Assorted Live Transcriptions

FZ: Hello? OK. I would like to make an announcement about this orchestra piece that uh, the Los Angeles Philharmonic is gonna crank up off for you now . . . Uhm, first of all, I'll tell you about the one that they are aren't gonna crank off for you now. It seems that uh, Mr. Pal Powell has left and he took the tape with him, and uh, so, they are aren't going to play a mobile's . . . Immobiles 4. However, they are going to play 200 Motels, and the story of on that is, it's a collection of sketches that was orchestrated uh, recently, the sketches have having been written over a pair of years when uh, I thought it'd be fun to be a composer, and then during the past three week I gotta got to listen to them playing the stuff here at rehearsals. And I saw all the horrible errors that I made. Too late to change it! You get to hear all the mistakes too. And it's not really a great piece of music, but we might be able to get off a couple of times in it. So . . . We have to start . . . Ten minutes? (...) All right, Zubin, hit it!

FZ: Now, you know what the cue is to come in, right? [unintelligible] We have to start it.
Someone else: Ten minutes.
FZ: Ten minutes? Okay. Let's go. Ready? One . . .

We're gonna start this program off with something a little bit unusual, we're gonna begin this program with "The Hook." Now, this is a very special tune. This is sort of an a abstract [???], Mod à Go-Go, non-objective tune. The melody is played by the bass drum. Just watch Ruth. Here we go!

I'll make the deal with you. I'm happy to make the deal. You can have my soul. It's a mean little sucker, about a thousand years old. But once you get it, you can't give it back. You gotta keep it forever, and that's a natural fact. All you gotta do, you just help me take care of a little business. All right? . . . Because you're the devil and I know you've got a lot of connections in Washington . . . Here's what I want you to do: I want you to arrange an anti-trust investigation . . . You have to investigate the fact that Warner Brothers Records and Capitol Records have the same law firm. The law firm is called Gang, Tyre & Brown. Now there's only a couple of law firms in Hollywood that handle things relating to the music business, you see. And they've got it all tied up. And what happens is, when a new artist comes to a record company, and they don't have a manager and they don't have a lawyer, the record company in many instances sends the unsuspecting young artist to the law firm that also happens to represent the record company, thereby causing a conflict of interest and sticking it right up the poop chute of the person who's making the music. So I thought that maybe because you were the devil and you were on such good terms with all those other assholes in Washington, that you could just put in a word and recommend that somebody investigate the anti-trust implications of major record companies all having the same law firm and law firms only get the job because they have connections elsewhere. So I think what you ought to do is take those law firms with the connections elsewhere away from the record companies and give the people who want to make a record contract a chance to do something fair and square. And after you do that, I want titties and beer, titties and beer, titties and beer . . .