The Roxy Performances

Recording engineers: Bob Hughes/Doug Graves
Digital re-mix engineer: Bob Stone, UMRK, 1987

Audio restoration, re-mix & mastering by Craig Parker Adams, Winslow Ct Studios, LA, CA, 2016
Assistant engineer: Nicole Lexi Davis

disc 1

1. Sunday Show 1 Start 4:59

Roxy, Los Angeles, CA
December 9, 1973, early show

(Okay, this is the Sunday show, Reel 1.)

That's a really good beat that you have there. Ladies and gentlemen.

Just calm yourselves for a moment, because we're making a movie here tonight, and we wanna make sure that the cameras will get the music in synchronization with the picture and something terrible has happened to the intercom system.

Now, I don't wanna keep you in suspense for too long, ladies and gentlemen, but we plan a really dynamite show for you. And we really don't want to— We don't want to fuck it up, ladies and gentlemen, so, just relax and sip on your beverages and, any moment now the curtain will go up and we'll be zany for you, so just cool it!

This is a recording.

I know what we'll do. We'll pretend like we're doing the show with the curtain still down, for the first part. We'll just play some background music until they get the camera fix and then we'll surprise you.

Okay.

2. Cosmik Debris 11:33

includes a quotation from Who Knows (Hendrix)

Roxy, Los Angeles, CA
December 9, 1973, early show

Good God, ain't it funky now?

You know, the Mystery Man came over
An' he said: "I'm outa-site!"
He said, for a nominal service charge,
I could reach nervonna t'nite
If I was ready, willing 'n able
(Well . . . )
To pay him his regular fee
He would drop all the rest of his pressing affairs
And devote His Attention to me
But I said . . .
Look here brother,
Who you jivin' with that Cosmik Debris?
(Who you jivin' with that Cosmik Debris?)
Look here brother,
Don't you waste your time on me

Well, the Mystery Man got nervous
An' he fidget around a bit
He reached in the pocket of his Mystery Robe
An' he whipped out a shaving kit
Now, I thought it was a razor
An' a can of foamin' goo
But he told me right then when the top popped open
There was nothin' his box won't do
(Well . . . )
With the oil of Afro-dytee
An' the dust of the Grand Wazoo
He said:
"You might not believe this, little fella, but it'll cure your Asthma too!"
An' I said, "Oh, really?"
Look here brother,
(Look here brother)
Who you jivin' with that Cosmik Debris?
(Now what kind of a geroo are you anyway?)
Look here brother,
(Peek-a-boo!)
Don't you waste your time on me

Napoleon!

I've got troubles of my own, I said
An' you can't help me out
So take your meditations an' your preparations
An' ram it up yer snout
"BUT I'VE GOT A KRISTL BOL!," he said
An' he held it on up to the light
So I snatched it
All away from him
An' I showed him how to do it right
I wrapped a newspaper 'round my head
So I'd look like I was Deep
I said some Mumbo Jumbos then
An' I told him he was goin' to sleep
I robbed his rings
An' pocket watch
An' everything else I found
I had that sucker hypnotized
He couldn't even make a sound
I proceeded to tell him his future then
As long as he was hanging around,
I said
"The price of meat has just gone up
An' yer ol' lady has just went down . . . "
Look here brother,
(Look here brother!)
Who you jivin' with that Cosmik Debris?
(Now is that a real poncho or is that a Sears poncho?)
Don't you know,
You could make more money as a butcher,
So don't you waste your time on me

Thank you!

3. "We're Makin' A Movie" 3:16

Roxy, Los Angeles, CA
December 9, 1973, early show

Well folks, here's the deal. We're making a movie—there's a camera up there, there's a camera up there, there's a camera right here, there's a camera back there, there's lights all over this place—yeah, it's all make-believe. That's right, there's no film in the cameras, we're just pretending, see? So you just relax, and if the lights happen to go on on you, just pretend there's no film in the camera, because we may have you do something amusing later.

Ah, we didn't get a chance to ha— make one of those fantastic glorious entrances you know they have in Hollywood, but I wanted to introduce all the members of the group to you. So, let's do that right now. This is Bruce Fowler on trombone . . . Napoleon Murphy Brock on tenor sax . . . Ruth Underwood on percussion . . . Ralph Humphrey on drums . . . Chester Thompson on drums . . . Tom Fowler on bass . . . And George Duke on keyboards.

All right. Now, what'll we play now? Hmm . . . No, no, no . . . No, we wanna play— we have some new songs that we'd like to play for you, I'm just gonna . . . Uh, okay, here's, here's a group of three of them. The first one is called "Pygmy Twylyte." It's a song about chemical alterations and the corruption of youth—Hi, Elmer! Expert in the corruption of youth. And then after the, ah, song about the corruption of youth, we have "The Idiot Bastard Son," which is a song about, you know what it's about. Alright. And then after, ah, "Idiot Bastard Son," we have another new song, it's about monster movies. It's called "A Little More Cheepnis Please." Okay?

As a matter of fact, maybe I should tell you in detail what's happening in "A Little More Cheepnis," 'cause the words go by pretty fast, but ah, some of you may be fond of, ah, monster movies. I am. I watch 'em all the time on television. I think the, the cheaper they are, the better they are. And, ah, the golden age of the science fiction movie was the '50s when they're in black and white and you can see the caves bending when they hit the caves, and whenever the giant spider came out, you could see the strings and you could see the, the fake— the pump for the drool coming out of the thing, you know. That to me, ladies and gentlemen, is great art. I get off on that stuff. So, if— really, it's shit, but it's great art. And then, uh, if you, if you get off on that stuff too, then maybe you can dig that song better. Anyway, here is "Pygmy Twylyte."

Everybody get in the groove. Oh, give me the tempo from the, the beeper. You don't where it is? Aha. All right. Let's guess. See if this sounds right. That about it? A little faster? Nuh-uh. Nuh-uh. One, two, three, four . . .

4. Pygmy Twylyte 9:08

includes quotations from The Idiot Bastard Son

Roxy, Los Angeles, CA
December 9, 1973, early show

Green hocker croakin'
In the Pygmy Twylyte

Crankin' an' a-coke'n
In the Winchell's do-nut Midnite

Out of his deep on a 'fore day run
Hurtin' for sleep in the Quaalude Moonlight

Green hocker in a Greyhound locker
Smokin' in the Pygmy Twylyte

Joined the bus on the 33rd seat
By the doo-doo room with the reek replete

Crystal eye, crystal eye
Got a crystal kidney & he's fraid to die
In the Pygmy Twylyte
Downer midnite
Pygmy Twylyte
Downer midnite
Pygmy Twylyte
Downer midnite
Pygmy Twylyte
Downer midnite

Napoleon:
Sunrise
Get up in the mornin'
Feelin' all fine
Well, it must be early mornin'
Ah let me tell you what happened to me the other day
I got up
The sun was fine
Grabbed my hat, washed my face and hands
Put it on and tied it up
I take a walk downtown
To see how everything is doing
I ran into a man
Sunglasses on his face
Said, "Looky here buddy wanna tell ya something
Take you to a better place"
I said, "No no no no no no no no no no no no no
I'm feelin' fine"
He said,
"Do you wanna get high?"
I said, "No no no
I really don't need it"
He said, "Ah yes you do"
He took out my high school diploma
He took out my high school diploma
Cut up a hole in a rusty sock
Roll it up
I tell ya, roll it up
Cut [...] a corner over here and there
And he rolled it up
Put it in my mouth
Struck a match
Lit it
I smoked it
Had to turn my head around
I started feelin' fine
He said, "Damn"

Doesn't make me high enough
So he said, "Here
Take this conservatory of music diploma"
He said, "You gonna get even higher"
He said, "If this don't do it," he said, "I got a diploma here
Full of college
College education
It's gonna turn you on"
I said, "No you're wrong"
"It's gonna turn you on," that's what he said, I said
"No you're wrong"
He said, "No, it's gonna turn you on"
I said, "Well then
Roll it up
Roll it up"
I smoked it 'n I jus' started dancin'

I said, "Hey
Still didn't do what you said you're gonna do"
He said, "[...]
Come on with me"
He turned me down to another man
A big hat on
Cape around the shoulders
Moustache all down here
Mixed up a magic potion
Smoke comin' out all over
He said, "Drink this brother
You're gonna feel alright"
I said, "No no"
He said, "Drink this brother
You're gonna feel alright"
I can see people all over
Just reachin' and a-grabbin'
I can see people all over
Just reachin' and a-grabbin'
Tryin' to get to him
Kinda tryin'
Showing in this room
Kind of [...] smoke in his hand . . .
He said, "Here, take it"
He said, "Here take some of these"
I said, "Wait a minute
I think . . . I think . . .
They gave me too much
I think . . . too much . . .
I think . . .
I think you gave me too much"
I said,
"The only way I'm gonna find out
Put some of this on"
He took the . . .
He took the magic powder
He took the magic powder
Smoke comin' out
The man with the robe
All people all around him
Givin' him this and that
Cocaine, Benzedrine
Another cat over there gave him a bottle of Clorax and said
"Pour some of this in there"
Gave him some Comet cleanser from over here 'n said
"Pour some of that in there"
Really fixed that other arm up real nice
So I said, "Go ahead
I'm ready"
Young man, tryin' to get ahead in the world
Wanna get a little experience
Hollywood

FZ: Dummy up.

Napoleon:
So he put it in—
Did you hear somebody say "Dummy up"?

FZ: Just dummy up!

Napoleon:
Did you hear somebody say
"Dummy up"?
He proceeded to put it in his arm
I said, "Oh
Wait a minute
I think you gave me too much!"

(Dummy up!)

When I felt better
I turned around
Started runnin'
I got as far as I can
They were harmonizin'
Reachin' and a-grabbin'
[...]
Whew!
I think I got out of here
Anybody see my hat?
Looking around—

Green hocker croakin'
In the Pygmy Twylyte

Crankin' an' a-coke'n
In the Winchell's do-nut Midnite

Out of his deep on a 'fore day run
Hurtin' for sleep in the Quaalude Moonlight

Green hocker in a Greyhound locker
Smokin' in the Pygmy Twylyte

Joined the bus on the 33rd seat
By the doo-doo room and the reek replete

Crystal eye, crystal eye
Got a crystal kidney & he's fraid to die
In the Pygmy Twylyte
Downer midnite
Pygmy Twylyte
Downer midnite
Pygmy Twylyte
Downer midnite
Pygmy Twylyte
Downer midnite

5. The Idiot Bastard Son 2:19

Roxy, Los Angeles, CA
December 9, 1973, early show

The idiot bastard son:
(The father's a Nazi in Congress today . . .
The mothers's a hooker somewhere in L.A.)

The idiot bastard son:
(Abandoned to perish in back of a car . . .
Kenny will stash him away in a jar)
The idiot boy!

Try and imagine
A window all covered in green
All the time he would spend
At the church he'd attend . . .
Warming his pew

Kenny will feed him & Ronnie will watch
The child will thrive & grow
And enter the world
Of liars & cheaters & people like you
Who smile & think they know
What this is about

(You think you know everything . . . maybe so)
The song we sing: Do you know?
We're listening . . .

Try and imagine
A window all covered in green
All the time he would spend
All the colors he'd blend . . .
Where are they now?

6. Cheepnis 3:44

Roxy, Los Angeles, CA
December 9, 1973, early show

I ate a hot dog
It tasted real good
Then I watched a movie
From Hollywood

Little Miss Muffet on a squat by me, yeah
I took a turn around, I said: Can y'all see now?
The little strings on the Giant Spider?
The Zipper From The Black Lagoon?
The vents by the tanks where the bubbles go up?
(And the flaps on the side of the moon)

The jelly & paint on the 40 watt bulb
They use when the slime droozle off
The rumples & the wrinkles in the cardboard rock, yeah
And the canvas of the cave is too soft

The suits & the hats & the tie's too wide
And too short for the scientist man
The chemistry lady with the roll-away mind, yeah
While the monster just ate Japan

Ladies and gentlemen,
The monster,
Which the peasants in this area call FRUNOBULAX
Has just been seen approaching The Power Plant
Bullets can't stop it
Rockets can't stop it
Grenades can't stop it
Ron Shuken can't even stop it
We have to n—
We have to—
We may have to use NUCLEAR FORCE at once!

C'mon, everybody! Quick! It might be your last chance!
C'mon, get up! Go to the shelter!
We got it right downstairs! C'mon! Open your minds!

GO TO DA SHELTER
MY BABY, MY BABY,
GO TO DA SHELTER
GO TO DA SHELTER

Little Miss Muffet on a squat by me,
Can ya see the little strings danglin' down?
Makes the legs go wobble an' the mouth flop shut, yeah
An' the HORRIBLE EYE,
An' that HORRIBLE EYE,
An' that HORRIBLE EYE
Go rollin' around

Can y'see it at all
Can y'see it from here
Can y'laugh till yer weak on yer knees
If you can't, I'm sorry 'cause that's all I wanna know, yeah
I need a little more cheepnis please
Baby, I'm sorry 'cause it's all I wanna know
I need a little more cheepnis please
Baby, I'm sorry 'cause it's all I wanna know
I need a little more cheepnis please
Baby, I'm sorry 'cause it's all I wanna know
I need a little more cheepnis
(Cheeper the better)
Baby, I'm sorry 'cause it's all I wanna know
I need a little more cheepnis
(Cheeper the better)
Baby, I'm sorry 'cause it's all I wanna know
I need a little more cheepnis
(Cheeper the better)
Baby, I'm sorry 'cause it's all I wanna know
I need a little more cheepnis
(Cheeper the better)
(Cheeper the better)
(Cheeper the better)
(Cheeper the better)
Baby, I'm sorry 'cause it's all I wanna know
I need a little more cheepnis . . .

Thank you. Thank you very much. Thank you, and thank you.

7. Hollywood Perverts 1:07

Roxy, Los Angeles, CA
December 9, 1973, early show

Okay.

Now as some of you may know Hollywood is the best of all possible worlds. I mean, this is where it's all happening, you understand? See, it's really great here and it's a— it's so wonderful to be in Hollywood, to live here and to be a part of this community and everything, because there's so many perverts in it, you know? And perverts, perverts help to make normal people look good, and so . . . Just remember that, whenever you see somebody who is perverted. But for our friends in the pervert world we have this song which is called "Penguin In Bondage." And you know what I mean, don't you?

This is really a funky one, you know what I mean.

8. Penguin In Bondage 5:54

Roxy, Los Angeles, CA
December 9, 1973, early show

She's just like a Penguin in Bondage, boy
Oh yeah, oh yeah, oh . . .
Way over on the wet side
Of the bed

Just like the mighty Penguin
Flappin' her eight ounce wings
(Bring the band on down behind me, boys!)

Lord, you know it's all over
If she come atcha on the strut & wrap 'em all around yer head
Flappin' her eight ounce wings, flappinumm

She's just like a Penguin in Bondage, boy

Shake up the pale-dry
Ginger ale

Tremblin' like a Penguin
When the battery fail
(You know, when the battery goes out in the vibrator and everything?)

Lord, you must be havin' her jumpin' through a hoopa real fire
With some Kleenex wrapped around a coat-hang wire

She's just like a Penguin in Bondage, boy
Oh yeah, oh yeah, oh . . .
Howlin' over to some
Antarcticulated moon

In the frostbite nite
With her flaps gone white
Shriekin' as she spot the hoop across the room
(Good God, she spot the hoop again)

You know it must be a Penguin bound down
If you hear that terrible screamin' and there ain't no other
Birds around

She's just like a Penguin in Bondage, boy
Oh yeah, oh yeah, oh . . .
She's just like a Penguin in Bondage, boy
Oh yeah, oh yeah, oh . . .
Aw, you must be careful
Not to leave her straps
TOO LOOSE

'Cause she just might box yer dog
'Cause she just might box yer dog
An' leave you a dried-up dog biscuit . . .

The name of this song is "T'Mershi Duween," a bongo number . . .

9. T'Mershi Duween 1:56

Roxy, Los Angeles, CA
December 9, 1973, early show

HEY!

10. The Dog Breath Variations 1:44

includes a quotation from Dwarf Nebula Processional March

Roxy, Los Angeles, CA
December 9, 1973, early show

11. Uncle Meat 2:29

Roxy, Los Angeles, CA
December 9, 1973, early show

12. RDNZL 5:14

Roxy, Los Angeles, CA
December 9, 1973, early show

Thank you.

Brian, can you turn the horns up some more in this, this, uh, monitor box down here? . . . What? It's not in that one up there. It was? Alright, turn a little bit up in the upper horns too. Bruce is having trouble hearing himself.

13. Montana 7:49

Roxy, Los Angeles, CA
December 9, 1973, early show

We're gonna do a song now about dental floss.

This song goes out to Mario, who makes a salad with his bare hands. One night only . . . What?

Ladies and gentlemen, I want you to watch real close, because tonight we're gonna try something we never tried before. Any of you who might know this song about dental floss, which is called "Montana," know that on the record there's a little section where there's some girls' voices that are speeded up and they're singing something really complicated, you know, and really fast. Well tonight, Tom Fowler is gonna play that part on the bass. And may the Lord have mercy on his soul.

Okay. Here we go. Oh, and then at the end of this song it goes into another song called "Dupree's Paradise," but that shouldn't bother you. You ready? Here we go. One . . . two . . . one, two, three, four . . .

I might be movin' to Montana soon
Just to raise me up a crop of
Dental Floss

Raisin' it up
Waxen it down
In a little white box
That I can sell uptown

But by myself I wouldn't
Have no boss,
'Cause I'd be raisin' my lonely
Dental Floss
Take it away!

Raisin' my lonely
Dental Floss
Raisin' my lonely
Dental Flos

Well I just might grow me some bees
But I'd leave the sweet stuff
To somebody else . . .
Ah, but then, on the other hand I would

Keep the wax
'N melt it down
Pluck the Floss
'N swish it aroun'

And I would have me a crop
An' it'd be on top (that's why I'm movin' to Montana)

Movin' to Montana soon
Gonna be a Dental Floss tycoon (yes I am)
Movin' to Montana soon
Gonna be a mennil-toss flykune

I'm pluckin' the ol'
Dennil Floss
That's growin' on the prairie
Pluckin' the floss!
I plucked all day an' all nite an' all
Afternoon . . .

I'm ridin' a small tiny hoss
(His name is MIGHTY LITTLE)
He's a good hoss
Even though
He's a bit dinky to strap a big saddle or
Blanket on anyway
He's a bit dinky to strap a big saddle or
Blanket on anyway
Any way

I'm pluckin' the ol'
Dennil Floss
Even if you think it is a little silly, folks
I don't care if you think it's silly, folks
I don't care if you think it's silly, folks

I'm gonna find me a horse
Just about this big,
An' ride him all along the border line

With a
Pair of heavy-duty
Zircon-encrusted tweezers in my hand
Every other wrangler would say
I was mighty grand

But by myself I wouldn't
Have no boss,
'Cause I'd be raisin' my lonely
Dental Floss

Raisin' my lonely
Dental Floss
Raisin' my lonely
Dental Floss

Well I might
Ride along the border
With my tweezers gleamin'
In the moon-lighty night
(A little tweezer glint)

And then I'd
Get a cuppa cawfee
'N give my foot a push . . .
Just me 'n the pygmy pony
Over by the Dennil Floss Bush

'N then I might just
Jump back on
An' ride
Like a cowboy
Into the dawn to Montana

Movin' to Montana soon
(Yippy-Ty-O-Ty-Ay)
Movin' to Montana soon
(Yippy-Ty-O-Ty-Ay)
Well, I'm movin' to Montana soon
(Yippy-Ty-O-Ty-Ay)
I'm movin' to Montana soon
(Yippy-Ty-O-Ty-Ay)
I'm movin' to Montana soon
(Yippy-Ty-O-Ty-Ay)
Well, I'm movin' to Montana soon
(Yippy-Ty-O-Ty-Ay)
I'm movin' to Montana soon
(Yippy-Ty-O-Ty-Ay)
I'm movin' to Montana soon
(Aaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhh)

Look out!

14. Dupree's Paradise 15:25

includes The Hook and quotations from Montana and T'Mershi Duween

Roxy, Los Angeles, CA
December 9, 1973, early show

I'd like to thank you very much for coming to the concert tonight. Bruce Fowler on trombone, Napoleon Murphy Brock on tenor sax and lead vocals, Ruth Underwood on percussion, Ralph Humphrey on drums, Chester Thompson on drums, Tom Fowler on bass, George Duke on keyboards. Thank you very much. Good night.

disc 2

1. Dickie's Such An Asshole 10:29

includes You Cheated (You Lied) (Burch), and quotations from Billy The Mountain, Midnight Sun (Hampton/Burke/Mercer), and The Battle Hymn Of The Republic (Steffe/Howe)

Roxy, Los Angeles, CA
December 9, 1973, early show

Thank you. No shit! A hot one, ladies and gentlemen. Alright, we have a, we have a song for you. Boy, do we have a song for you. This is a song which is also for the President of the United States . . . Uh, the safe title of it is "The San Clemente Magnetic Deviation," and the real title of it is "Dickie's Such An Asshole." Now . . . alright, we would like to have you sing along with us, and, no fooling, we're actually gonna have a rehearsal right here and now and show you how the ending of the song goes. So I think you can grasp this. It's very simple . . . Okay.

DICKIE'S SUCH AN ASSHOLE
Sincerely, Dick, we mean it!
Wee-ooo

Okay. We'd like to try that one time. It comes right at the end of the tune. We'll show you where it comes in. You'd be ready to go, and they'll turn the camera on you and you can all say, "Dickie's An Asshole," it'll be wonderful. Okay. Try it, practice it one time, ya ready?

DICKIE'S SUCH AN ASSHOLE
Sincerely, Dick, we mean it!
Wee-ooo

Alright. And now, the main body of the event. Okay, ready?

One 'n one is eleven!
Two 'n two is twenty-two!
Won't somebody kindly tell me,
What the government's tryin' t' do . . .
Dickie's just too tricky
For a chump like me to use
Well, you'd take that sub-committee serious, boy
You might get a seizure from the evenin' news, well

Well, millions 'n millions of dollars . . .
Much as he might need . . .
Frank, he could open up a chain of motels, people,
On the highway, yes indeed!
Quadrophonic desperation!
You know, there'd be a cable all under your bed
Well, if you just might break some wind in your slumber
The FBI is gonna get your number

GONNA GET YA
GONNA GET YA
GONNA JUMP UP THE SUB-COMMITTEE AND GET YA!

(Gonna get your number)
I'm tryin' not to worry
You know, I don't
(Gonna get your number)
I'm tryin' not to care
But you know, I get delighted
When some microphone's not there
Can't have no private conversations
Nowhere
In the USA
Can't wait 'til the rest of the people all over the world
Find out that their government
Is just the same ol' way

Well . . .
Let me tell you one thing right now
Let me tell you one thing right here
Let me make this perfectly clear
Let me make that perfectly clear
I had a whole bunch of tapes
I had a whole drawer full of tapes
I loaned a couple to a couple of friends
Loaned a couple to Bebe Rebozo (Bozo!)
Loaned a couple to Pat Boone (Boone!)
Loaned a couple to Ronald Reagan (Reagan!)
And loaned a couple to the new vice-president
He said he'd be on my side
He said he'd stand by me through thick 'n thin
Until they impeach me
And he said he'd never let 'em
He said he'd never let 'em do it
I said, "I believe you"
I said, "Hold down"
I said, "I never cheated on ya (cheat!)
I've never lied to ya"
I was
Always
In your
Corner
I was
Always
In your
Corner

But you know
Hold on
And there's [...] . . .
Hold on
(Hold on)
Gotta impeach
Hold on
Impeach ya
Hold on
(Hold on)
Hold on
(Hold on)
Hold on
(Hold on)
Hold on
(Hold on)
Hold on
(Hold on)
Hold on
(Hold on)
Hold on
(Hold on)
Hold on
Hold on
Hold on
Hold on
Hold on
Hold on
Hold on
Hold on
Hold on
Hold on

Well, you know what else the man said?
He walked up and he said . . .

You cheated
You lied
Now you know you voted for me
Well, you cheated
You lied
Now you know
I would never lie to you
No, no

Well . . .

(Make sure they get the words right to this part!)

The gangster stepped right up,
Kissed him on the lips good-bye
Made him a cocksucker by proxy, yes he did,
An' he didn't even blink an eye!
The man in the White House—let me tell you somethin'
He's got a conscience as black as sin!
There's just one thing I wanna know—
How'd that asshole ever manage to get in?

Yes yes, this is the magic moment. Are you ready?

DICKIE'S SUCH AN ASSHOLE
Sincerely, Dick, we mean it!
Wee-ooo

Thank you and good night.

Mmmmore
C'mon, Frank
. . . rehearsal . . .

Coming to the Roxy very soon will be Lee Michaels, Poco, Genesis, Tower of Power, The Stylistics . . .

2. Sunday Show 2 Start 4:08

Roxy, Los Angeles, CA
December 9, 1973, late show

(Sunday night, Show 2.)

Marty Perellis: Testing. Your eight closest relatives: The Mothers!

FZ: Hello, folks! This thing wiggles too much. Hey, that's more like it. Hm-hm-hm, yes, okay? Bruce Fowler on trombone . . . Napoleon Murphy Brock on tenor sax . . . And vocals . . . Ruth Underwood on percussion . . .

(All right!)

Okay. The gong always gets 'em. Ralph Humphrey on drums . . . Chester Thompson on drums . . . Tom Fowler on bass . . . George Duke on keyboards. Alright. Now, let me get myself tuned up and then we'll do a suave program for you.

?: [Owen], a shade more sax in the monitor. Just turn it up, a little bit.

Girl From The Audience: Hi, Frank!
FZ: Hi!

Alright. Well, Ian's busy. He's uh, he's with his parents in uhm, uh . . .

Audience Member: Yugoslavia.

FZ: . . . Florida. But he'll be back in town soon, ladies and gentlemen. Yeah.

Now, we're gonna open up with some— Hey! Brian Krokus, ladies and gentlemen, right back there! He is our mixer, and of course there's another mixer out in the truck and you can't see him but he's awfully cute, his name is Kerry McNabb and he can hear us talking about him, but . . . well, you're missing the best part of what's going out— on out in the truck.

3. Inca Roads 8:27

includes a quotation from Dupree's Paradise

Roxy, Los Angeles, CA
December 9, 1973, late show

We're gonna open our program with a song that deals with the subject of the possibility of, uh, extra-terrestrial beings visiting this planet a long time ago.

Now, Some of you might have read a book called Chariots Of The Gods, by Erich Von Däniken, and there's a little thing in there, it's a picture of this area in the Andes called the plains of Nazca, ladies and gentlemen. And, uh, there's these carvings on the top of the rock that you don't know what they're supposed to be for. It doesn't look like it would have been a road, because it doesn't go anywhere, and there's a bunch of 'em, and some people think, well maybe it was a landing field. But the carvings are very, very old and they're very, very big, you know, indicating that the people who made them were highly, uh, well, they were, heh heh . . . They really had their ____ together for the things that carved in the rock. And it's possible that if they were landing fields, that the things that landed on them were NOT OF THIS EARTH.

And so we have a song, which features the lovely voice of Mr. George Duke, and the name of this song is "Inca Roads." Take it away, George . . .

George: That's right, honey.
FZ: Simply atmospheric introduction.

Did a vehicle
Come from somewhere out there
Just to land in the Andes?
Was it round
And did it have
A motor
Or was it
Something
Different

Did a vehicle
Did a vehicle
Did a vehicle
Fly along the mountains
And find a place to park itself
Or did someone
Build a place
To leave a space
For such a thing to land

(Thank you, honey.)

Did a vehicle
Come from somewhere out there
Did a vehicle
(FZ: Her nipples are standing up now.)
Come from somewhere out there
Did the Indians, first on the bill
Carve up the hill

Did a vehicle
Come from somewhere out there
Just to land in the Andes?
Was it round
And did it have a motor
Or was it something different

Did a vehicle
Did a vehicle
Did a vehicle
Fly along the mountains
And find a place to park itself
Or did someone
Build a place
Or leave a space
For such a thing to land

Did a vehicle
Come from somewhere out there
Did a vehicle
Come from somewhere out there
Did the Indians, first on the bill
Carve up the hill

Did a vehicle
Come from somewhere out there
Just to land in the Andes?
Was it round
And did it have a motor
Or was it something different

Did a vehicle
Did a vehicle
Did a vehicle
Fly along the mountains
And find a place to park itself
Or did someone
Build a place
Or leave a space
For such a thing to land

Did a vehicle
Come from somewhere out there
Did a vehicle
Come from somewhere out there
Did the Indians, first on the bill
Carve up the hill

Thank you . . . thank you very much . . .

4. Village Of The Sun 4:19

Roxy, Los Angeles, CA
December 9, 1973, late show

Alright. Does anybody here know where Palmdale is? You do? Good. Yeah, have you ever heard of a place called Sun Village? You— Some, some of you know where Sun Village is, okay, it's out in back of Palmadle, alright.

At one time that used to be a big place for raising turkeys. And, uh, I went to high school in Lancaster. which is not far from, uh, from, uh, Palm— Oh! Is it very good for other things out there now? Good.

Audience member: Can't hear your vocals.

FZ: Ken, turn me up so they can hear what I'm saying.

Ladies and gentlemen, this is a song about this place where I used to live where they used to raise turkeys.

No, it's not "Montana." It's called— It's a song about Sun Village and it's called "Village Of The Sun," ladies and gentlemen. Here we go. Ready? It's fast, huh?

(Ready?)

(It's fast, huh?)

Goin' back home
To the Village of the Sun
Out in back of Palmdale
Where the turkey farmers run, I done
Made up my mind
And I know I'm gonna go to Sun
Village, good God I hope the
Wind don't blow

It take the paint off your car
And wreck your windshield too,
I don't know how the people stand it,
But I guess they do
Cause they're all still there,
Even Johnny Franklin too
In the Village of the Sun, well
Village of the Sun, oh, the
Village of the Sun, son
(Sun Village to you-ooo-ooo-ooo-ooo-ooo, oh!)

Little Mary, and Teddy, and Thelma too, now
Where Palmdale Boulevard, wo!
Cuts on through
Past the Village Inn, baby, & Barbecue now, yeah
(I heard it ain't there . . .
Well I hope it ain't true)
Where the stumblers gonna go
To watch the lights turn blue?
Where the stumblers gonna go
To watch the lights turn blue-ooo-ooo-ooo-ooo-ooo-wahhh?

Goin' back home
To the Village of the Sun
Out in back of Palmdale
Where the turkey farmers run, I just
Made up my mind
And I know I'm gonna go to Sun
Village, good God I hope the
Wind don't blow

It take the paint off your car
And wreck your windshield too,
I don't know how the people stand it,
But I guess they do
Cause they're all still there,
Even Johnny Franklin too
In the Village of the Sun, oh
Village of the Sun, the
Village of the Sun, son
(Sun Village to you
You-ooo-ooo-ooo-ooo-ooo, oh, yeah, yeah!)

5. Echidna's Arf (Of You) 4:01

Roxy, Los Angeles, CA
December 9, 1973, late show

Ooh, well . . . oh . . .

6. Don't You Ever Wash That Thing? 13:22

includes quotations from The Be-Bop Tango and Penguin In Bondage

Roxy, Los Angeles, CA
December 9, 1973, late show

Ladies and gentlemen,
Watch Ruth!
All during our program
Ruth has been thinking,
"What can I do
That'll be fantastic?"
Something nice for the camera, I hope
Ruth, show 'em a little something

Thank you! Thank you.

Excuse me. Alright.

7. Slime Intro 0:59

Roxy, Los Angeles, CA
December 9, 1973, late show

Ah, see, I think we'll do "I'm The Slime."

(Audience Member: One of those guards has taken my film away.)

Um, I'll play a guitar solo. The, the guitar solo's still in, and I'll cue it with something. The guitar solo at the end of "I'm The Slime." Instead of going straight to "Big Swifty."

Now, I'm warning you. When you sing those background parts that the girls sang on the record, please God, PLEASE GOD, MAKE THEM BE IN TUNE!

Ladies and gentlemen, we are making a movie of this, and uh, in case you were wondering, there's a camera there, and there's a camera there, and there's a camera there, and there's one on stage. I hope they don't get in your way, but we'll have some fun with them later.

Here we go, "The Slime."

8. I'm The Slime 3:34

Roxy, Los Angeles, CA
December 9, 1973, late show

I'm gross and perverted
I'm obsessed 'n deranged
I have existed for years
But very little has changed
I'm the tool of the Government
And industry too
For I am destined to rule
And regulate you

I may be vile and pernicious
But you can't look away
I make you think I'm delicious
With the stuff that I say
I am the best you can get
Have you guessed me yet?
Well, I'm the slime oozin' out
From your TV set

You will obey me while I lead you
And eat the garbage that I feed you
Until the day that we don't need you
Don't go for help . . . no one will heed you
Your mind is totally controlled
It has been stuffed into my mold
And you will do as you are told
Until the rights to you are sold, hey

That's right, folks . . .
Don't touch that dial

Well, I am the slime from your video
Oozin' along on your livin' room floor

I am the slime from your video
Can't stop the slime, people, lookit me go

I am the slime from your video
Oozin' along on your livin' room floor

I am the slime from your video
Can't stop the slime, people, lookit me go

9. Big Swifty 9:01

includes quotations from Dupree's Paradise

Roxy, Los Angeles, CA
December 9, 1973, late show

Thank you! Thank you very much.

disc 3

1. Tango #1 Intro 3:50

Roxy, Los Angeles, CA
December 9, 1973, late show

FZ: Hey. Can I get a drink someplace? See if you can give me some water. It's hot up here, good God . . . That's okay.

Okay, ten seconds . . . Alright . . . Sorry, we don't, we don't play that one yet . . . . As a matter of fact, ladies and gentlemen, we have something that exceeds all of the above . . . I'll tell you about it, just a second.

Audience Member: "Peaches In Regela"!

FZ: It's not "regela," it's "regalia" . . . However, what it really is is a tango.

Now, listen to this, folks. We got this tune, see, that's, uh— You know, the, uh, tango as a dance of unbridled passion—I'm sure you're familiar with it, you know, the one, the one where you get to go . . . Okay? We have modified the, uh, tango somewhat in order to make it— bring it up to date, you know, make it accessible to a . . . a young contemporary audience such as yourselves. People who are obviously in the know.

Now we have, uh, huh huh huh— we have converted the tango into something that go— that transcends the tango form. We've combined the tango with be-bop and maybe even later a smoke machine, we don't know. We have some people in the audience tonight that, um— Well, they're friends, they've been around the Hollywood scene for a long time. I'm sure if they come up on to the stage—(BURP) pardon me, folks—you'll recognize 'em right away. He he he . . . So . . .

Carl and, uh, yeah, there they are. Over there, folks. Here comes the tango.

Alright. You ready? No, no [...] . . . You haven't seen nothing yet, ladies and gentlemen. This is Brenda, and this is Carl. Now, now, ah, you know Carl, don't you? You have seen— Stick out your tongue, Carl. You remember Carl? Okay. You may have seen him at Canter's. Alright, now, Carl and Brenda, you're gonna have to, ah, wait, right over there, just for a moment. I'll give you the cue for the precise moment when you get to come out and do it, but, ah, we've got to get it going first, just . . .

Carl?: Okay, honey.

FZ: Thank you. Okay.

Audience Member: On the floor. Hard.

FZ: (I don't know yet. Ready? Yeah, we've— No, no, we're not doing Part One, just doing the tango . . . With the bells. Yeah, the tango, the front part of the tango . . .) The tango.

Here it is, folks.

Too fast? You play it that fast, [...] you guys play it like this . . .

2. Be-Bop Tango (Of The Old Jazzmen's Church) 18:12

includes The Hook, Green Onions (Jones/Cropper/Jackson/Steinberg) and a quotation from Dupree's Paradise

Roxy, Los Angeles, CA
December 9, 1973, late show

FZ: Raw, unbridled passion.

Now, ladies and gentlemen, as you might have noticed, Bruce Fowler has just attempted to complete a genuine be-bop inspired tango trombone solo. But Bruce, aside from being a fantastic person who blows on an instrument that goes in and out, has also worked up a dance that goes with this tango. Bring the band on down behind me, boys. Feet on fire. Good God, ain't it funky now. Okay?

Now, Bruce is, uh, limbering up the important muscles of the body that will be required for this part of our tango. His lovely assistant Napoleon will, ah, will work with him in the first part of this dance. Now, to accompany what they are going to do with their feet, George is going to take the melody of the tango, paraphrase it, play it and sing it at the same time.

Okay. Are you ready? Give it a whirl.

George: Jazz. Jazz. Yeah, man. Cool. Ya dig?

FZ: Stand by the strobe lights.

George:
This is the be-bop
Even if you think it doesn't sound like that.

FZ: It sort of sounds like be-bop . . . Now wait a minute. Give them another chance. Give them one more chance, George. You don't want to throw them off. Give 'em another chance, George. One more time. Get in.

George: Yeah . . .
This is the be-bop
Even though you think it doesn't sound like that.

FZ: It's sounding a little bit more like be-bop every— Look, look, c'mere you guys. Bruce, Napoleon, come over here. Seriously now. I mean, you know about jazz, you know how when it's really good, you know, you have to play with your back to the audience, and everything. Okay. Alright. Really deep and sensitive, you know, and with a lot of notes that are not in the key, okay? Or even in the room.

Okay. The next step is we are going to attempt to have— Hey! Right over here. Into the area formerly occupied by Bruce and Napoleon. Alright, now be very careful of these wires—Napoleon, I think it would be best if you moved all of your delicate equipment, just, because you just don't know what sort of unbelievable energy will be released once we get into this part of the song. Really. It's almost too sick to imagine.

Okay. Here's the idea. There, there is a beat going on like this. This is a regular, pedestrian sort of a beat, you know? Something . . .

Alright. The challenge of this event, and this goes for Joni Mitchell too, is the fact that— Oh my God! Wait'll they have that on television.

The challenge of this event is for our lovely contestants to move their body not to the beat that's going like this, but to link their minds with the mind of George Duke. Link the— Link the important muscles of their very own bodies with the muscles of George's fingers as he makes 'em go up and down the keyboard, connecting his vocal cords to his finger muscles . . .

George: That's right, honey.

FZ: . . . which are connected by a mysterious cosmic link to your mind and your body, and you will dance to whatever George sings. Do you think you can do it? Give 'em a test, George.

Okay, you're a little slow, Carl. A little slow, Carl . . . Brenda, you're not even in the running. Okay? Do it. I'll show you, wha— Make me dance, George.

Okay, now look. You've gotta link up with, link up with big George. Okay? You know what I'm talkin' about, don't ya, Brenda? Of course you do. Good God. Alright. Make them dance, George.

It's entirely too adagio. It has to be more frenetic, ya know, more, ya know, like . . .

Much better. Can we have a couple of people from the audience to come up here and match wits with our, uh— A young gentleman has presented himself for this scientific experiment. Do we have a succulent young lady who will accompany him? Ah, come on. What's your name?

Todd: Rudy Ann Taynee.

FZ: What? What was that again?

Todd: Uh, my name's Todd.

FZ: Uh-huh? Okay. Todd. Todd. Okay. Alright, now wait, just a moment, we have to— Hey, there is a customer right there! It's . . . almost too much for the human mind to bear. Quaaludes, ladies and gentlemen. What's your name?

Lana: Lana.

FZ: Lana, hey. Alright, now we'll have to set this up just like it was in grammar school on the playground yard. Uh, you two guys work that area. You two guys, uh, Lana, you take the outside facing Carl. Thanks, Carl. Okay? Here and here, okay? You ready? Give it to 'em, George, and no mercy!

Carl, you keep grabbing her, Carl. No, faster, faster.

Now, you're sitting there, and you're saying to yourselves, "I could do that." And of course, you can. And now's your chance to join in our, ah, Hollywood be-bop experiment. All you have to do is stand up. Don't be shy. Just stand up. That's it. Just stand up. You are standing up, up, up. Each and every one of you is standing up. He is standing up, I know he is. Okay. Alright. Now, I won't press the issue; some of you are too reserved for this, and may the Lord have mercy on you, but the ones who are standing up, when George plays his hot licks, twitch it, and have a good time, you ready?

A religious experience, right here in the Roxy, ladies and gentlemen!

Folks, I'd like to thank you very much for, ah, participating in that. It's good for you, really . . . I think I'm gonna play "Green Onions." Just keep playin' it . . .

Thank you very much for coming to the concert tonight. Bruce Fowler on trombone. Napoleon Murphy Brock on tenor sax. Ruth Underwood on percussion. Ralph Humphrey on drums. Chester Thompson on drums. Tom Fowler on bass. George Duke on keyboards. Marty Perellis on smoke machine!

Thank you.

3. Medley: King Kong/Chunga's Revenge/Son Of Mr. Green Genes 9:46

includes King Kong, Chunga's Revenge, Mr. Green Genes, The Hook, and quotations from Dupree's Paradise, Also sprach Zarathustra (Strauss) and Midnight Sun (Hampton/Burke/Mercer)

Roxy, Los Angeles, CA
December 9, 1973, late show

FZ: Alright, we're gonna play "King Kong" for you. It's also hooked up to "Chunga's Revenge" and the ending of "Mr. Green Genes," so, a little cheapo medley. Okay? Are you ready, Ruth? Hurry up, Ruth! Hurry up, Ruth!
Ruth: No!
FZ: Come on, Ruth! . . . Slow down, Ruth. She's ready.
Guy From The Audience: Freak out!
FZ: One, one, one, one . . .

That's no good. Ready? One, one, one, one . . .

FZ: Thank you very much. And good night.

4. Monday Show 1 Start 5:31

Roxy, Los Angeles, CA
December 10, 1973, early show

(This is Monday night, Show 1.)

Marty Perellis: Testing. Testing, testing. Alright, welcome to the Roxy theater. Ah, Mario wanted you to know that your green stubs tonight are good at The Whiskey after this show, and it's The Gangsters Of Love with Mason . . . And now, your eight closest relatives, The Mothers.

FZ: Hello. Alright, we're still, ah, fixing things here and, ah, you know, you know, when it's ready to go, it's ready to go. In case you didn't notice, ladies and gents, we're making a movie here tonight and it's possible that, ah, later on in the program if we have something like audience participation, you'll be illuminated and . . . hey.

You know, it's really nice to work in a, a nightclub, you know. It's been so long since I've actually seen anybody in the audience, you know, when you play a concert, there's about 20 yards and it's all black, you know. But you guys look pretty good.

I'll introduce the members of the group now. This is Bruce Fowler on trombone. Napoleon Murphy Brock on tenor sax and, and vocals. Ruth Underwood on percussion. Ralph Humphrey on drums. Chester Thompson on drums. Tom Fowler on bass. George Duke on keyboards. And I'm Zack Glickman.

Audience Member: "Dinah-Moe Humm"!

FZ: We're gonna open up with a song about dental floss. The name of this song is "Montana." It tells the poignant tale of one man's quest for a horse about this big, a bush of floss, the wide open prairie, and the sincere hope that the background vocals will be in tune. Hey! Alright. Good God, ain't it funky now. Feet on fire. Are you ready?

5. Montana 6:57

Roxy, Los Angeles, CA
December 10, 1973, early show

I might be movin' to Montana soon
Just to raise me up a crop of
Dental Floss

Raisin' it up
Waxen it down
In a little white box
That I can sell uptown

By myself I wouldn't
Have no boss,
But I'd be raisin' my lonely
Dental Floss

Raisin' my lonely
Dental Floss
Raisin' my lonely
Dental Floss

Well I just might grow me some bees
But I'd leave the sweet stuff
To somebody else . . . (how 'bout you there?)
But then, on the other hand I would

Keep the wax
'N melt it down
Pluck the Floss
'N swish it aroun'

And I would have me a crop
An' it'd be on top (that's why I'm movin' to Montana)

Movin' to Montana soon
Gonna be a Dental Floss tycoon (yes I am)
I'm movin' to Montana soon
Gonna be a mennil-toss flykune (look out!)

I'm pluckin' the ol'
Dennil Floss
That's growin' on the prairie
Pluckin' the floss!
I plucked all day an' all nite an' all
Afternoon . . .

Oh, I'm ridin' a small tiny hoss
(His name is MIGHTY LITTLE)
He's a good hoss
Even though
He's a bit dinky to strap a big saddle or
Blanket on anyway
He's a bit dinky to strap a big saddle or
Blanket on anyway
Any way