The Hot Rats Sessions

Rolling. Rolling, Take 7.

 

. . . up two?
FZ: Yeah.
One, two . . . ta-da-da . . .

We're rolling. This would be Tune #1, Take 1

One, two . . .

We're rolling. Take 2.

One, two . . .

We're rolling. 3.

One, two . . .

We're rolling. 4. 4?

We're rolling, Take 4. 4.

One, two . . .

We're rolling, Take 6. Take—

One, two . . .

We're rolling. Take 7.

We're rolling. "Peaches En Regalia," Take 1, Take 1— Section 1.

One, two . . .

FZ: No. Faster, faster.

We're rolling. 2. 2.

One, two . . .

FZ: Again.

Still rolling. Take 3. Take 3.

Rolling. Take 5.

FZ: Why don't you fill like crazy all the way through that introduction? You know. Answer those bass figures.

Take 5.

One, two . . .

6.

One, two . . .

FZ: Again. Listen, instead of doing those rolls on the beginning coming in round, why don't you do like uh, a pass. On the last two beats of the bar. Just like, one, two, tiddle-diddle-diddle tiddle-diddle-diddle bomp, and they come in like that.

Take 7.

One, two . . .

Hold it, hold it, phew!

We're rolling, "Peaches En Regalia," Take 8. 8.

Rolling. Take 8.

One, two, three . . .

Still rolling. Take 9. 9.

FZ: Much better. More feel! Get loose! Okay?

Rolling. Take 9. 9.

One, two, three . . .

FZ: Do another start. Do another, fancier start.

Take 10.

One, two, three . . .

FZ: Another one, please.

11. 11.

We're rolling, 11. 11.

One, two, three . . .

FZ: Get that part, Shuggie.

We're rolling. This would be take 12. 12.

One, two, three . . .

12 1/2. We're rolling.

One, two, three . . .

FZ: Now that was a good start. Do it again.

We're rolling. 14.

We're rolling. 14.

Two, three . . .

FZ: Marvelous!

15. 15.

One, two, three . . .

FZ: Another one, please.

We're rolling, 16.

One, two, three . . .

One . . .

We're rolling. This would be 18. 18.

FZ: Get that groove going!

One, two, three . . .

 

 

 

We're rolling. "Peaches," Part 3, Take 1. Take 1.

Rolling.

One, two, three, four . . .

FZ: Again. Ron, you gotta play that fill in there, so— Gotta play that fill in there so there's a big difference between that fill section and when the vamp starts again . . . As craze as you can make it.

Rolling. Take 3.

One, two, three . . .

We're rolling. 4.

One, two, three, four . . .

5. Take 5.

One, two, three . . .

FZ: Again.

We're rolling. Take 6. 6.

FZ: That rhythm is ta-da-da-dah ta-dah ta-dah . . . It's okay, do it the third time, so it's got a build for the fade.

Rolling. Take 6.

FZ: Yeah.

Take 6.

One, two, three . . .

FZ: Again, please. Again, please.

This would be Take 7.

FZ: A little clink on the piano there.

Take 7.

FZ: Ron, please, when you— after that fill bring the volume down just a little bit for when the piano comes back in.

7.

One, two, three . . .

Take 8.

One, two, three . . .

FZ: Okay. That's enough on this one.

We're rolling. Take 9. Take 9.

One, two, three . . .

FZ: One more, please.

Still rolling. 10. 10.

One, two, three . . .

FZ: Okay. That— That's the one. Thank you. I'll show you the next—

FZ: Hold now. Hello?

We're rolling. This is the "Arabesque." Take 1. Take 1.

Rolling. Take 1.

One, two, three, two . . .

FZ: Okay. One more. Hello . . . No, don't worry, I cancelled the march . . . [...] brighter. Keep the time real tight.

Rolling. Take 2. Right.

One, two, three, two . . .

FZ: Hello.

We're rolling. Take 3.

Rolling. Take 8.

One . . . One . . . two . . .

FZ: Okay. Hold it. Hold it. We're just—

Rolling.
We're in 9. 9.

One . . . two . . .

We're rolling. 10. 10. Take 10.

One . . . two . . .

FZ: Come on. Get vicious.

Take 11.

FZ: Special metal teeth on this one.

Still rolling. This would be Take 12.

FZ: And watch that chord at the cadence on second [...].

One . . . two . . .

 

This is "Dame Margret's . . ."
FZ: Son.
"Son To Be A Bride." Take 1. Take 1.

FZ: Again, please.

We're rolling. Take 2. 2.

One, two, three, four . . .

FZ: Again, please. Keep— Come on, keep it bright.

We're rolling. Take 3.

FZ: Get disinterested in spots.

[...]

One, two, three . . .

We're rolling.

"It Must Be A Camel." Take 1. Take 1.

We're rolling. 2.

One, two, three, one, two . . .

One . . .

Take 3.

Three, one, two . . .

FZ: Another one, please . . . Hello! One more, please.

Still rolling, this would be 4. 4.

You know, [...] before we go into the 4/4.
FZ: Yes.
You want me to fill it between those?
FZ: Hit 'em and them fill.
Right.
FZ: And also, you can fill more during the melody. And I can dig some pass— in the eight section all way around. Withing the first eight bars especially.

We're rolling. Take 4.

Oh, wait, there's one more thing, uh, before the—

Still 4. 4.

One, two, three, two, three . . .

FZ: Again, please. Hello. John?
John: Yeah.
FZ: Passes. You know, should be like, uh, 32nd note raging monstrosity, you know, like, uh, destroy the mood completely.
John: Right.
FZ: Okay?
John: Yeah.

Rolling. 5. Take 5.

One, two, three, four, five . . .

FZ: Hello?

Rolling. Take 6. Take 6.

FZ: Those, those fills are good. You can go even more so.
John: Okay.

Three . . .
Rolling. Take 6.
. . . four, five . . .

FZ: Again. Hello? Just make sure when you come off you get right down tight to the beat.
John: Oh, you— Okay.

Take 7. Good old 7.

One, two, three, four, five . . .

FZ: Another start.

Take 8.

Two, three, four, five . . .

FZ: Ah . . .

Rolling. This would be Take 9. 9.

FZ: What? This is the atmospheric glide. You want— You want it removed?
Yeah . . .

Rolling. Take 9. 9.

FZ: On the Top 40 of Saudi Arabia, "It Must Be A Camel."

Take 9.

One, two, three, four, five . . .

FZ: Hold it. Hello. It sounds marvelous—

FZ: Intercut. Five bars before the bridge.

FZ: One more, please. Hello. Hello! Another one, please. Ah, do it— Play a different kind of beat during that— Same place. Do something on the ride cymbal, please.

Intercut. 4.

One, two, three . . .

FZ: Are you kidding me? Hmh hmh hmh . . .

Intercut. 5. 5.

FZ: You're on.

Two, three . . .

 

We're rolling. This is "Natasha." Take 1. Take 1.

One, two, one, two, three . . .

This is Take 2. 2.

One, two, one, two, three . . .

Rolling. 3. 3.

One, two, one, two, three . . .

FZ: Again. Ian, a little bit less stiff on the, on the chords. Try to listen to John a little bit more and make it groove along.

Rolling. Take 4. 4.

One, two, one, two, three . . .

 

One, two, three, four . . .

Tune 2. Take 1.

Tune 2. Take 1.

Tune 2. Take 1.

Tune 2. Take 1.

 

 

 

We're rolling. "Transition." Take 1. Take 1.

One, two, three, two, three . . .

FZ: Another one.

We're rolling. Take 2. 2.

Yeah, when we get through that, we do the whole thing again.

Rolling. Take 2.

One . . . two . . .

FZ: Marvelous introduction.

We're rolling. Take 3. 3.

One, two, three, two, three . . .

We're rolling. 4.

FZ: Ian, might you play the other [...].

[...] we're rolling the continuation from the old 6. "Transition." Take 6.

One, two, three, two, two . . .

FZ: Again, please.

We're rolling. Take 7. 7.

One, two.

Take 8.

Attention [...].

FZ: Girdle rides up, girdle rides down.

Rolling. Take 8.

[...]

One, two, three, two, two . . .

John Guerin: We got it, Frank.
FZ: Good. I like that roll thing that you do at the end of the intro. It sounds good, don't destroy it.
John Guerin: Okay.

Take 10.

John Guerin: Oh, I just killed— It's the first time I ever killed a fly with my brushes, man.
You don't kill it, it's moving, man.
John Guerin: Oh. Got it.
Right.
John Guerin: Okay.
FZ: Only one?
John Guerin: Right.

We're rolling. Take 10.

One, two, three, two, two . . .

FZ: Again.

This would be Take 11. 11.

One, two . . .

This would be 12 1/2.

One, two, three, two, two . . .

FZ: Could you start again, please. The juncture between the introduction and the first downbeat of the melody was just a little lumpy, you know.
John Guerin: Gravy.
FZ: Let— Yeah. Let the introduction taper off so it's a— there's a slight separation. In case anything goes wrong, it gives me a chance to cut on one of the other introductions.

We're rolling. Take 14.

One, two, three, two, two . . .

FZ: Hold it. We now we'll do—

Stand by, gentlemen. This would be Intercut, to Take 14.

How many bars before—?
Four.

Two, three, two, two . . .

Intercut 2.

One, two, three, two, two . . .

FZ: Do another one, please, and when you get to that "dah-dah-dah-daah" make the left hand really— a little fatter . . . A little darker . . . No, wrong chord. "Dah-dah-dah" . . . You had that weird thing dangling the chord that sounded good . . .

This would be Intercut 3.

One, two, three, two, two . . .

Ian: Hey, Frank, that should be a little lighter.

We're rolling. Intercut 4.

One, two, three, two, two . . .

We've [...] in the bolero.
Yeah, that was quite good.

FZ: Watch those chords, Ian. Some of them are a little bit weird.

This would be . . .

FZ: I want it to be tackled since I've been playing for seven hours, but . . .

We're rolling. Intercut 4.

One, two, three, two, two . . .

We're rolling. 5. 5.

One . . . One, two, three, two, two . . .

FZ: This tempo was [...] out to what you've been doing. It's a shade of the t—

Rolling. This would be Intercut 7.

One, two, three, two, two, three . . .

Intercut 8.

One, two, three, two, two . . .

 

 

We're rolling. "Directly From My Heart To You." Take 1.

Two . . .

Take 1.

One, two, three . . .

 

Rolling. 4. 4.

We're rolling. This is "Mr. Green . . . Genes." Take 1.

One, two, three, four . . .

Take 2.

Rolling. Take 3.

One, two, three . . .

Stand by. We're rolling. This is called "Big Legs." Take 1.
"Big Legs." Take 1.
FZ: Big legs and little socks.
Take 1 and rolling.
Here we go.
FZ: Oh. Hold the tape.
Rolling. Take 1.
FZ: Don't worry about it. Here we go.
Rolling. Take 1.

FZ: Do another one.

And that sure was a lot of "Big Legs."

 

 

 

 

 

 

 

Take 2.
How many bars?
FZ: Uh . . . Why don't you count it off?
Alright.
FZ: You start— You three start together on this.
Alright.
One . . . Two . . . One, two . . .

 

FZ: That's where I got the idea for the Hot Rats album—the title for the Hot Rats album. There is a recording that I picked up in Europe that had—I think it was "The Shadow Of Your Smile," with Archie Shepp playing on it. And he played this solo—it just sounded to me immediately like there was this fucking army of preheated rats screaming out of his saxophone. That's what it sounded like.

Hi there, kids. The name of this song is called "Peaches En Regalia." It tells the story of a bowl of peaches that lives in the Royal Garden Hotel, across the street from the Kensington Market in London.

"Peaches En Regalia." That's one of six rock 'n roll concertos from an album called Hot Rats. Hot Rats is a new album on Bizarre/Reprise. The music is written and performed by Frank Zappa. In spite of that fact, we think you should obtain it.

 

Hi there, kids. The name of this song is "Little Umbrellas." Well, it tells the story of a bowl of umbrellas that lives in the Royal Garden Hotel, across the street from the Kensington Market in London.

"Little Umbrellas." One of six amazing rock 'n roll concertos from an album called Hot Rats. Hot Rats is a new album on Bizarre/Reprise. The music on Hot Rats is written and performed by Frank Zappa. Now please don't be put off by this fact. Try to be objective. Buy the record anyway.

 

 

 

FZ: "Miniscule Umbrellas," #1.

FZ: Are you rolling? "This Must Be A Camel."

FZ: "Son Of Mr. Green Genes."

FZ: I want you to go into intimate detail about Willie The Pimp.

Annie: Willie The Pimp. The famed person who first said, "Son-of-a-bitch! [...], son-of-a-bitch stupid bastard!" Wearing the clothes.

FZ: Quickly—

Cynthia: Loony socks, white shorts, skinny dumpy legs, and a big fat stomach, and a big cigar hanging out his mouth, straw hat, and sitting down, and he says, "Son-of-a-bitch!"

Annie: Willie, who sits on his ch— in front the TV set all day and night, goes down to 42nd St. and pimps around there unknown to his wife and grateful children—

Cynthia: Tell him about the Lido Hotel.

Annie: The Lido Hotel, where he sometimes hangs out with some prostitutes, and, when he—

Cynthia: No, we were gonna call, we were gonna call uh, a lady—no, we were gonna call Willie and tell him we're a beautiful lady, measure— measurements 36-24-36, tell us meet— meet us at uh, in front of the Lido Hotel, and then—

Annie: A well known prostitute house.

Cynthia: And then he will be expecting this beautiful blonde to come by, and he'll be standing in front of the Lido Hotel—

Annie: When his wife walks by.

Cynthia: And we walk by, and then he just won't know what to do, and, he, "Son-of-a-bitch, get away from here!"

Standin' onna porch of the Lido Hotel
Floozies in the lobby love the way I sell:
HOT MEAT
HOT RATS
HOT CATS
HOT RITZ
HOT ROOTS
HOT SOOTS/HOT RITZ
HOT SOOTS
HOT ZITZ

 

 

Frank Zappa took a heavy trip recently. Got into some new things. Turned into his own good vibes. Got heavy behind his own mind. Went deep into inner space and found . . . Hot Rats. An album almost too psychedelic, almost too spiffy to listen to. On Reprise/Bizarre, where the other Mothers are also heavy on your head.

FZ: We'll see you later.

 

FZ: Can you still hear me? Can the machine hear me? Bingo bungo bongo?

FZ: "Green Genes" rhythm track.

FZ: Watch me now! Hah!

 

FZ: Another one!

Hot Rats is a new album on Bizarre/Reprise. Now we're not gonna tell you who made it yet because most people think that his music is ugly and too weird and wish they have nothing whatever to do with him and the craze minority he represents, okay? You can see if we tell you who made this Hot Rats album right off you'd push the button to another station [...]. Okay. Nevertheless Hot Rats is really a good album—it has a lot of pictures all over it, and if you hold the outside cover, which is a pink infrared closeup of Miss Christine of the GTO's under a yellow light it turns black & white mysteriously right there in your hand. Now in spite of this fact, we feel that it's imperative that you obtain Hot Rats. We hope that you will discover the work of this exciting composer, this, this daring arranger, this, this reasonably competent guitar player—who must unfortunately remain anonymous during this commercial.