The first record I ever made was called "Breaktime," by a group called The Masters, which was me and Paul Buff and Ronnie Williams, who is playing drums and bass on the thing, it was an overdub deal.
I was just adding the other two Masters singles to ZappaFrenzy. I used the liner notes from The Masters—Singles & Rarities album to check the release years. Then i noticed this about Sixteen Tons/Breaktime:
"In May 1961, Buff invited Zappa to co-write something at Pal for the record's B-side. Buff, Williams and Zappa came up with "Breaktime." The record was released as Emmy E-1008 in June 1961."
The Masters started out as Paul Buff, lead guitarist Ronnie Williams and rhythm guitarist Johnny Fisher. After releasing the single "T Bone"/"Sunday Blues," The Masters were just Buff and Williams on multi-tracked parts. The only exception was "Breaktime," a mid-1961 track that was co-written by Buff, Williams and guitarist Frank Zappa, a friend of Ronnie Williams who first came to Pal Recording Studios in late 1960. [...]
THE MASTERS: Breaktime (2:26)
(Ronald Williams-Paul Conrad Buff-Frank Zappa)
Personnel: Paul Buff (piano); Ronnie Williams (drums, bass); Frank Zappa (lead guitar; rhythm guitar)
Producer: Paul Buff
Engineer: Paul Buff
Recorded: May 1961
Original Release: June 1961 as Emmy E-1008-2 (B-side)
[...] "Breaktime" was an exciting performance by Williams (drums and bass), Zappa (multiple guitar parts) and Buff (piano). The piano, drums and one of Zappa's guitar tracks were laid down first, with Zappa and Williams overdubs following thereafter.
And the Medallions with "The Letter" and . . .
"Sweet words of pizmotality . . ."
One song was "The Letter," [Vernon] Green's attempt to conjure up his dream woman. The mystery words, J.K. [Fabian] ascertained after talking with Green, were "puppetutes" and "pizmotality." (Green wasn't much for writing things down, so the spellings are approximate.)
"Pizmotality described words of such secrecy that they could only be spoken to the one you loved," Green told [Jon] Cryer. And puppetutes? "A term I coined to mean a secret paper-doll fantasy figure [thus puppet], who would be my everything and bear my children."
I told Frank, "Well, I've got this idea for a song called How's Yer Bird? from the—it was a Steve Allen saying, and so Frank said, "Oh, great idea! I have access to a studio in Cucamonga. Maybe we'll get together and do it." So he called me up a couple of days later(we exchanged phone numbers, obviously), and he said, "I have written the song, How's Yer Bird?" So he said, "Would you like to record it?" I said, "Yeah, of course," so we went up to Studio Z and we did How's Yer Bird? with Dick Barber, "Gnarler," on snorts and vocal noises.
As a matter of fact, the band is called "Baby Ray and The Ferns," and Steve Allen used to say, "How's yer fern?" too, along with "How's yer bird." I was always a big Steve Allen fan. Still am.
[Who was in that group?] Frank, Paul Buff, who owned the studio at the time in Cucamonga, PAL Studio, as you call it, and myself—and Dick Barber was the gnarly-snarler-snort-sound-maker on "How's Yer Bird." I believe that was it. Maybe you recall the guy's name who Frank made "Heavies" with? And a couple of surf records? David or somebody? Dave Aerni.
I wasn't aware of Dick Barber—aka the snorker, and have to take full credit for myself being the godfather of snorks and other such early Zappa noises.
Uh, how's your fern?
I've always felt that I was an entertainer. Since in High School, no even before that, in Junior High School.
I think the first thing that I did that gave me a clue that I had a career as an entertainer ahead of me was when I was forced to give a lecture in a science class on ferns and got a lot of laughs. Of course, I wasn't trying to be funny, but it was nice experience 'cause all I had to do was talk about ferns and deliver the facts in my own way and people laughed and that was good, so I went on from there.
And on the other side was "The World's Greatest Sinner," which was a song written by Frank, having to do, I guess, with the movie, The World's Greatest Sinner, which Frank scored the film. But it isn't in the film. It was on the B side.
Bob Guy was the host of a popular local TV show (on Channel 13), Jeeper's Creepers, which showed horror films every Saturday night at 10 pm. At the show's opening, Guy would emerge from a coffin, and would do skits in the course of the program. One weekly feature of the show was the reading of a fan letter to Jeepers, and it was this very thing that "Dear Jeepers" sought to capitalize on. [...] He was in fact the program director at Channel 13. Guy hosted the Jeepers show from September 62 through April 63. He was replaced by a succession of hosts, most famously Ghoulardi.
Bob Guy was a local horror TV host who wanted to make a record. Zappa let him recite over-loaded monster-movie type letters to and from Count Dracula, over primitive rock vamps. Legend has it that the Guy came driving up to the studio in black sunglasses, a white suit, and/or a white Cadillac.
For some reason, Ray Collins has claimed that Dick Barber did the snorks on this record. No way—Barber wasn't even on the scene until years later! Remember, Paul Buff snorked all over the place!
I had nothing to do with that session, I wasn't there. Frank and I sat down at the same piano in his house in Ontario, and wrote "Everytime I See You," and then he just came one day and said these guys The Heartbreakers, had done the song in Cucamonga.
Don [Cardenas] Gomez and Andy Tesso were not on the session. Andy Tesso only played on the two instrumental albums released on Delfi and Selma records. Frank did the solo, and piano was Richard Provincio, romancer lead guitar at the time. I played rhythm guitar.
It was Cucamonga. This was the second session we did out in Cucamonga. We were sent there by Bob Keene. I recorded a single for Bob Keene, "Rock Little Darling," released on Donna Records a few weeks prior.
We learned the song in the studio. Frank played it for us on the piano. We went there to record "Cradle Rock." We tracked the song a few times. Bob Keene sent us there, he was not there during the recording. It was like, get in there, do the recording, listen to the play back, let's roll. Just another gig. No official producer per se.
I was working with Bob Keene. I had a contract with Del-Fi at the time. I have a copy of the Brent recording. "Corrida Mash" was produced by "Bumps" Blackwell, who also produced Little Richard.
[The Hearbreakers] were brothers Benny and Joe Rodriguez. "Cradle Rock" was written by a girl. I think her name was Vangie Gallegos.
During that period of time, which was roughly '61, '62, there were these things called novelty records, you know? Like "Please, Mr. Custer." Radio still had a slight sense of humor. So if you could do a novelty record, the chances were you could lease it to a record company. I wrote one, and Paul and I leased the master to Capitol for the unheard-of sum of a $700 advance. I mean, that was a whopper. And the reason was because this record looked like it was gonna be unbelievably hot. You know why? It was called "The Big Surfer," and what it was, it was a guy—a San Bernardino disc jockey named Brian Lord—who could do Kennedy's voice better than Kennedy. It was like a take-off on the First Family album, where Kennedy is judging a surf contest. And totally produced—sound effects, the whole business, okay? The unfortunate part of the record was the punchline: the winner of the contest got an all-expense-paid trip as the first member of the Peace Corps to be sent to Alabama. Well, shortly after we signed the contract, Medgar Evers got killed, and Capitol refused to release the record.
Ned and Nelda of course came about because of the Paul and Paula pop tune of that era. It was a lot of fun making those tunes of those times.
It was a lot of fun. You can hear Frank crackin' up at the—on the "Surf Along with Ned And Nelda" he went out of control, laughing, which makes the record even more fun.
"Tijuana Surf" (with Paul multitracking himself) became a long-running number-one record in Mexico. I wrote and played guitar on the B side, an instrumental called "Grunion Run." It was released on Original Sound under the name of the Hollywood Persuaders.
[It was done by] a guy named Dave Aerni. I remember recording it, Aerni was manager and probably found Roman. Ron Roman was possibly Hispanic. Backing him are probably Johnny Williams and Ronnie Williams, both great guitar players. [...] That's Ray Collins of the Mothers on falsetto.
I barely remember working with Frank on the chord progression on the song, and I believe the words in the song. Ron Roman is probably Frank Zappa or Ray Collins. Paul Buff's Pal Recording Studio was one of the first multi-tracked recording studios in the world, and we had 5 tracks to record with. So the back-up group was any or all of us who happened to be there. I believe it was one of the labels the studio had.
Bassist Dave Aerni, an early Zappa ally who is present on several Studio Z-era sessions, issued the single. It has been suggested that these lyrics were not the correct ones and that Frank was not around when Ron Roman put his vocal on.
The music and the real lyrics of "Love Of My Life" were written by FZ alone. For the Ron Roman b-side, Dave Aerni changed the lyrics and credited the song to Zappa/Aerni.
I think Dave Aerni recorded Ron Roman's voice on top of a track that Frank and I and Paul Buff had done already that already existed, so I'm on there doing falsetto and background vocals.
[FZ] said Dave Aerni ripped him off by releasing it without his permission. He also said that despite the fact that the label said "Zappa-Aerni" that Dave didn't write anything. He also said that he had the original recording at his house with Ray Collins' original lead vocals. He said he played drums, fuzz bass and guitar and Paul Buff played keyboards.
Site maintained by Román García Albertos