Obviously, Ed Mann quotes/plays "Dickie's Such An Asshole" circa 7:21-7:40. But if you listen closely, I think you'll also hear that Chad plays That Lick on the snare drum circa 7:11-7:16 ( ! )
I'm pretty darned sure that the only synthesizer I play on "Yuppies" is on the opening composed section (the "head" as we say in the biz). There's three synths in that section, all played simultaneously—Robert on kind of a vocal timbre, Scott Thunes on Mini-Moog bass, and me on Yamaha DX-5 clavinet.
Informants: John W. Busher, Patrick Buzby
|Rudi-Sedlmeyer Sporthalle, Munich, Germany
May 9, 1988
|09:01-09:25||Wembley Arena, London, UK
April 18, 1988
|09:25-09:31||The Ahoy, Rotterdam, Netherlands
May 3, 1988
|Unknown date and location|
DS: OK. Here's something in a completely different direction. Quite often your music contains quotes from [Giuseppe] Verdi's "Aida", [Richard] Wagner's "Lohengrin", and [Georges] Bizet's "Carmen". Are you an opera buff?
DS: What about those pieces of music appeals to you? You've been playing around with them for years.
FZ: They're all good tunes.
DS: Yeah. Particularly the "Lohengrin". You've kinda had a fancy for that for pretty much throughout your career, haven't you?
FZ: Yeah. Y'know, I never heard "Lohengrin" until Hi-Fi was invented. Long time ago, before Hi-Fi, I didn't know that there was such a thing called "Lohengrin", and I found out about it because, one day I went to this record store, and they gave away this forty-five RPM demonstration disc of what Hi-Fi sounds like, and that was the thing that was on there. Like, the first Hi-Fi I ever heard was this performance of "Lohengrin", by [Arturo] Toscanini.
DS: And it appealed to ya.
FZ: Yeah. Nothin' else on there did, but . . . . (laughter)
in the Upper Devonian. There was a really nice intellectual kind of a placoderm type of a fish
I did something on the 1988 tour in Cleveland about the fossil fish from Cleveland. They're these armoured fish from the Devonian period. I knew we were going there and I called up the museum and spoke to the expert in the fish who told me something about them. Then we had to start talking politics.
I think some of the head may be from 3/17/88 binghampton ny.
Idiot Bastard: Was it your idea to bung a bit of Bartok into Packard Goose on the 88 tour?
Scott Thunes: Nope. Frank's. He asked me to orchestrate it, and the Stravinsky, for the band. He tweezed it a bit, so it's not 'reeeely' all mine, but I take credit for it because he stole credit for the music for Promiscuous, as bad as it is.
Isn't [the first movement of Bartok's third piano concerto] one of the most beautiful melodies you ever heard in your life? [...] That, and Stravinsky's "Royal March" (from "L'Histoire Du Soldat") are in the middle of "Packard Goose" (from JOE'S GARAGE). Instead of a guitar solo we put those two pieces in there.
Q: [...] Why is the Theme from the Bartok Piano Concerto #3 cut in half on Make a Jazz Noise Here? What happens to the mellow piano lead that Bobby Martin plays right before the horn section comes in?
A: Bobby (sorry, Robert) never executed that passage to Frank's total satisfaction. It's too bad, 'cause the full-length version had a lot more impact. The first half of the horn section is missing also.
The edit points in the Jazz Noise version:
Sinister Footwear—Second Movement
0:00—0:36 May 25, Mannheim
0:36—1:47 May 3, Rotterdam
1:47—4:04 March 19, Allentown
4:04—unknown February 10, Washington D.C.
unknown—end March 19, Allentown
(You should have know
You see the Tipper Gore discharge?)
These are references to a pair of panties with discharge at the bottom that were thrown on stage. Vaginal discharge is sometimes called "voodoo butter". Butt discharge is called "voodoo fudge". I don't know what "Tipper Gore discharge" is, but it's probably not good.
(Well, uh . . . He's been havin' trouble goin' to the mound, I don't know)
(Don't think we need any more spread hitters, you know)
(He's a-sprayin' into left field)
(Oh, he's uh, gonna spray one into left field right about now, I don't know, uh . . . well, uh . . .)
These lines are from the Bilbao show, and are references to baseball.
Research, compilation and maintenance by Román García Albertos