalgia for the old folks!
Gilly: I'm advocating dark clothes.
Becky: If I'm not alone . . . How long have I been asleep?
Gilly: As long as I have.
Maxine: Did you ever live in a drum?
Becky: No.
Maxine: Well then you aren't me.
Gilly: I only dreamt I lived in a drum. Ever since it got dark. Dreaming is hard.
Susan Kelly: Yea, but with nothing over your head?
Gilly: No, just light, over my head. And underneath too.
Susan Kelly: I don't think I could take it without anything over my head.
Maxine: Mm-mmh, I couldn't either.
Becky: Well why don't you go out and see what's out there?
Gilly: Well . . . I don't know if that's what's out there.
Maxine: Now that's a thought.
Gilly: Yes . . .
Maxine: If you'd like . . .
Gilly: But still you can say darker and darker. I don't know what the outside of this thing looks like at all.
Guy #1: I do. It's dark and murky.
John Kilgore: How do you get your . . . your water so dark?
Guy #1: 'Cause I'm paranoid. I'm very paranoid. And the water in my washing machine turns dark out of sympathy.
John Kilgore: Out of sympathy?
Guy #1: Yes.
John Kilgore: Um . . . where can I get that?
Guy #1: At your local drugstore.
John Kilgore: How much?
Pal Studio, Cucamonga, CA ?
c. 1961 ?
Guy #1: It's from Kansas.
Motorhead: Bored out .90 over with 3 Stromberg 97's
Larry: Almost Chinese, huh?
Girl #1: Yeah!
Motorhead: Good bread, 'cause I was making, uh . . . $2.71
an hour
Motorhead: I keep switching girls all the time, because if I'm able to find a girl with really a groovy car that ain't build up, man, I'll go steady with her for a while until I'd build up her car and blow out the engine!
includes last part of Oh No
Motorhead: I worked in a cheesy newspaper company for
a while but that was terrible, I wasn't making enough money to build anything
(LOUIE LOUIE)
Motorhead: And then I worked in a printing company and
a coupla gas stations. Oh, at the gas station where I was working my brother
just got married, and uh . . . he bought a new car and his wife was having
a kid and all this miserable stuff, and he needed a job so I gave him a job
at the gas station of which I was fired because, you know, he was gonna work
there. And he had his car on the rack and he was lubing and changing tires
and everything all the time. And so they got fired because he was goofing
off, man, and he just kept taking parts and working on his car day and night.
And so he lost that job and he went to work in another gas station. He took
that one, you know, so he could feed the kids and that. And I went to work
in an aircraft company, and uh . . . I was building these planes. I worked
on the XB-70, I was the last welder on there. Yeah but, it was pretty good
bread because I was making, uh . . . $2.71 an hour. I was making a hundred
and a quarter a week, and uh . . . yeah, it was good enough money to be working
on, so I got an Oldsmobile, a groovy Olds. But I was going with this chick
at that time. By the time I got the Olds running decently, she went out and
tore up the engine, and the trans, and a--her and a girlfriend they get in
there and booze it up and tear up the seats. Just ripped the seats completely
out. So uh . . . when, I got a '56 Olds, which was this one chick's I was
going with, and uh . . . we used to drive out all over the place and finally
she got rid of that, and uh . . . I got another pickup!
Fillmore Auditorium, San Francisco, CA
June 24-25, 1966
Ray Collins--harmonica
Elliot Ingber--rhythm guitar
Roy Estrada--bass
Jimmy Carl Black--drums
Oh man, I don't know if I can go through this again!
includes a fragment of Ronnie Sings? and a quote from Merry-Go-Round (Fischer)
Ronnie Williams: Buh-bah-bahdn
Spider: Oh!
John: There it went again..
Spider: It's a little pig . . . with wings
Pig With Wings: EE . . .
Gross Man: I hear you've been having trouble with pigs
and ponies!
Left channel:
Calvin: To . . . just the opposite . . . going around
to the other direction
Right channel:
Calvin: How 'bout us, don't we get any?
Gail: We don't get any . . .
Calvin: That's very distraughtening
Gail: We don't get any because we're otherwise
Spider: Everything in the universe is . . . is . . .
is made of one element, which is a note, a single note. Atoms are really vibrations,
you know, which are extensions of THE BIG NOTE, everything's one note. Everything,
even the ponies. The note, however, is the ultimate power, but see, the pigs
don't know that, the ponies don't know that. Right?
Monica: You mean just we know that?
Spider: Right!
Spider: "Merry Go Round! Merry Go Round! Do-Do-Do-Do
Do-Do-Do Do-Do-Do!" and they called that "doing their thing."
John: Oh yeah, that's what doing your thing is!
Spider: The thing is to put a motor in yourself.
Louis: Grrr . . . Arf arf arf ar-ar-ar-ar-ar! Teeth
out there, and ready to attack 'em. . . I had to fight back and hit 'em, like
. . . you know . . . hit 'em and hit 'em and hit 'em, and . . . kick 'em and
kick 'em and . . .
Roy: Did they get on top of you?
Louis: No, I fought so back, hard back, and, it was .
. .
Roy: Hard back?
Louis: White!
Roy: White?
Louis: Yeah, white ugliness
Roy: Did it have teeth?
Louis: And it was two, it was two boogey-men that were
on the side and , we were . . . already blocked the entrance, so I had to
. . . I had to kick, I had to fight to f-four or five boogey-men in front
of me . . .
Roy: Then . . . but maybe he can turn into . . . I wonder
if he could maybe be [...] PFFFT!
Louis: Yes, extremely vicious
Roy: I don't know, those po- . . . I heard those ponies
are really vicious!
Louis: I know . . . but, I know they're vicious, but they
. . .
Roy: Their claws!
Louis: He d-d . . . he doesn't have to be able to do it
Roy: They get on top of you, and they just tear you apart
Louis: I know . . .
Roy: Tee . . .
Louis: Scars over here, see, scars right here. Yeah .
. .
Roy: Teeth to limb! Teeth to limb! I mean, toe to ta-
. . . man, I hope they don't get him
Louis: Ponies! I-i-if-if, if . . . is . . .
Roy: Was it white? Are you sure it wasn't w-white, I mean,
uh, black, or . . .
Louis: Well, I think they're white, but I was too scared
to notice their physical . . .
Roy: Gold or something?
Louis: I was too, I was too scared to no . . . n-no .
. . uh-no . . . uh-notice their physical, ahh . . . appearance, 'cause they
. . . they-they were attackin' me!
Roy: They were?
Louis: Yeah, they were . . . they were attackin' me!
Roy: What were they doin' to you?
Louis: Well, they were . . . they were like, they were
. . . comin' and surroundin' me 'n everything else, and they were attackin'
me and I had to fight back, fight, fight and fight back and . . . pick up
sticks . . .
Roy: Pick-up-sticks?
Louis: Yes, pick up sticks, you know?
Roy: I used to play that game, Pick-up-sticks
Louis: Me too, did you ever play that game?
Roy: Yeah!
Louis: Yes! That's funny! HA HA HA!
Roy: Anyway, come back to the horse . . . back to the
horse? To the pony
Louis: HA HA HA HA! Now . . .
Roy: Anyway . . .
Louis: Yes, pony, or . . .
Roy: President . . .
Louis: Or pope, I dunno, ah, I dunno . . .
Roy: I don't know . . .
Louis: Something down there is dangerous.
Roy: Could be a cigar or somethin'
Louis: Yeah . . .
Roy: A cigar?
Louis: A cigar? Naw, you're insane, come on!
Roy: Nohhh, no . . . I remember when I was a . . . no
I don't remember. Those were the days!
Louis: Boy, you must spend all your life down here!
Roy: That was before the days of those horses
Louis: Yes, before the days of the . . . all the . . .
ow-uh . . . ponies or boogey-men or somethin',
what's out there
Roy: But then there was a . . . what was it then? No pimples?
Louis: No, I never did.
Roy: Sure!
Louis: Positively
Roy: You had to have 'em.
Louis: Naw, naw . . .
Roy: You've got one right in your nose right now!
Louis: HA HA HA HA! Scrtch-ch-ch! Scratchin' them . .
.
Roy: Boy, I'm gettin' tired, man. We should go . . .
Louis: Oh, yes . . .
Roy: We should go to sleep
Louis: Oh, yeah . . .
Roy: I just hope he comes back . . .
Louis: Yes . . . Listen!
Roy: I think I'll pray for him
Louis: I think I'll join you
Roy: You do yours and I'll do mine . . .
Louis: Okay . . . HA HA HA HA!
Roy: And we'll hope for the best. HEH HEH HEH!
Louis: HA HA HA HA HA! I'll pray for [...] Motorhead
Roy: Now I lay me down to sleep . . .
Roy: Amen!
Louis: Amen . . .
Ronnie Williams:
Oh yeah!
That's just fine!
Come on boys!
Just one more time!
Spider: I think I can explain about . . . about how the
pigs' music works
Monica: Well, this should be interesting
Spider: Remember that they make music with a very dense
light, and remember about the smoke standing still and how they . . . they
really get uptight when you try to move the smoke, right?
Monica: Right
John: Yeah?
Spider: I think the music in that dense light is probably
what makes the smoke stand still. Any sort of motion has this effect on .
. . on the ponies' manes. You know, the thing on their neck
John: Hmm . . .
Spider: As soon as the pony's mane starts to get good
in the back any sort of mo . . . motion, especially of smoke or gas, begins
to make the ends split.
John: That's the basis of all their nationalism. Like
if they can't salute the smoke every morning when they get up . . .
Spider: Yeah, it's a vicious circle. You got it.
Gross Man: Pony!
Larry: Drums are too noisy, 'n you've got no corners to hide in!
John: So when she's beating him over the nose with a tire iron. and then we both jump away and disappear, and the pig will turn around and there'll be this pony
Spider: Oh no, man . . .
Monica: Oh . . .
Spider & Monica: Kangaroos!
Monica: And then they eat it when they get home
John: If it's still alive
Spider: Envelops the bath tub
Calvin: 'Cause round things are . . . are boring . . . hhh . . .
Pal Studio, Cucamonga, CA ?
c. 1963 ?
All compositions by Frank Zappa except as noted