Playground Psychotics

Playground Psychotics

(Frank Zappa/The Mothers Of Invention, 2CD, Barking Pumpkin D2 74244, October 27, 1992)

disc 1

A TYPICAL DAY ON THE ROAD, PART I (MOI)

  1. Here Comes The Gear, Lads 1:00
  2. The Living Garbage Truck 1:20
  3. A Typical Sound Check 1:19
  4. "This Is Neat" 0:23
  5. The Motel Lobby 1:21
  6. Getting Stewed 0:55
  7. The Motel Room 0:29
  8. "Don't Take Me Down" 1:11
  9. The Dressing Room 0:24
  10. Learning "Penis Dimension" 2:02
  11. "You There, With The Hard On!" 0:25

     

  12. Zanti Serenade (Underwood/Preston/FZ) 2:40
  13. Divan 1:46
  14. Sleeping In A Jar 1:30
  15. "Don't Eat There" 2:26
  16. Brixton Still Life 2:59
  17. Super Grease (MOI/FZ) 1:39
  18. Wonderful Wino (Simmons/FZ) 4:52
  19. Sharleena 4:23
  20. Cruisin' For Burgers 2:53
  21. Diptheria Blues (MOI) 6:19
  22. Well (Ward) 4:43
  23. Say Please (Lennon/Ono/FZ) 0:57
  24. Aaawk (Lennon/Ono/FZ) 2:59
  25. Scumbag (Lennon/Ono/Kaylan/FZ) 5:53
  26. A Small Eternity With Yoko Ono (Lennon/Ono) 6:07

disc 2

A TYPICAL DAY ON THE ROAD, PART 2 (MOI)

  1. Beer Shampoo 1:39
  2. Champagne Lecture 4:29
  3. Childish Perversions 1:31
  4. Playground Psychotics 1:08
  5. The Mudshark Interview 2:39
  6. "There's No Lust In Jazz" 0:55
  7. Botulism On The Hoof 0:47
  8. You Got Your Armies 0:10
  9. The Spew King 0:24
  10. I'm Doomed 0:25

     

  11. Status Back Baby 2:49
  12. The London Cab Tape (MOI) 1:24
  13. Concentration Moon, Part One 1:20
  14. The Sanzini Brothers (Underwood/Volman/Kaylan) 1:33
  15. "It's A Good Thing We Get Paid To Do This" 2:45
  16. Concentration Moon, Part Two 2:04
  17. Mom & Dad 3:16
  18. Intro To Music For Low Budget Orchestra 1:32
  19. Billy The Mountain 30:25

    THE TRUE STORY OF 200 MOTELS

  20. He's Watching Us 1:21
  21. If You're Not A Professional Actor 0:23
  22. He's Right 0:14
  23. Going For The Money 0:12
  24. Jeff Quits 1:33
  25. A Bunch Of Adventures 0:56
  26. Martin Lickert's Story 0:39
  27. A Great Guy 0:30
  28. Bad Acting 0:10
  29. The Worst Reviews 0:20
  30. A Version Of Himself 1:02
  31. I Could Be A Star Now 0:36

Produced and arranged by Frank Zappa
Remix engineers: Mark Pinske, Spence Chrislu
Remix facility: UMRK
Art by Cal Schenkel

Field Recordings:
September, 1970-February, 1971

FZ—voice, guitar
Mark Volman—voice
Howard Kaylan—voice
Jeff Simmons—voice, bass
George Duke—voice, keyboards
Ian Underwood—voice, keyboards
Aynsley Dunbar—voice, drums
Martin Lickert—voice
Dick Barber—voice
Roelof Kiers—voice

June 5-6, 1971
Fillmore East, NYC

FZ—lead guitar, vocal
Mark Volman—vocal
Howard Kaylan—vocal
Jim Pons—bass, vocal
Bob Harris—wurlitzer
Ian Underwood—keyboards, alto sax
Aynsley Dunbar—drums
+
Don Preston—keyboards, electronics
John Lennon—guitar, vocal
Yoko Ono—bag, vocal

August 7, 1971
Pauley Pavilion, UCLA, California
and
December 10, 1971
Rainbow Theatre, London, UK

FZ—lead guitar, vocal
Mark Volman—vocal
Howard Kaylan—vocal
Jim Pons—bass, vocal
Don Preston—keyboards, electronics
Ian Underwood—keyboards, alto sax
Aynsley Dunbar—drums

disc 1

A TYPICAL DAY ON THE ROAD, PART 1

(M.O.I.)

1. "Here Comes The Gear, Lads" 1:00

Airplane to Spokane, WA
c. September 17, 1970

Aynsley: Here comes the gear, lads!
Howard: Dunbar . . .
Jeff: "Here comes the gear, lads"
Howard: I'm telling you man . . .
Jeff: Sounds like the Beatles cartoons.
Howard: Key down.
Aynsley: Just keep your mouth shut, you . . . Curly!
?: Look at those little cars! The race cars.
Mark: It does sound like the Beatle cartoons.
?: Does it?
Mark: "Hey, John Lennon here . . . "
Jeff: "Hey, Wankers, there goes the gear."
Passenger agent: Good evening, ladies and gentlemen, this is your passenger agent. Like to welcome you aboard United's flight 664 to Spokane. We're departing in just a few more minutes. And we'll just be a . . . couple minutes delayed due to loading some extra baggage.
Mark: Could that be ours?
Passenger agent: I'd like to remind you that the, the bags you've carried on today should be stored underneath the seat in front of you . . .
Mark: Howard?
Pilot: During the flight . . .
Howard: Uh, yes, Mark . . .
Mark: Would you like some film?
Howard: I would.
?: Hey, they're gonna take the first class mail on.
Pilot: Hope you have a pleasant trip, and . . . thank you for flying United.

Stewardess: Good night, all.

Ha ha!
Now, the trip . . .
This is great!

2. The Living Garbage Truck 1:20

includes quotations from Mona Bone Jakon (Cat Stevens) and Long Hot Summer Night (Jimi Hendrix)

Vancouver, BC, Canada
September 19, 1970

Bruce: Bruce Bissell . . .
FZ: What?
Bruce: From Reprise Records.
FZ: Hi, there, how you doing?
Bruce: How you doing? Nice to see you again.
FZ: Yeah.
Bruce: How's it going?
FZ: Well, it's all right.
Bruce: Good. Hey, we got a neat publicity stunt we'd like to try.
FZ: What's the stunt?
Bruce: We got a garbage truck. We'd like to get some pictures of you and the Mothers on it.
FZ: That's probably one of the most terrible ideas I ever heard in my life! Are we going down there?
Bruce: Yeah!
Mark: You'd love it, you know that?
Bruce: And, uh, we got that newspaper here to cover it and, uh, plus, the front of the chart and stuff.
FZ: The front of the chart . . .
Bruce: Yes, the, uh, FM chart that's put out here in Vancouver, has a distribution of about fifty thousand.
Ian?: What's happening?
FZ: What do you think, Dick?
Dick: What? A photo at the garbage truck?
Bruce: I think it's really gonna be a great idea. I really do.

I think we can do it on the other side and then, uh . . .
"But it won't be lonely for long . . . "
What's the deal?
Howard: Must we stand amidst the scum to get the idea across?
Jeff: "Where are you on this ah long hot summer
Where are you on this ah . . . "

Mark: Are we going in it?
Do you think you could possibly like climb up on the tire and put a foot there?
[...] as much as you can
Yeah, there's a ladder. Yeah.

3. A Typical Sound Check 1:19

includes a quotation from Whole Lotta Love (Page/Plant/Jones/Bonham)

Jeff: . . . find out where . . .
?: Get some . . .
Mark: All skate. Men only!
Dick: Hunh?
?: So don't . . .
Aynsley: Man, you shou . . . you shoulda brought the fucking [...]
?: Gotta put that sign out in front, man.
Mark: Got to get that sign out in the front.
?: Pack it up beside of the bass player.
Howard: Why?
Aynsley: Because I . . . I'm gonna have to fucking nail this in. It's gonna take about five minutes to nail the thing in every time we go on.
Dick: Well, get a piece . . .
Mark: Can we get it hooked up? Can we put it up? Stand it up? [...]
?: Talk to the kids running [...]
Jeff: We could be an even closer . . .
?: Add some more weirdness.
?: Hey man.
?: Hey, we sparred right here, man.
?: You want these two together?
?: Sparred right there.
?: Well . . .
Mark: Perverse!
George: What's in my [...]
Mark: Let's see, my washboard's in the car. My false breast is in the car.
?: Hey, Bob?
?: Bob.
Aynsley: See, they gotta have two holes here.
?: Bob!
Dick?: Yeah.
Jeff: Where's your pliers?
Ian?: Oh, we got our amps switched. I should be having that amp.
Howard: Put on your costumes.

Mark:
If you do not hear me
You may now walk out
For I am here
And I am talking . . .

4. "This Is Neat" 0:23

Howard: This is neat!
Jeff: Spending a night in the motel
Howard: This is about the neatest Holiday Inn I've seen in days. The rooms are in Foon's name, eh? Look at that, wild coyotes!
FZ: Ha ha ha ha!
Mark: Okay, uh, you guys wanna wait while I go in and check?
FZ: Yeah, you're the straightest-lookin' members here
Howard: Really, why don't you go in and see if you . . .
Mark: Yeah, man, right over there, right behind our car
Howard: Singles!
Mark: They're already set up that way
?: Sure
Howard: Oh. Good.

5. The Motel Lobby 1:21

includes a quotation from Blue Moon (Hart/Rodgers)

Spokane, WA
prob. September 16, 1970

Howard: Sure, man, and I'll go until two and I'm gonna be in there supporting 'em, in fact I'll sit in with those guys. I'm into it, I'll sing a little "Blue Moon . . . "
Mark: Hey man . . .
Dick: Listen, this is a nice place, man, it's got a beautiful room . . .
Howard: Don't give me that man, it's plastic city, it bites, the guy behind . . .
Dick: Relax and enjoy some of the wo-, wonderments of nature . . .
Howard: No no no no, the guy behind the desk is a werewolf. You can't give me any of that, the chick over there's been dead for twenty minutes. I'm hip to this place, I've seen 'em in my sleep, man
Dick: Hey, listen, I've never seen you this way, man
Howard: No, man, I'm not keyed at all
Dick: You're unpleasant
Howard: I'm not unpleasant! I can't wait to sign the card and check into my little closet. Unpack my leather cape, hang it up on the wall, get out the washboard, put away my nitty books and get into it! I'm gonna go down and cruise in that lounge, man, I'm gonna have . . .
Dick: Watch this, it's right in there, just step right in
Howard: I'm gonna take a look

?: Hello, Frank . . .
Howard: Ooohoowwoh!
Mark: Hey, what is this, man? Is this the Can-Can Room?
Howard: This place waits for us, man
Mark: This place waits us! Is there a piano?
Howard: There's a juke box with a lotta hokie country songs on it. I am coming in here and getting blotto in about ten minutes
Mark: Oh, man, me too!

6. Getting Stewed 0:55

includes Beyond The Reef (Pitman)

Spokane, WA
prob. September 16, 1970

Howard: Yes, ladies and gentlemen, coming to you direct from high atop the Konrad Adenauer Inn. Just a short forty-five minute rocket flight from where Cape Canaveral meets the Alcan Highway, twenty minutes down Route 66, just a short hop, skip, and a jump from the corner of Sunset and Fifth Avenue. High atop One Fifth Avenue where we're listening to the rancid rhythms of Riles [Mishnist] and his music to make you wanna throw up. Yes, and coming on right after this, ladies and gentlemen, The Five Rancid Fingers of Ben Zedrine and his . . .
Mark: Strings, men, and [j . . . ] . . .
Howard: Psilocybin Cut-ups, yes, ladies and gentlemen, here we go into another . . . thing. No, not into another thing, ladies and gentlemen. I'm glad. That gives me time to say that you're listening to the National Bum-rushing Company and we're all sitting around the table here stewed, ladies and gentlemen.
Aynsley: Right on brother. All together.
Howard: And we're sitting here in Spokane, Washington.
Mark: Right on.
Howard: With "Beyond The Reef."
Mark: The Can-Can Room.
Howard: I hope this is it, because I can't go on filling forever.
Aynsley? Jeff?: Take it.
Howard: Come on in, boys!

7. The Motel Room 0:29

prob. Portland, OR
September 21, 1970

Aynsley: Leaving in fifty minutes, Frank.
Howard: Fifteen minutes.
On TV: Goldie Hawn for president?
Howard: And everything . . .

On TV: . . . the future isn't sunny
Mark: Fantastic! The world was meant for you. Hey man, have you been checkin' out that show that's on called "TV . . . "
FZ: No.
Mark: . . . show on . . .
Howard: TV Around The World, a BBC show. The lowest.
Mark: TV Around the World . . . [Carving women] . . .
On TV: . . . how a television program is created.

8. "Don't Take Me Down" 1:11

includes a quotation from If I Were King Of The Forest (Arlen/Harburg)

Dick: (Snorks)
Howard: "Not duke, not queen, but king." You haven't lost your touch, Gnarler, you can snork with the best of 'em.
Mark: This guy said that a couple of guys have broken in the doors and shit.
Howard: Oh, great, a riot! Just like Berlin!
Mark: They broke indoors 'cause there is a hassle about the bread or something, the money.
?: Can I carry your brief?
Mark: No, thanks.
?: No?
Howard: Can I brief your carry?
?: I'll do it.
Howard: Really! Wanna be my wife for an hour?

Howard: Right on! Right on!
(Opening Act: Thank you very much.)
Howard: Right on!
(Opening Act: That's right, don't take me down. Don't do it.)
Howard: Don't do it! Don't take me down! I don't wanna go down no more!

9. The Dressing Room 0:24

Big John Mazmanian!
Gas Rhonda!
Funny Car!
Sunday!
FZ: Thank you
Aynsley: You're welcome
Howard: Hey, listen!
Mark: My throat . . .
Howard: Send me twelve eight by ten glossies in Monday's mail
?: Fifty bucks a piece
Howard: Fifty bucks a piece? Cheap at twice the price. Call my service
?: Right
Howard: Thanks a lot man, would really . . . A funny door!

10. Learning "Penis Dimension" 2:02

Mark: "Hi, friends. Now just be honest about it, friends and neighbors. Did you ever consider the possibility that your penis, and in the case of many dignified ladies, that size of the titties themselves might possibly provide elements of sub-conscious tension . . . "
Howard: See, the trouble here, Frank, lies in the fact that on that sheet it says "that size," it doesn't say "that the size" therefore it was . . .
FZ: Get a pencil and write in "that the size."
Mark: Could I have a . . .
Howard: Well, I'm sorry.
Mark: " . . . weird, twisted anxieties which could force a person to become a politician, a policeman, a narc, a casket maker . . . "
Jeff?: An usher!
George?: A musician
Mark: "Or in the case of the ladies, the ones that can't afford a silicone beef-up, become writers of hot books!"
Howard: "I placed my burning phallus between her quivering quim!"
Mark: "A carmelite nun!"
Howard: "She placed my burning phallus between her quivering quim!"
Mark: "Or jockeys! There is no reason why you or your loved one should suffer. Things are bad enough already without the size of your organs adding even more misery to the troubles of the world! If you're a lady with munchkin tits, you can console yourself with this age old line . . . "
FZ: No, "you can CONSOLE yourself"
Mark: "You can console yourself with this age old line from . . . "
Howard: Simmons!
POOO-HHH! POOO-AHH-AHH!
Mark: "And if you're a guy . . . "
Howard: "Anything over a mouthful is wasted!"
Mark: "And if you're a guy and you're ashamed of your dick and somebody hits on you one night in a casual conversation and turns to you and says, uh . . . "
Howard: "Eight inches or less!"
Mark: "You just swivel right back around and look the sonofabitch straight in the eyes, and say . . . "

11. "You There, With The Hard On!" 0:25

Buffalo, NY
c. November, 1970

Howard: You, you there with the hard-on!
FZ: With the hard-on, the little napkin, and the small pocket mirror, would you please rise . . .
Aynsley: That's me.
Mark: Brian Hyland, ladies and gentlemen!
Howard: Sit down, Aynsley! Not you.
?: Shut up!
FZ: Ready?
Mark: Yes.
FZ: Quick! Before these people revert.

12. Zanti Serenade 2:40

(Underwood/Preston/FZ)

Rainbow Theatre, London, UK
December 10, 1971

 

13. Divan 1:46

includes a quotation from Tico-Tico no Fubá (Zequinha de Abreu)

Pauley Pavilion, UCLA, California
August 7, 1971

translation

Ballen von Zirkon
Und alten Sporthemden, Sporthemden, Sporthemden
Laken von Feuer
Laken von Gummi
Laken von Tränen
(Sheets of tears)
Ooh ooh ooh awh . . .
Laken von getrocknetem Wasser
(Sheets of drywall and roofing)
Laken von Drywall und Roofing
(Sheets of large deep-fried rumba)
Laken von riesigen, tief-gefrorenen Rumba

A light shines down from heaven
A dense ecumenical bandana
At the right hand of God's big rumba

And his voice pronounceth out
In sheets of plywood
And bales of old sportshirts
And this is what he said

Beklecker nicht
Beklecker nicht
Beklecker nicht
Beklecker nicht
Mein Sofa!

And you know what that means . . .

14. Sleeping In A Jar 1:30

Rainbow Theatre, London, UK
December 10, 1971

 

15. "Don't Eat There" 2:26

includes quotations from Sleep Dirt and Autumn Leaves (Kosma/Prévert/Mercer) and also Moonlight Bay (Madden/Weinrich) as background music

Music:
Rainbow Theatre, London, UK
December 10, 1971

Dialog:
September, 1970

Waitress: Are you having breakfast for lunch?
Howard: I'm having breakfast and he's lunched. I'll tell you what, what can you give me immediately, if not sooner? Nothing hot, nothing . . . So that by the time he's finished eating those hot cakes and those dead things that I will have finished myself
Jeff?: How about an order of sausages?
Waitress: Bacon and eggs? Are you, are you gonna have breakfast?
Dick: No no no no no
Howard: No no
Dick: No no no no no
Howard: He'll never go for that
Aynsley: No no no [...]
Dick: A roll and some orange juice
Jeff: . . . Virginia Graham
Waitress: Orange juice and . . . uh . . . a roll, uh-huh?
Aynsley: One stale roll
Dick: Yeah
FZ: Bread and water
Aynsley: One stale roll
Dick: Bread and water
Waitress: Thank you
Howard: Frank, you really missed it at that club last night. You should have seen what went on, man, if you would have had your tape recorder there, you would have been rolling on the ground, holding your sides. It was the greatest. Everybody was out of it, drinking wine, cheap wine. And then there was this group, this nice tight little group that was playin' and then they did about two numbers, and they said, "Okay, uh, any of you guys wanna come up here?" And of course old Stewed Simmons was the first one to check out the cat's guitar, and so he immediately proceeded to play lead. This chick came out of the audience, man, à la Janis Joplin in a gold lamé, only she was rancid, and she came up there and tried to sing blues changes like Buddy Miles or something, but it just didn't work and she was singing, "Get yourself together . . . You are where it's at . . . ," she did it for like . . . forty minutes, man, it was wonderful . . . People were applauding every verse . . .

16. Brixton Still Life 2:59

Rainbow Theatre, London, UK
December 10, 1971

 

17. Super Grease 1:39

(M.O.I./FZ)

includes a quotation from Lady Of The Island (Graham Nash)

Fillmore East, NYC
June 5-6, 1971

Ooooooh Aaaaaah
Ooooh
Aaaah
Howard: Poor baby!
FZ: Oooooh . . . Don't like the Greek food in this neighborhood, eh?
Oooooh . . .
FZ: Tell me the truth, what did you eat?
Mark: I ate . . .
FZ: Tell me the truth, what did you eat?
Howard: I had a shish kebab
FZ: Tell me the truth, what did you eat? You didn't eat?
Mark: I was having chicken . . .
FZ: What did you eat?
Ian?: Go-kart
Howard: He didn't eat anything. He drank wine
Mark: With, uh, spinach . . .
FZ: What did you eat?
Mark: And boiled potatoes . . .
Jim: I had a roller skate
Mark: Not just any grease but . . .
GREASE

Mark/Howard:
The brownness of her body
Makes me sweat inside my crotch
I want so much/bad to kiss her
But she smells of rancid botch/But I smell her rancid botch
Do do do do do do
Oooooooh wagh!

Mark: Grease, grease, I tell ya, all I had was grease, it cost me two dollars and thirty five cents, it was nothing but a plate of grease
Howard: And the wine tasted like . . .

18. Wonderful Wino 4:52

(Simmons/FZ)

includes a quotation from Bringing In The Sheaves (Shaw/Minor)

Rainbow Theatre, London, UK
December 10, 1971

Bringing in the sheaves
Bringing in the sheaves
We will come rejoicing
Bringing in the sheaves
Whoa!

L.A. in the summer of '69
I went downtown and bought some wine
I wasted my head on three quarts of juice
And now the grapes won't cut me loose
'Cause I'm a wino man
Wino man
WINO MAN

36, 24, hips about 30
(36, 24, hips about 30)
Seen a fine lady and I started talkin' dirty
(Seen a fine lady and I started talkin' dirty)
She looked at me and raised her thumb
(Thumb, yeah)
And said: "Jam down the road, you funky-ass bum"
(Jam it down, jam it down, funky-ass bum,
That's no way to talk to a lady!)
'Cause you're a wino man
Don't you know I am?
WINO MAN

I, I went to the country
And while I was gone
A roller-headed lady
Caught me weedling on her lawn
I am so ashamed, 'cause I'm a wino man
And I can't help myself
HELP ME SOMEBODY!

I'm a wino man
Wino man
Oh lord!
WINO MAN

My guitar playing
And my wino career are in a slump
'Cause I find myself now living
In a cardboard refrigerator box down by the Houston dump
And, oh my God, I'm so fuckin' ashamed of myself
(So ashamed of myself)
Everytime I get . . . WHOOAAAH!

I've been drinkin' all night and my eyes are gettin' red
Well, I crashed in the gutter, got bugs in my head
Bugs in my coat, been scratchin' like a dog
I can't stand water, and I stink like a hog
Give me fi-i-i-i-i-ive bucks
And a hot meal
Give me fi-i-i-i-i-ive bucks
And a hot meal
Give me fi-i-i-i-i-ive bucks
And a hot meal
Give me FI-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I. . .
Maybe an old overcoat or two
Maybe an old overcoat or two
Maybe an old overcoat or two
Oh, oh my God, I just love overcoats

19. Sharleena 4:23

Rainbow Theatre, London, UK
December 10, 1971

I'm cryin'
I'm cryin'
I'm cryin' for Sharleena,
Don't you know?
I called up all my baby's friends
'N ask'n um
Where she done went
But nobody 'round here seems to know
Where my Sharleena's been
Where my Sharleena's been

I'm cryin'
I'm cryin'
I'm cryin' for Sharleena,
Can't you see?
I called up all my baby's friends
'N ask'n um
Where she done went
(She done went)
Nobody 'round here seems to know
Where my Sharleena's been
Where my Sharleena's been

Ten long years I been lov'n her
Ten long years
And I thought deep down in my heart
She was mine (say!)
Ten long years I been lov'n her
Ten long years
I would call her my baby, and now,
I'm always cryin'
(I'm cryin', yes, I'm cryin')

Ugh!
Ugh!

I would be so delighted
I would be so delighted
If they would just
Send her on home to me

I would be so delighted
I would be so delighted
If they would just
Send her on home to me

Sharleena-leena
Sharleena-leena
Sharleena-leena
Sharleena-leena
Cry-y-y-y-yin'
Well hear me cry-y-y-y-yin'
Hear me cryin'
(Oh Sharleena!)
Hear me cryin'
(My Sharleena)
Hear me cryin'
(I called up all my baby's friends)
Hear me cryin'
(And ask'n um)
Aaaaah, hear me cryin', babe
(Where Sharleena went)
Hear me cryin'
(But you know that, nobody 'round seems to know)
Sharleena, hear me cryin'
(Where my baby's gone)
(You know I'm cry-cry-cry-cryin')
For Sharleena
(Don't you know I'm cry-cry-cry-cryin')
For Sharleena
You know I'm cryin'
(For Sharleena)
Hear me cryin'
(For Sharleena)
Hear me cryin'
(You know I'm cry-cry-cry-cryin')
For Sharleena
(You know I'm cry-cry-cry-cryin')
Hear me cryin'
Hear me cryin'
For Sharleena
For Sharleena
Sha-la-la-la . . .
Sha-la-la-la . . .
Sha-la-la-la . . .
Sha-la-la-la . . .

Why doesn't somebody somewhere right here at the Rainbow Theatre where Melanie ripped it up last night
Why don't you send her home
Why can't you send my ever loving Sharleena home
(Send my baby home to . . . )
Why can't you send her home to . . .

20. Cruisin' For Burgers 2:53

Rainbow Theatre, London, UK
December 10, 1971

Me!

I
(My oh my oh my)
(Ay ay ay)
Must be free
My
(My oh my oh my)
(My oh my oh my oh my)
Fake I.D.
Freeeeeees me
Gotta do a few things
To make my life complete
(SURE YOU DO!)
Gotta live my life
(Where?)
Out on the street
The difference between us
Is not very far
Cruising for burgers
In daddy's new car
My phony freedom card
Brings to me
Instantly
ECSTASY
ECSTASY
ECS-TA-SYYYYY

21. Diptheria Blues 6:19

(M.O.I)

Tully Gymnasium, Florida State University
October 9, 1970

Back about a hundred years ago
There wasn't anywhere you could go down here in Georgia
Mississippi
Maryland
Any of your Southern states
Now you got your honkies
And you got your ofays
And you got your soul brothers
Hundred years ago, soul brothers sat out in front of their shanties.
Poorer than a [car shack?] they was.
They sat out there with their Hohners, just like we do today.
And they played some soulful songs.
Now give me some of your [handwriting?] in the background, ladies and gentlemen
Deep terminal chronic diphtheria harmonica blues
From Asthma Mark
And the Funk Brothers
Good God!
Good God!
[...]
What is this?
I can't stand it
I can't breathe any more heartache
They just woke [?] me up
They give me my bottle of juice
They give me my Hohner
They give me my straw hat
They give me my blue prison shirt
They sit me down by the scarecrow
And they say,
"Play, boy
You been a-pickin' blueberries all day long
It's about time you really got it on
Now I know all you brothers got rhythm and you got soul
Go on and you play some, I mean
We gotta have one on every block
Just to show how cool we are
[...] on us
We'll sit back and listen to you
We'll bake your brownies at Christmas, boy
We'll take your women back to the shed
We're gonna use you to make mincemeat, boy
And then we're gonna sit down and dig on you
'Cause you play a fine harp
Fine harp, Asthma Mark."
They used to say, "Play that thing, Asthma Mark.
Play the harmonica, boy.
Play that thing."
Asthma Mark goes, "Ee-yeah!"
They go, "What?"
Asthma Mark goes, "Wee-yeah!"
Wee-yeah!
Wee-yeah!
Carlos Santana, ladies and gentlemen!

Good God!
Don't break that bottle, brother Aynsley
It's all we got

So Asthma Mark would sit on the corner
And he would play his Diphtheria Blues on his Hohner
And people would come from miles around
To see Asthma Mark a-wheezin' and a-playin'
A-playin' and a-wheezin'
And a-spewin'
And a-foamin'
They say,
"We love you, Asthma Mark
And we sing with you
The old Diphtheria Blues"

I can't breathe
I can't breathe
My throat's a-sweatin'
My eyes are waterin'
My athlete's foot went south for the winter
Oh, I can't stand it
What's gonna happen to me?
Oh, diphtheria got me down
Oh, San Antonio epidemic now
Oh [...]
Oh Diphtheria Blues
[...] say
Gonna play in this shack
Gonna [...] through
Get bit on the back
[...] some mosquitoes [...]
[...] flies in my face
Gotta get out of here
No-good funky blues
Diphtheria Blues
Got me down
Diphtheria Blues
Got me down
Can't stand it no more
Diphtheria Blues
Just [...]
Blue Cross won't pay
Diphtheria Blues
Diphtheria Blues
Diphtheria Blues, yeah
Diphtheria Blues, oh
Diphtheria Blues [...]
Can't stand it
Oh no
Oh no
OW!

OW!

HOO-AAHHH!

Diphtheria Blues
Diphtheria Blues
Diphtheria Blues
Diphtheria Blues

Can't stand it
Oh no
Oh no
Diphtheria Blues
Diphtheria Blues

Play that thing, Asthma Mark

Good God!
Good God!
Amen . . .

John Lennon: Okay?
FZ: Sit down and cool it for a minute so you can hear what we're gonna do!
John Lennon: Yeah, this is a song I used to sing when I was in The Cavern in Liverpool. I haven't done it since so . . . Two, three, four . . .

22. Well 4:43

(Walter Ward)

Fillmore East, NYC
June 6, 1971 (late show)

You know I love you, baby, please don't go, well, well
You know I love you, baby, please don't go, well, well
You know I love you, honey child
There's nothing I wouldn't do for you right now
You know I love you, baby, please don't go, well

You know I love you, baby, please don't go
You know I love you, baby, please don't go
You know I love you, honey child
Nothing I wouldn't do for you right now
Y'know I love you, baby, please don't go, well
Zappa!

You know I want you, baby, please don't go, well, well
You know I want you, baby, please don't go
You know I love you, honey child
There's nothing I wouldn't do for you right now
You know I want you, baby, please don't go, well

Well, you know I love you, baby, please don't go, well
You know I love you, baby, please don't go
You know I love you, honey child
There's nothing I wouldn't do for you right now
I know I love you, baby, please don't go, well
Yeah!

23. Say Please 0:57

(Lennon/Ono/FZ)

Fillmore East, NYC
June 6, 1971 (late show)

Please!
Say please!

FZ: We'll take turns conducting
John Lennon: Okay

24. Aaawk 2:59

(Lennon/Ono/FZ)

Fillmore East, NYC
June 6, 1971 (late show)

 

25. Scum Bag 5:53

(Lennon, Ono, Kaylan, FZ)

Fillmore East, NYC
June 6, 1971 (late show)

Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Eh, yo, yeah, yo
Scum Bag
(Gonna put all my possessions in a)
Scum Bag
(Gonna shut my dreadful lemons in a)
Scum Bag
(Gonna put my dirty movies in a)
Scum Bag
(Gonna put my, all my records in a)
Scum Bag
(Gonna put my old high school in a)
Scum Bag
(Everybody, everybody got a)
Scum Bag
(Oh, my friend here, baby, he's a)
Scum Bag
(Everybody)
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
(Oh, Yoko's in a)
Scum Bag
(Everybody, everybody)
Scum Bag
Scum Bag!
(All God's children gotta)

Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag!
Oh, Scum Bag
Ah, ooh, gotta Scum Bag, Scum Bag
Choo choo choo . . .
Scum Bag, Scum Bag, Scum Bag

Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag

FZ: Hey, listen! I don't know whether you can tell what the words are to this song, but there's only two of them, and I'd like to have you sing along 'cause it's real easy. Anybody who comes to the Fillmore East can sing the song. The name of the song is "Scum Bag," okay? And all you gotta do is sing "Scum Bag." Right on, brothers and sisters, let's hear it for the Scum Bag!

Scum Bag
Scum Bag
Come on, come on, come on
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag

Scum Bag, baby, Scum Bag
Scum Bag

Scum Bag, baby
Scum Bag, baby
Scum Bag, baby
Scum Bag, baby
Scum Bag to me, baby

Scum Bag
(Scum Bag to me, baby)
Scum Bag
Scum Bag
(Scum Bag to me baby)

Scum Bag
SCUM BAG
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Do the Scum Bag, hey

Scum Bag
Scum Bag
(Scum Bag, hey)

Scum Bag
Scum Bag
Answer now

Scum Bag
Scum Bag
Scum Bag, Scum Bag, Scum Bag
Scum Bag . . .
Ooh, Scum Bag
Scum Bag
Scum-bag
Scum-bag
Scum-baaag
Scum-baaag
Scum-baaaaag
Scum-baaaag, scum-baaaag, scum-baaag . . .

FZ: Good night, boys and girls!

26. A Small Eternity With Yoko Ono 6:07

(Lennon/Ono)

Fillmore East, NYC
June 6, 1971 (late show)

FZ: Good night!
John Lennon: Good night, thank you!
Yoko Ono: Thank, thank you
John Lennon: We'd like to thank Frank for having us on here
Yoko Ono: Yeah, he's great, isn't he? He's the greatest . . .

disc 2

A TYPICAL DAY ON THE ROAD, PART 2

(M.O.I.)

1. Beer Shampoo 1:39

includes a quotation from New York's A Lonely Town (Andreoli/Poncia)

Mark: That's the kind of guy [...]
Aynsley: When you just stopped it was running on your head.
Howard: Well I had to do an Edward Arnold slow-burn, man, there was nothing else I could do, 'cept play it for all it was worth.
Aynsley: I said the only other thing to do is go get another can of beer and pour it over HIS head . . .
Howard: Well, it was already getting silly, man. I mean, it was remedial as it is, I think . . .
FZ: Ha ha!
Howard: Let's not make it too childish.
Aynsley: [...]
Mark: Every night for a year and a half, man, no matter how sick I was, or how I felt on stage . . .
?: Howie [...]
Mark: He, I used to sing, he used to sing "How is the weather" in "Happy Together" and pour a whole glass of water over my head, man, and he liked it so much that he made it an integral part of the show, the kids loved it, so I just let it keep happening.
Aynsley: He can't stand it, man, that's all . . .
Mark: And you're just a pansy ass, kiss ass little girl . . .
?: Ha ha ha!
Mark: Simmons!
Howard: Beer is another thing, man! I'm fucking soaked!
Mark: They use beer in some shampoos, Howard.
Howard: I don't give a shit, that's all I know it that water would dry up and not stain, and he ruined my shoes, man! I can't believe it.
?: Ohhh!
Mark: Materialist!
Howard: Hey lookit, patent leather!
Mark: Materialistic! Materialistic!
Howard: You're the dude who said . . .
(scuffle)
FZ: Oh oh oh!
Mark: Materialist!
?: Ohhh.
Howard: Don't do it to you, I don't have any beer, man.
Aynsley: Okay.
Mark: "New York's a lonely town."
Howard: I can't even . . . you keep your hands off me you creep
Mark: "And you are the only . . . "
Jeff: You creep, ha ha!
Howard: Stop it, man!

2. Champagne Lecture 4:29

FZ: You know, a lotsa people don't bother about their friends in the VEGETABLE KINGDOM. They think, "What can I say? What can a person who is new to the Midwest say to a vegetable?"
Howard: Suss it out, wankers!
FZ: Suss it out, wankers!
Mark & Howard: Suss it out, wankers!
Jeff: Suss it out, wankers.
FZ: Suss it out, wankers!
Mark & Howard: Suss it out, wankers!
Aynsley: Suss it out, wankers . . . what's the matter with you?
Howard: Aynsley Dunbar!
FZ: And after "Suss it out, wankers" . . .
Mark: Ok.
FZ: You go and get yourself a big bottle of champagne!
Mothers: AAAH!
FZ: Find yourself a young vegetable victim!
Mothers: Yeah!
FZ: Take your young vegetable victim . . . Step one, now this is very important, you have to do it exactly this way. Bring the band on down behind me, boys, this gets technical! First: You get a Polaroid camera . . .
Mothers: Yeah!
FZ: And you make one good jump, from a balcony to another balcony on the seventh floor of the Sheraton Hotel in Jacksonville.
Howard: Aynsley Dunbar, ladies and gentlemen.
FZ: When you land on the other balcony with your Polaroid camera, something like this . . .
Mothers: Heeey!
FZ: Shoot off one good flashbulb catching . . . The agent will immediately turn around and say, "You know, I sure would like to have that photograph." You walk up to the agent and say, "Well, huh, funny you should mention it, I have this photograph here and just about time to develop it, yes it turned out great, it shows both of you here, and I'll give you this photograph if you'll give me the munchkin vegetable that you're with in order that I might make a few more pictures . . . " So you make a quick trade, holding the champagne bottle in abeyance until the rest of the members of your band have jumped over the same balcony . . .
Mothers: Eeeeeeeeh!
FZ: And come in and taken their places around the bed where the munchkin vegetable is laid out, posing: Leg up in the air, leg down, leg to the side. Then, after some deft manipulation of the vital parts of the munchkin vegetable . . .
Jeff: Hey, I want some baby to hold my tool and squeeze it
FZ: With one masterful stroke, or maybe you might use several masterful strokes—shake up the magnum of champagne to a foamy froth, holding your thumb over the end of it . . .
Aynsley: No, no, no . . . you left the cork in, Frank, you pull the cork out it . . . Suss it out, wankers!
Howard: They're a hip audience, Frank, they know what's gonna happen next!
FZ: After the band has given you complete attention, and is watching closely for the precise moment of the detonation of the alcoholic beverage into the vital organ, you give a sort of casual glance around the bedroom of the Sheraton, a suave little smile and wink one eye, adjust your bow tie, and just stuff it right in there!
Mothers: Aaaah!
FZ: And then you tell 'em how you feel. You whip it right out, take a snort off of it . . .
?: How do you feel?
Mark: Aynsley Dunbar . . .
FZ: No, no, no . . .

3. Childish Perversions 1:31

includes a quotation from It Don't Matter To Me (Gates)

Howard: Oh, still drinks it, man . . . what a man! Gotta prove himself!
Mark: Talk about childish perversions!
Howard: Where's Simmons?
Mark: It don't matter, he's in the, he's gettin' out of it, man. He knows where . . .
Aynsley: He knew what he's got out, man.
Howard: I'll get him, man . . .
Aynsley: Here, take [...]
Howard: Yes, Aynsley, you give me the cue and you let me know when is safe to get him . . .
Aynsley: Ok, man, I don't mind beer poured on my head, when I'm saturated . . . you can pour it on my head, any time.
Howard: I don't wanna pour it on your head, man.
Ian?: What am I waiting for, man?
Aynsley: Just shut up, Georgie.
Mark: There he is, man.
Howard: Fucking creep, I can't even stand it! You, you're so jive I can't even believe it, man!
Mark: For a year and a half he used to pour water over my head.
Howard: Water! It's what . . . I could have stood water!
Jeff: Well, what I'm saying is . . . He did it to me
Howard: A little bit, man . . .
Jeff: A little bit? Feel that! It's still wet, man!
Mark: Well, listen, I mean, look at that
Jeff: Well, listen, man. Hit me. Take me.
Howard: I don't wanna hit you . . .
Jeff: Take me. Take me, I'm yours. Take me away, man.
Howard: It don't mean anything now, man!
Jeff: I heard you ranting and raving you were gonna get me, man.
Howard: What are you saying, man?
Jeff: I was up on the second floor of the stairs, just goin', "Wow, man!" Barber's voice is getting uptight and everybody's eeeeeh!
Howard: What are you talking about, man? Nobody plotted to get you! You lied there on the ground.
Jeff: No, I mean just now!
Howard: You . . . Oh, that!
Jeff: I didn't mean . . . No one plotted get me, no one wants to get me.
Howard: I wanna get you.
Jeff: Now you do.
Howard: I wanna get you . . . I'm gonna get you.
Jeff: Okay . . . get me, man.

4. Playground Psychotics 1:08

Jeff: Put that mike down, Frank, it's obscene
Aynsley: Next time you say anything to me, Howard, I'm gonna [...]
Howard: Give me my little cup of brown sauce and let me dip my meat in it.
Mark: Oh, man.
Jeff: Hundred dollars for a pinto bean. Playground psychotics.
Howard: I slipped my burning phallus in her quivering quim!
Mark: Oh, man.
Jeff: Do you like to offend the other passengers, Underwood? Keep quiet!
Howard: Underwood, the only thing that offends are your green socks! Green velour!
Jeff: Cobwebs . . .
Aynsley: Could you, could you repeat that?
Jeff: . . . of your mind.
Howard: Now, just take your hand off my leg.
Dick?: Take your hand off my leg
Howard: Listen, what is this? Okay, grab my tit, I'll sit still, you pervert. Ah, you're so low.
Jeff: The Andy Devine School of Voice. You are low, Dunbar.
Howard: I just keep . . .
Aynsley: I always keep it low, Jeff, 'cause I'm only after one thing.
Jeff: You are ebbing.
Mark or Howard?: God, you're incredible, man.
Aynsley: Who?
Howard: Haven't any of the chicks you've gone out with seen through you yet?
Aynsley: No, man, they still quite like me.

5. The Mudshark Interview 2:39

includes The Look Of Love (Bacharach/David) and Wives And Lovers (Bacharach/David) as background music

The Edgewater Inn, Seattle, Washington
c. September 20, 1970

FZ: What's your name?
Martin Tickman: I'm Martin Tickman
FZ: And what is your position here?
Martin Tickman: Front office manager
FZ: The name of this stablishment is . . . ?
Martin Tickman: This is the Edgewater Inn
FZ: In Seattle, Washington. Can you tell me, uh, how some rock & roll groups have taken advantage of this unique situation?
Martin Tickman: They've taken advantage in different ways, and we do encourage, uh, and advertise that you can fish from your room and we are glad to have our guests fish from 'em
FZ: Do you supply them with fishing equipment?
Martin Tickman: No, but we have a shop in the hotel that does rent the equipment as well as bait
FZ: What sort of bait do they usually use?
Martin Tickman: Uh, it's a preserved minnow of some variety, I don't know exactly what the fish is
FZ: Well, what do they do after they fish from the window?
Martin Tickman: Well, rock & roll bands and other guests as well often catch shark and squid and octopus and usually we, it lands up either in the bath tub or dribbled on the floor on the way to the bath tub
FZ: Mm-mmh . . .
Martin Tickman: But it's not reserved to, uh, to any rock & roll bands, I mean, other guests do it too
FZ: Mm-mmh, but how frequently do you find squids and sharks and octopuses in the bath tubs of the rooms here at the hotel?
Martin Tickman: After almost any good weekend of pretty heavy occupancy, say like over half the house filled
FZ: If you have over the . . .
Martin Tickman: Way, way . . .
FZ: . . . over half house filled you'd find one, say?
Martin Tickman: Yeah, say, one or something like that
FZ: So how often would you say that is each week? Twice a week you'd find a . . . ?
Martin Tickman: Well, I would, I don't know that I would say that it would average to anything like that, you may find on four or five rooms with fish from various places, you know, around. But there's not much you can do with the shark after you've caught him, you know, some of these things are pretty big
FZ: What would you imagine is done with these, uh, sharks after they've been caught before they are left, uh, for you to be cleaned up?
Martin Tickman: Sometimes the guest calls the houseman or housekeeper to haul it away because there's nothing that they can do with it
FZ: Yeah, well. Have you ever heard of any other things that were done with them before they were hauled away?
Martin Tickman: Yes, a lot of, some people like to, uh, perform vivisection on 'em, or something like that. Occasionally you find that little bit of mess . . .
FZ: Yeah
Martin Tickman: I'll say that the, the, the "blood on the carpet" syndrome is rather, eh, rather rare, but it did occasionally happen
FZ: Do you ever find fish blood on the sheets of your beds here?
Martin Tickman: Not identifiable as such, no . . .
FZ: I see. Do you know of any stories about, uh, bizarre sexual activities performed with squid, octopus and mud sharks here in your rooms?
Martin Tickman: No . . . I should think a mud shark would be a little uncomfortable, since their skin is so sandy but, uh, never heard of anyone having it with an octopus

6. "There's No Lust In Jazz" 0:55

Mark or Howard?: Okay, is it just about time, you guy? What d'you say?
?: It's time for the mass.
Jeff: Uh . . .
Mark: One?
Jeff: Rolling?
Mark: Rolling . . . Frank is rolling.
Howard: Rolling? It's rolling . . . ? One!
?: It's the mass.
Mark: Test two. Test . . . three. Oh, now this is what I call brotherly love.
Howard: Man, she's really hung, man. Now there are tits.
Aynsley: Get your dick in between that [...]
Aaaaah . . .
Howard: No stopping! Oh, I'm telling you . . . There is a chick what am hung.
Jeff?: Oh yes . . .
Mark:And she enjoys every moment of it.
Howard: She wants you, Dick.
Aynsley: She's waiting for your big . . .
Dick: Oh, listen.
Jeff: Bwana?
Howard: She said give me the guy with the throb.
AAH!
Jeff: Oh . . . really?
Howard: Okay, enough.
Jeff: What can you say?
Howard: See you later.
Mark: See, this is what happens when you join a, a rock group, George, and get off that jazz syndrome.
George: Is this like the old [...]
Aynsley: [...] just wanna show us lads what she's got.
Jeff: Oh, man.
Mark:There's no lust in jazz.

7. Botulism On The Hoof 0:47

Howard: Whoa, that's really great! Botulism on the hoof!
Dick: Don't even look at it, Howard, you're over the deadline.
Jeff: The new fascist ensemble says that you can't have anything to eat, man. You're over the deadline.
Howard: What's that mean?
Dick: I told you to be down here at noon, man. You're five minutes late, so you can't order.
Jeff: Listen, listen . . .
Howard: You . . . told who to be down at noon?
Dick: Frank— These guys ordered like ten minutes ago.
Howard: It's like having Ronald Reagan for a road manager. What can you make me in two minutes . . .
Dick: The deal is that, uh . . .
Howard: . . . besides sick?
Dick: If you help me, uh, expedite matters to the airport, man, you might be able to woof down some kind of scarf out there.
Howard: What do you mean, "Woof down some kind of scarf out there"?
Dick: It means you can stick your fingers in your nose.
Howard: I'm hungry, man.
Dick: Eat a Payday candy bar.
Howard: Listen, how about a little dry cereal? How 'bout a orange juice.
Dick: Never happen, man.
Jeff: Hey, get it on tape that Barber is a doofus, man.

8. You Got Your Armies 0:10

Fillmore West, San Francisco, CA
November, 1970

Jeff: Ho.
Mark: Hup hup.
Jeff: Let me tell you right now, man. You got your armies; you got your rock bands. You try and turn a rock band into an army, this is what you get.

9. The Spew King 0:24

Edmonton, Alberta, Canada
September 18, 1970

Howard: I think the big problem, Ian, is that you've sort of gotta go "HOO-HAA!" as you do it. You go, HOO-WAAARGH! See?
George?: [...] brown out.
Howard: You're gonna be the king, the spew king, really.
Ian: My larynx . . . disintegrated in two seconds.
Howard: Walterdale.
Aynsley: Oh, God, there's a few people here already.
Howard: There's a lot of people here.
Aynsley: My God.
Howard: They're all twelve years old and pimply.
Aynsley: Are they penetratable?

10. I'm Doomed 0:25

Seattle, Washington
September 20, 1970

Howard: We gotta do two shows tonight?
Jeff: Yep. I hope you didn't use up your vital . . . statistics.
Aynsley: I know he should have been doing that.
Howard: I'm doomed. Two shows, man . . .
Aynsley: And there're two shows in Portland, I mean.
Dick: Yeah.
Howard: Couldn't have spared me another twenty minutes sleep, another three hours worth of sleep, could have driven down?
Dick: I cut it to the bare minimum, Howard.
Howard: Yeah, man, you're OD'ing on Preparation H at this very moment.

11. Status Back, Baby 2:49

includes quotations from Petrushka (Stravinsky) and Agon (Stravinsky)

Fillmore East, NYC
June 5-6, 1971

FZ: Of course we'll send the penguin through the flaming hoop tonight!
Guy In The Audience: "Concentration Moon"!
FZ: Of course we'll play "Concentration Moon" for you! One, two, three, four . . .

Ooo-Ooo-Ooo etc., etc.,
AH-AH WA WA WA WA WA WA WAH!

I'm losin' status at the high school
I used to think that it was my school . . .
WOW WOW WOW!
I was the king of every school activity
But that's no more . . . oh mama!
What will come of me?

The other night we painted posters
We played some records by the Coasters
WOW WOW WOW!
A bunch of pom-pom girls looked down their nose at me.
They had painted tons of posters; I had painted three.
I hear the secret whispers everywhere I go
My school spirit is at an all-time low . . . OH NO!

FZ: Of course we'll play "Petrushka"!

I'm losing status at the high school
I used to think that it was my school . . .
WOW WOW WOW!
Everyone in town knows I'm a hand-some football star
I sing & dance & spray my hair & drive a shiny car
I'm friendly & I'm charming . . . I belong to De Molay
I'm gonna try like mad to get my status back today!
Status back baby
Status back baby
Status back baby
Status back baby

12. The London Cab Tape 1:24

(M.O.I.)

includes a quotation from King Kong

London, UK
c. November 29, 1970

Howard: Fuckin' guy has flipped out, man! Ought to be locked up!
Jeff: Who, me . . . ?
Howard: Yeah, you too!
Jeff: It was anti-semitic of me to bring it up.
Mark: What, you don't like Jews, man?
Jeff: Let me make it perfectly clear, Volman. I don't mind that you're a Jew. Stay out of my way. Take your Bar Mitzvah, man, and shove it.
Mark: I never had a Bar Mitzvah.
Jeff: You have a yarmulke, man?
Mark: No, I wore one once, though . . .
Jeff: I knew it.
Mark: What's wrong? You don't like 'em, man?
Howard: Probably don't like cowboy hats, either.
Jeff: [...] Just keep it out of my way, man, I don't wanna see that yarmulke on stage ever . . .
Howard: Uh . . . well, I don't know, man, that'd be sorta neat. Not in this group of course, but tomorrow.
?: Right, right.
Jeff: Howard Kaylan World!
Mark: The Yarmulke.
FZ: Ha ha ha!
Jeff: Dear Frank, thanks for paying a hundred twenty three dollars for my meal in Amsterdam.
Mark: . . . which I didn't want anyway.
Howard: I hated!
Jeff: I really enjoyed playing in your little own ensemble.
Howard: For a day or so.
Jeff: Thanks for bringing a little slice of sunshine into my life.
Howard: Thanks for showing me how sh . . . shitty the music business could really be. I thought I knew.
Jeff: Thanks for making me the worst bass player in the world. After six months with the Mothers I figured I've lost everything I ever had.

13. Concentration Moon, Part 1 1:20

Fillmore East, NYC
June 5-6, 1971

Concentration Moon
(Over the camp in the valley)
Over the camp in the valley
(Concentration Moon)
(OH WHAT A)
Concentration Moon
(I wish I was back in the alley)
Wish I was back in the alley
With all of my friends,
Still running free:
(Running free!)
Hair growing out
Every hole in me
(That's right, you heard right:
Hair growing out
Every hole in me!)

AMERICAN WAY
How did it start?
Thousands of creeps
Killed in the park
AMERICAN WAY
Try and explain
Scab of a nation
Driven insane
Don't cry
Gotta go bye bye
SUDDENLY: DIE DIE
COP KILL A CREEP! pow pow pow

FZ: And speaking of creeps, here they are, ladies and gentlemen . . .

14. The Sanzini Brothers 1:33

(Underwood/Volman/Kaylan)

Fillmore East, NYC
June 5-6, 1971

FZ: The Sanzini Brothers!
Howard: The Sanzini Brothers!

Mark: Ladies and gentlemen, tonight by special request, we're going to repeat a trick that we performed last night. We hope that you will bear with, if you saw it, we hope that you enjoy it again . . .
Aynsley: Yeah, yeah, yeah.
Mark: My brothers Adolf, Rudolph, Pissoff, and Jackoff. The Sanzini Brothers. And we'd like to perform for you tonight the world famous "Sodomy Trick"!

Howard: Complete silence, please!
FZ: The Sodomy Trick! Quiet . . .

Hup! Hup! Hup! Hup!
Ho! Hun! Hey!

Little Carl . . .

16. Concentration Moon, Part 2 2:04

Fillmore East, NYC
June 5-6, 1971

FZ: Carl Sanzini will now join in on the second verse of "Concentration Moon"!
Howard: Why don't you?

Concentration Moon
Over the camp in the valley
(OH WHAT A)
Concentration Moon
Wish I was back in the alley
With all of my friends,
Still running free:
(Carl Sanzini, ladies and gentlemen!)
Hair growing out
Every hole in me
(That's right, you heard right
And here's one for little Carl)

AMERICAN WAY
Threatened by US
Drag a few creeps
Away in a bus
AMERICAN WAY
Prisoner: lock
SMASH EVERY CREEP
IN THE FACE WITH A ROCK

Don't cry
(No no no no)
Don't cry
(No no no, no-no-no no no)
Don't cry
(No no no no)
Don't cry
Don't cry, don't cry
Don't cry, don't cry
Don't shoot (no no no no no)
Don't shoot (no no no no no)
Don't shoot (no no no no no)
Don't shoot (no no no no no)
COP KILL A CREEP!
COP WANT A CREEP!
KILL ANOTHER CREEP!
KILL THE FUCKING CREEP!

17. Mom & Dad 3:16

Fillmore East, NYC
June 5-6, 1971

Mama! Mama!
Someone said they made some noise
The cops have shot some girls & boys
You'll sit home & drink all night
They looked too weird . . . it served them right

Never take a minute just to show a real emotion
In between the moisture cream & velvet facial lotion?
Ever tell your kids you're glad that they can think?
Ever say you loved 'em? Ever let 'em watch you drink?
Ever wonder why your daughter looked so sad? (So sad!)
It's such a drag to have to love
(Oh, it's such a drag to have to love)
A plastic Mom & Dad

Mama! Mama!
Your child was killed in the park today
Shot by the cops as she quietly lay
By the side of the creeps she knew . . .
They killed her too.

FZ: Thank you!
Mark: There's lots of dancing in this, you know, it's k-, kinda like Off Broadway, way off . . .

18. Intro To Music For Low Budget Orchestra 1:32

Fillmore East, NYC
June 5-6, 1971

Howard: Ready, Marge?
Mark: Photography by Art Laboe
Howard: Grow, little trees!

FZ: It's spring, the time of the year when all things grow and little buds are sprouting off of them . . .

19. Billy The Mountain 30:25

includes quotations from Pomp and Circumstance March No. 1 in D major (Edward Elgar), Mr. Tambourine Man (Bob Dylan), Johnny's Theme (Paul Anka), Off We Go Into The Wild Blue Yonder (Crawford), O Mein Papa (Paul Burkhard) and Star-Spangled Banner (Smith/Key)

Fillmore East, NYC
June 5-6, 1971

BILLY the Mountain
BILLY the Mountain
A regular picturesque
Postcardy mountain
Residing between lovely
Rosamond and Gorman
With his stunning wife ETHELL,
A tree!
A tree!

BILLY was a mountain
ETHELL was a tree
Growing off of his shoulder

BILLY was a mountain
ETHELL was a tree
Growing off of his shoulder

Billy had two big
Caves for eyes,
With a cliff for a jaw
That would go up 'n down,
And whenever it did,
He'd puff out some dust,
And hack up a boulder
(HACK!)
Hack up a boulder
(HACK! HACK!)
Hack up a boulder
(HACK! HACK! HACK!)
Hack up a boulder

Now, one day, a man in a checkered suit drove up in a big Lincoln Continental, and he laid a HUGE, BULGING ENVELOPE right at the corner of BILLY THE MOUNTAIN, right where his 'foot' was supposed to be.

Now, BILLY THE MOUNTAIN, he couldn't believe it! All those postcards he'd posed for, for OVER THESE YEARS, and finally, now, AT LAST, his Royalties!

Royalties!
Royalties . . .
Royalties!
Royalties . . .
Royalties!

BILLY THE MOUNTAIN was RICH! His eyeball-caves widened in amazement, his cliff (which was his jaw), it dropped thirty feet!

Ooh, a bunch of dust puffed out! Rocks and boulders hacked up, (hack! hack! hack! hack hack! hack! hack!) crushing 'The LINCOLN'!

Now, the man in the checkered suit, well, without his car he went screaming off into the desert at sunset (AAAA-AAA-AAAAH!) all the way to Rosamond to get a beer and tell everybody there including Ronnie Cook what had happened to his car.

I gave him the money
He acted real funny
He hocked up a rock and
It TOTALLED my car!

Oh, do you
Know any trucks
Might be bound for THE VALLEY?
I don't wanna stand here
All night in this bar
(Dear Lord)

I don't wanna stand here
All night in this bar
(No shit!)

I don't wanna stand here
All night in this bar!

By two o'clock, and the bars had already closed down, BILLY had already broken 'THE BIG NEWS' to ETHELL. With dust and boulders everywhere, BILLY, choked with excitement, announced . . .

"ETHELL, we're going on a VACATION!"

Yes, and they WERE going on a vacation! (Oh, and ETHELL, ETHELL, ETHELL, ETHELL just like a woman, of course she was delighted! She creaked a little bit, and some old birds flew off of her . . . Hey, Mr. Tambourine Man, play a song . . . ) BILLY told ETHELL they were going to . . . They were going to NEW YORK!

"ETHELL, we're going to . . . New York!"

But first they would stop in LAS VEGAS . . .

It's off to LAS VEGAS
to check out the lounges
Pull a few handles,
Drink a few beers,
(Oh, ETHELL!)

ETHELL, my darling,
you know that I love you!
I'm glad we could have a
Vacation this year!
(Oh, NEET-O!)

Glad we could have a
Vacation this year!

They left that night, crunchin' across the Mojave Desert . . . their voices echoing through the canyons of your minds

"ETHELL, wanna get a cuppa cawfee?"

(Howard Johnson's! Howard Johnson's!
Howard Johnson's! Howard Johnson's!)

"Ahhh! there's a HOWARD JOHNSONS! Wanna eat some CLAMS?"

The first noteworthy piece of real estate they destroyed was EDWARDS AIR FORCE BASE . . .

And TO THIS VERY DAY, 'Wing Nuts' and Data Reduction Clerks alike, speak in reverent whispers about that fateful night when TEST STAND #1 and THE ROCKET SLED ITSELF got LUNCHED! By a FAMOUS MOUNTAIN-IN and his SMALL, WOODEN WIFE.

Good bye to LAS VEGAS
Farewell to the lounges
We pulled a few handles
We drank a few beers
(CHUG-A-LUG-A-LUG!)

Guess that GEORGE PUTNAM
Should be on the air now
With the biggest new story
That has broken this year
(GEORGE PUTNAM!)

His biggest new story
That has broken this year
(Take it away, George!)

"Word just in to the KTTV News Service undeniably links THIS MOUNTAIN and HIS WIFE to drug abuse and pay-offs as part of a San Joaquin Valley SMUT RING! However, we can assure parents in the Southern California area that a recent NARCOTICS CRACK-DOWN, in Torrance, Hawthorne, and Lomita, will provide the SECRET EVIDENCE the Palmdale Grand Jury has needed to seek a CRIMINAL INDICTMENT, and pave the way for STIFFER LEGISLATION, increased FEDERAL AID, and AVERT A CRIPPLING STRIKE of Bartenders and Veterinarians throughout the INLAND EMPIRE. But it is This Reporter's Opinion that ETHELL is a FORMER COMMUNIST . . . "

WITHIN THE WEEK, Jerry Lewis had hosted a Telethon ("Wah wah wah, nice lady!") to raise funds for the injured (injured . . . ) and homeless (homeless . . . ) in Denver, as BILLY had just levelled it, and, a few miles right outside of town, BILLY caused a 'Oh Mein Papa' in the Earth's crust, right over the SECRET UNDERGROUND DUMPS where they keep the POOLS OF OLD POISON GAS, and OBSOLETE GERM BOMBS, just as a FREAK TORNADO cruised through . . .

(My baby, my baby, my baby, my baby)
AH!
(My baby, my baby, my baby, my baby)
POO-AHH!
(My baby, my baby . . .)

. . . sucking up two thirds of it (SUCK! SUCK! SUCK!) for UNTIMELY DISPERSAL over VAST STRETCHES of THE MID WEST!!!

Now, it was about this time, I think it was right outside of Columbus, Ohio that BILLY got his NOTICE TO REPORT for his INDUCTION PHYSICAL. Now, believe me, ETHELL said she wasn't gonna let him go!

"I'm not gonna let you go, BILLY!"

And GEORGE PUTNAM, the RIGHT-WING CREEPO FASCIST PIG NEWSCASTER from Los Angeles said . . . (Take it away GEORGE PUTNAM, the RIGHT-WING FASCIST RADICAL CREEPO PIG NEWSCASTER from Los Angeles!)

"We now have CONFIRMED REPORTS from an INFORMED ORANGE COUNTY MINISTER, that ETHELL is still an ACTIVE COMMUNIST, and it's This Reporter's Opinion that she also practices WITCH-CRAFT!"

It was about this time that the telephone rang in the SECRET BRIEFCASE belonging to THE ONE MORTAL MAN who might be able to stop all of this senseless destruction and save 'AMERICA HERSELF'!

Now, some men say he looked like (he looked like) FELIX PAPPALARDI (Felix Pappalardi); still others say (others say), bullshit, man (bullshit, man) he was just born (he was born) next to the Frozen Beef Pies at GRISTEDE'S (Frozen Beef Pies). Still others say (others say he was just another), uh-huh, and uh-huh again, he was just a crazy Italian (crazy Italian) who drove a RED CAR. You see it was hard to tell (but nobody knows), nobody knew for sure (for sure), he was so (so-o-o-o-o-o) mysterious (mysterious), oh yes, he was . . .

HE WAS SO
(He was so, he was so!)
MYSTERIOUS!

HE WAS SO
MYSTERIOUS!

'Cuz when a person gets to be
Such a HERO, folks,
And MARVELOUS BEYOND COMPUTE,
You can never REALLY TELL
About a GUY LIKE THAT
(Whether he's really a NICE PERSON
Or if he just SMILES A LOT),
(What?)
Or if he has a son named 'PINOCCHIO',
Or what?

Whether he's really a NICE PERSON or if he has a son named 'PINOCCHIO' or what?

Some men say he could FLY
Some men say he could SWIM
Others say he could SING (like NEIL SEDAKA),
And all the girls in FLUSHING
Would be AMAZED of HIM
(Two, Three!)
AMAZED of HIM!

Time passing (right!) . . .
January, February . . .
1975, 1986 . . .
March, 1914 . . .

So when the phone rang (thank you)
In the secret briefcase,
(Thank you)
A strong masculine hand
With a wristwatch
And flexy bracelet
GRABBED IT
And answered
In a deep, calmly assured voice:

"Yes, this is he! What? . . . A mountain . . . with a tree growing off of its shoulder . . . ? You're fulla shit, man . . . what? Wha-, uh, are, are you sure? Oh well, alright, let me write this down then, sorta take a few notes here . . . To NEW YORK? Causing UNTOLD DESTRUCTION?"

(My baby, my baby, my baby, my baby, OH!
My baby, my baby, my baby, my baby,
My baby, my baby,
My baby, my baby, my baby,
My baby, my baby)
UH-OH!
(My baby, my baby, my baby)
AHH!

"Wanted for DRAFT EVASION? Can I, can I fly there immediately and REASON WITH HIM? An expense account? And per diem, too?"

SOME MEN SAY HE COULD DANCE!

Yes, he could DANCE. And here it is, Ladies and Gentlemen: THE STUDEBAKER HOCH DANCING LESSON & COSMIC PRAYER FOR GUIDANCE featuring Aynsley Dunbar . . .

Twirly, twirly, twirly, twirly, twirly, twirly, twirly . . . Hey!

RIGHT HAND FROM THE HEART-UH
(Professional)
LEFT HAND FROM THE HEART-UH
(Exquisite)
RIGHT HAND FROM THE HEART-UH
(Homunculus)
LEFT HAND FROM THE LEFT SHOULDER
TO THE HEART-Uh

Twirly, twirly, twirly, twirly, twirly, twirly, twirly, twirly . . . Hey!

There were a number of very peculiar rumors circulating about STUDEBAKER HOCH recently. Consider if you will the rumors that have spread that he could write THE LORD'S Prayer on the head of a pin!

Some men say he could write THE LORD'S Prayer
On the head of a
Head of a
Head of a pin
Ah!
(Three Dog Night)
(Yeah)

Other still maintain the FACT! (Good God!)
He was born next to the Frozen Beef Pies
(And that was the main influence on HIM!)

Boldly springing into action, he phoned his wife (who ran a modeling school), WHEREUPON SHE . . . HE ran around the back of 'GIMBEL'S' to see if he could find some big un-used cardboard boxes . . .

After which, he hit up GRISTEDE'S for some 'KAISER BROILER FOIL', some 'AUNT JEMIMA SYRUP', and a pair of blunt scissors! Hey-hey!

Yes, and in the parking lot across the street from the One Fifth Avenue Hotel (in between a pair of customized trucks where nobody was looking), he cut out a pair of really, really NICE WINGS, and he covered 'em thoroughly with foil . . . thoroughly with foil thoroughly with foil . . . thoroughly with foil . . . thorougly with foil . . .

TH-thor-thorough-LY with FOIL-L
Th-th—thorough-LY wi-TH wi-TH FOIL-L-L!

Then he took those 'WINGS' and wedged one under each of his powerful arms and sneaked into a telephone booth . . .

He CLOSED THE DOOR! And he pulled down his grey denim Busdriver type pants, and he spread even amounts of AUNT JEMIMA syrup all over the inside of his legs, right underneath his boxer print shorts, ha ha ha!

Soon the booth was filling with flies!

(Help me, help me, help me!)

He held open the legs of his boxer shorts so they could all get in . . . Yes! And when each and every one of those little, each and every one of those little cocksuckin' flies had gone into his boxer shorts, and was lapping up all that good AUNT JEMIMA syrup, he bent over and he put his head between his legs and he said to those little flies in a clear, impressive voice . . .

"NEW YORK!"

. . . and the booth and everything lifted up, out of the parking lot, and into the sky!

STUDEBAKER HOCH
YEAH, YEAH
STUDEBAKER HOCH
STU-DE-BAKER HOCH!

STUDEBAKER HOCH
YEAH, YEAH
STUDEBAKER HOCH
STU-DE-BAKER HOCH!

He's coating his legs
With AUNT JEMIMA syrup up and down!

His shorts'll be filled with flies
That will be buzzing all around!
(Help me, help me, help me!)

Stoodlabaker Hoch:
He's really outa sight!
Stoodlabaker Hoch:       
He does it every night!
Stoodlabaker Hoch:     
He treats the flies all right
STOODLA-BAKER HOCH
That's why they never bite, hey!

(Please to New York!
Fly to New York!)

He could be a DOG
Or a FROG
Or a LESBIAN QUEEN!

(Fly to New York!)

He could be a NARK
Or a LADY MARINE!

Or he might play dirty!
He's OVER THIRTY!
(Getting old? Say! I don't know!)

His peculiar attire
And the flies he require
Keep leading him on
'Cause ETHELL is gone
And THE MOUNTAIN she's on

(Please to New York!
Fly to New York!)

(Fly to New York!)

(I don't know!)

His peculiar attire
And the flies he require
Keep leading him on
'Cause ETHELL is gone
They keep leading him on
'Cause ETHELL is gone
And THE MOUNTAIN she's on

We join STUDEBAKER HOCH standing on the edge of BILLY THE MOUNTAIN's mouth.

"BILLY? I've come to REASON with you! Our GREAT COUNTRY needs you in the Armed Forces! Why, it's all fair and square, the LOTTERY, you know? Your NUMBER came up . . . you can't go on running like this forever."

ETHELL shook her twigs angrily, but STUDEBAKER HOCH, UN-ferturbed, continued . . .

"Listen, you (cough cough) . . . listen, you COMMUNIST SON-OF-A-BITCH! You better get your ass down there for your fuckin' physical, or I'll see to it that you get used for FILL DIRT in some impending New Jersey MARSH RECLAMATION . . . and your girl-friend here will wind up disguised as a series of brooms, primitive ironing boards (or a DOG HOUSE) . . . get the (cough, cough), GET THE PICTURE?"

BILLY just laughed:

"HO, HO, HO! If they think they're gonna draft ME, they're CRAZY!"

Now you'll remember that STUDEBAKER HOCH was standing on the edge of BILLY's mouth, so that when he laughed, he lost his balance and unfortunately fell, screaming, two hundred feet into the rubble below!

"Aaahhhhhhhh . . . "

(That was only one hundred feet, you Carnaby cutie,
LET'S HEAR ANOTHER SET!)

"Aaahhhhhhhh . . . "

Which only goes to prove . . .

A Mountain is something
You don't wanna fuck with
You don't wanna fuck with
Don't fuck around
(Don't fuck around)

Don't fuck with BILLY
And don't fuck with ETHELL
(You saw what just happened
To the guy with the flies!)

DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!

With

Biddilly, Biddilly
Biddilly, Biddilly, Biddilly

BIDDILLY
THE
MOUNTIN-INNNNNNN!

BIDDILLY
THE
MOUNTIN-INNNNNNN!

FZ: Thank you for coming to our concert. Good night.

THE TRUE STORY OF 200 MOTELS

Pinewood Studios, UK
January 28-February 5, 1971
(except where indicated)

20. "He's Watching Us" 1:21

Kensington Palace Hotel
1st script reading of "200 Motels"
January 18, 1971

Howard: "It's him, he's watching us!"
Mark: "You think he heard us?"
Ian: "I've been in the band for years, and . . . you can bet that he heard everything."
Jeff: "Let's go over and pretend to be nice to him."
Howard: "Let's go over and pretend we don't know he's watching."
Mark: "And ripping off all our good material."
Howard: "Hi, man."
Ian: "Hi, Frank."
Mark: "Hi, man."
Jeff: "Hi, Frank."
Aynsley: "Hi, man."
George: "Hi, Frank."
Mark: "Boy, that's a great new comedy song you wrote, that one about the penis and everything, I was laughing a lot while I was learning it."
Howard: "Yeah, Frank, uh, it was a little hard to get into at first, but, uh, once we got the drift . . . "
Jeff: "That's a real great part you got in there for the chorus when they go 'Ran Tan Toon Toon Na Na Hanninn' where I steal the room and everything, I don't mind you ripping it off so long as I get paid . . . "
Mark: "Me too, I don't even care about the part where he goes, 'What can I say about this elixir?' so long as me and Howard and Jeff get credit for special material."

Mark: "There's some bad brown acid going around, Aynsley . . . you can take it with a grain of salt, ha ha ha . . . "
Aynsley: "I didn't mean to upset you, lads . . . I didn't mean to upset you, lads, but the reason my retorts were so snappy is because he's making me do this, I should imagine he's making you do yours too, isn't he?"
Howard: "Get out of here, you creep, you even used to live in his house!"
Aynsley: "See you later, lads."

21. If You're Not A Professional Actor 0:23

FZ: If you're not a professional actor, the easiest thing for you to do, when you only have a week to make a movie is just to be yourself on the screen. So the lines that the people speak in the film, with the exception of some of the real fantasy characters like the Vacuum Cleaner, or the, or what Theodore Bikel says, are all based on the actual speech patterns and the lifestyle of the people who are in the group.

23. Going For The Money 0:12

Fillmore West, San Francisco, CA
November, 1970

Jeff: Smurf mee!
Howard: Smurf meee!
Jeff: Metz. Right Howard?
Howard: Right Jeff, we're going for the money, all the way.

24. Jeff Quits 1:33

Kensington Palace Hotel
2nd script reading of "200 Motels"
January 19, 1971

Jeff: This is what I joined for. This I don't think is pertinent.
FZ: In other words, you don't wanna be in the movie.
Jeff: Yeah.
FZ: You sure?
Jeff: Mm-hmm.
FZ: Anybody else that doesn't want to be in the movie? . . . Is there anything specific that you don't like about that script?
Jeff: No . . . in fact my part is the best part in the movie, I think . . .
FZ: You've got the biggest part.
Jeff: I didn't know how far this could go.
FZ: And why do you think it went so far?
Jeff: It was probably boiled in ammonia
Howard: I'm curious to know why—like I asked you this morning—why it puts you out so much to do it, man? Unless you're just a little afraid that what you've gotta say is too much what you'd say anyway?
Jeff: It is what I'd say. It's exactly— It's there!
Howard: So you're not even acting, man.
Jeff: It's done now. And I don't—
Howard: Why are you afraid to say it to the people out there when you've been saying it to us for months?
Jeff: I'm not afraid to say it to the people out there, I'm just afraid to be in this band anymore.
Howard: Why?
FZ: The lines that are in this film are based on things I've heard people say for years, all the way back to the very beginning. I don't think anybody should have any objection to saying any of those things, because you're playing yourself.
Jeff: Should I turn this in?
FZ: Sure.

25. A Bunch Of Adventures 0:56

FZ: From the point that Jeff Simmons quit the group we've had a bunch of adventures trying to find somebody to replace him, not only for the bass parts in the music, but to play the role that he was supposed to play in the film, which is a pretty large part. And, uh, our first candidate for the role was Wilfrid Brambell, who played the grandfather in A Hard Day's Night. So Wilfrid came over, tried out for the part, everything was set, he rehearsed with us for about a week, and then one day came to the studio here, and completely freaked out, and said that he couldn't handle it anymore. So, we went into the dressing room, sat around with the guys in the band, and tried to figure out what we were gonna do about replacing the replacement. And the first person that walked through the door was Martin Lickert, who happened to be Ringo's driver, and, uh, everybody just turned and looked at him and went, "You!"

26. Martin Lickert's Story 0:39

Martin: I just went out to get some cigarettes for him one day and came back and walked into the dressing room and there's Frank and the rest of the Mothers and Ringo, few other people, and I walked in the room and they all went, "Yeah!" I said, "Yeah what?" You know, "Would, would you like to try Jeff's part?" You know, so I just tried that, and it seemed to work okay.
Roelof Kiers: Mm-mmh . . .
Martin: So Frank said, "Well, if you can play, play bass, you can try playing with the group as well."

FZ: So he took the script and he read it and he sounded good and then just quite by accident, we found out that he was a bass player. I think he's good for the part, is, uh, quite professional on screen and as a bass player he's not astonishing but, uh, he can make the parts.

27. A Great Guy 0:30

Howard: Well, the character I play is a great guy, you see, right away that gives me a start. Uh, on the other hand, half of it's reality and half of it isn't, you know? Where the line is, it's sometimes even hard for the players to tell, you know. It's just that when you look at your script some lines come easier than other lines, you know, and usually those are the ones that you've said before, or feel that you could say quite honestly, you know, and some of the other things were made up and it, it comes out that way.

28. Bad Acting 0:10

Mark: Ever since you left the jazz world to seek fame and fortune in the rock & roll industry . . .
Martin: Rock & roll! What d'ya mean rock & roll? This fucking band doesn't even play rock & roll, it's all that comedy crap.

29. The Worst Reviews 0:20

includes Magic Fingers

Howard: From 200 Motels he expects the worst reviews of any movie ever put out, and I said, "Yeah, Frank? Why is that?" And he says, "Well, nobody's ready for it . . . " But it doesn't really matter, you know? He knows that the kids are gonna go see it, because it's a weird movie. By the time this turkey comes out, man, I mean, there still won't be anything out close to it.

30. A Version Of Himself 1:02

includes Redneck Eats

Mark: Well uh . . . I play a version of myself as Frank sees me, you know, like, you know what I mean?
Roelof Kiers: No.
Mark: It's not, uh, he sees the group from . . . like we see him from one point of view and he sees us from another place, this was written around like where, you know, the folklore that each member had brought to create the image that we portray. Like, uh, some of the scenes have happened before. Specifically the, the hotel room scene where the group sits and talks about how Frank is not important to what the group is and . . . that scene I remember happening many times, uh, just the whole idea that it is Frank Zappa & The Mothers Of Invention has always given us something to talk about, you know, Frank is, you know, our boss and so there's always that kinda management, uh, worker relationship that, you know, that just happens, it isn't like you, you plan for it to happen, it just does . . .

31. I Could Be A Star Now 0:36

Martin: what do you do? You join The Mothers and you end up working for Zappa! And he makes you be a creep! You could have played the blues with John Mayall, or far-out exciting jazz with Blood, Sweat & Tears.
Don: You really think so?
Jeff: Look, no one'll ever take you seriously after this . . . how can they take you seriously? In this business you either gotta play the blues or sing with a high voice.
Don: You're right, I never should have joined The Mothers. Why, I could be a star now! Oh . . .

 

All compositions by Frank Zappa except as noted
Site maintained by Román García Albertos
http://globalia.net/donlope/fz/
German transcription on "Divan" from ARF: Notes and Comments
Original transcription for new material by Román
With lots of corrections and additions by Fredrik Johansson and John W. Busher
Further corrections and additions by Román, Patrick Neve, Tony, Charles Ulrich, Joefor Sotcaa, Matt Olmos, Walter Moczygemba, Chato Segerer and xoc
The parts that appear on The True Story Of 200 Motels are printed this way
The parts that appear on Frank Zappa's 200 Motels are printed this way
The parts that appear on both are printed this way
This page updated: 2017-08-29