For more details, see Zappa In New York, Vinyl-vs-CDs FAQ, The Zappa Patio and 023 Zappa In New York, The Official Releases, Zappateers.
(Discreet K 69204, 1977)
(Discreet 2D 2290, March 3, 1978)
(Zappa Records/UME ZR3856-1, March 29, 2019)
In 1976 we played for a cozy group of 27,500 deranged fanatics in New York City (13,500 for three shows at the Felt Forum at Halloween, and 14,000 for four shows at The Palladium the week between Christmas and New Year's). All of these sold out concerts were promoted by Ron Delsener (who we hereby thank), and attended by some of the nicest people we have had the experience of playing for (who we also hereby thank). New York last Chirstmas is what made this album possible.
conductor, lead guitar, vocals
rhythm guitar, vocals
keyboards, violin, vocals
percussion, synthesizer, and vaious humanly impossible over-dubs
tenor sax, flute
alto sax, flute
baritone sax, clarinet
trombone, trumpet, piccolo
osmotic harp over-dubs
Production & re-mix engineer
N.Y.C. live remote engineer
N.Y.C. live concert mix
Studio engineers (overdubs)
Rick Smith, Davey Moire
Remote recording truck
Record Plant, L.A.
Guitar special effects box
The band is doing a 15 minute live set on "The Saturday Night Live Show" on December 11. This is the biggest satirical show on US TV, with its rock spot, thereby reaching untold millions of viewers. There are also plans for a Christmans extravaganza.
Between Christmas and the New Year, 16 December until the 29th, Zappa is doing a theatre show at the Palladium in New York City (the old Academy of Music). It's a 3,500 seater and Frank is arriving in NYC on December 5 to interview dancers and choreographers. For the show he is expanding the lineup. He hopes it will include Ralph Armstrong, Ruth Underwood and Don Preston—doing his mad scientist bit. Beefheart is also interested. Sounds a great show.
"Last December," he says, by way of illustration, "we were doing a special thing in New York at the Palladium, with the band plus five horn players. I tried to get some dancers to do it, and they wanted more than the musicians! Just for wiggling their feet!"
While listening to FZ's introduction to the 12/28/76 show, he introduces some special people in attendance including "Howard Shore, who lent us the musical parts for the arrangement that we're going to play right now, (something?) called Peaches En Regalia".
Howard Shore was first Saturday Night Live Musical Director, so this is no doubt a carry over from the December 11, 1976 SNL show. I didn't realize that Howard Shore "did the parts" which I suppose means he helped the horn section (only?) by charting the song(s) out for them.
I met Frank in an alley behind Sunset Blvd. when he had that rehearsal studio there in 1975. Bozzio had just joined the band. My friend and teacher John Bergamo was there rehearsing some chamber music (FZ's)—and all of a sudden Frank comes walking up with a pile of music under one arm and says "Hi!" with a big smile. Frank loved meeting new people I think, especially new musicians. I thought—"Wow, I just met Frank Zappa . . . " but I had already met Keith Moon while standing at a urinal at the Record Plant—so I was a little bit used to being around stars by then I guess. But Frank of course I looked up to as a musical genius and inspiration. Later on in April 1977, when John and Ruth and I recorded the 'Black Page', was when I next met Frank.
The live album has entrenched itself on Billboard's Top LP & Tape Chart.
With three recorded on-location sets in the top 10, seven more advancing rapidly upward and live product due soon from such top attractions as the Rolling Stones, Frank Zappa, Lily Tomlin and Laura Nyro, there is ample evidence that record companies stand to reap befty sales dividends from LPs recorded outside studio environments.
Also promised for the near future are these live albums: "Zappa In New York," a two-record set by Frank Zappa expected in late June; [...].
Zappa in New York was released in the UK by Zappa's DiscReet Records label in 1977, then quickly withdrawn. [...] Zappa in New York was first released in early 1977 with Zappa's original intended track listing. A small number of LP copies reached stores in England before the album was quickly withdrawn.
In 1977 a quantity of copies of this double album were released in few places internationally on vinyl & cassette with the track "Punky's Whips" included on both the sleeve listing, the label & the recording, as follows:
A-Side: 1. Titties & Beer; 2. I Promise Not To Come In Your Mouth; 3. Punky's Whips. B-Side: 1. Sofa; 2. Manx Needs Women; 3. The Black Page Drum Solo/Black Page #1; 4. Big Leg Emma; 5. Black Page #2.
This version was withdrawn by Warner Brothers, who considered its homoerotic reference to Angel guitarist Punky Meadows in "Punky's Whips" & "Titties And Beer" to be potentially litigious.
Among Warner Bros.' forthcoming releases are Rod Stewart's "Foot Loose & Fancy Free," "Alice Cooper Live," a double pocket George Benson live LP, a live America LP, Gary Wright's "Touch And Gone," a triple album Neil Young anthology title "Decade" (on Reprise), an album by the original Fleetwood Mac and a double album titled "Zappa In New York."
The Young LP lists at $14.98 while the Benson and Zappa albums list at $12.98. All others are $7.98. [...]
[Phonogram/Mercury] is prepping to rush-release an all new four record set from Frank Zappa which will carry a suggested list of $27.92.
LOS ANGELES—Warner Bros. Records and Discreet Records are to refrain from manufacturing and marketing the album, "Zappa In New York," following a hearing Tuesday (25) before Judge Malcolm Lucas in Federal District Court here.
The two defendants will lay off producing and selling the album until a Thursday (3) hearing before the court, at which time Lucas will decide upon a motion for a temporary restraining order, proffered by Harvey Fierstein, counsel for Frank Zappa, a co-plaintiff with John Williams who designed original artwork for the package.
The suit also named Capitol Records, which would be duplicating and pressing the album; Ivy Hill Lithography, which would print the album artwork and make the jacket, and Martin Cohen, local attorney and brother of Herb Cohen, former Zappa personal manager and owner of Discreet Records.
Crux of the legal hassle between Zappa and Williams and the defendants is whether Zappa could rightly refuse a license to Warner Bros. to reproduce the nine songs in the "New York" album which Zappa authored. Zappa contends that because he never issued the license, Warner Bros., Discreet and the other defendants in releasing the album would infringe on his copyrights.
Zappa claims that Warner Bros. first began to manufacture the album only when it heard recently he had negotiated a deal for the albums with a competing company. It's believed that the multiple-set package, listing for $24.95 for four LPs, will be on Phonogram/Mercury (Billboard, Oct. 22, 1977). Zappa claims the sessions ambodied in the set cost him $100,00 out-of-pocket.
He has not been repaid for any part of that amount by Warner Bros., he claims. His pleading noted that Warner Bros. intended to release "New York" either Oct. 28 or Dec. 28, 1977.
Zappa alleges that from 1965 to 1976, Martin Cohen administered Zappa's musical compositions through Cohen's Third Story Music, also named as a defendant. Warner Bros., Discreet and Martin Cohen conspired prior to May 31, 1977, to infringe upon the nine song copyrights.
Zappa and Williams claim that the defendants also infringe upon the album artwork which was registered for copyright by Williams.
The suit asks $5 million damages for unfair competition, and $5 million for invasion of privacy, plus additional damages prescribed by the court.
In a separate motion for a temporary restraining order, Zappa contends that Martin Cohen is withholding $50,000 in copyright royalties while Discreet has more than $40,000 in record royalties which belong to him.
Zappa says he delivered to Warner Bros. Records four albums, for each of which he was to have been contractually paid $60,000. He has not been paid, he claims. Warner Bros. Records, he further claims, impeded negotiating a pact with EMI of London. When Warner Bros. heard of the Mercury/Phonogram deal, it notified the Chicago-based label it still had Zappa under exclusive contract. Zappa claims his WB paper does not guarantee him $6,000 annually as required by California Code Section 3423.
The South African government Friday banned four records, including Pink Floyd's "Another brick in the wall," which was sung this week by children boycotting schools to protest inferior education.
Also outlawed was the group's long-player, "The Wall," Frank Zappa's "Zappa in New York" and Marianne Faithful's "Broken English." No reasons were given for the bannings.
Forty blind children who joined demonstrations started two weeks ago by students of mixed race adapted Pink Floyd's song to emphasize demands for a uniform system of education for all race groups. The white minority government enforces a racial segregation policy that allows whites a privileged position.
What's the current state of play over albums?
Well, Warner Brothers still owes me the money. I'm still suing them. I'm still suing Herb Cohen (his former manager). The case won't go to court in the United States for another three to five years. Warner Brothers are intending to release another of the four albums that I delivered to them that they didn't pay me for. That's supposed to come out in October. I've already finished off this other one [Sheik Yerbouti] . .
Which is the one they've released that they haven't paid you for so far?
'Live In New York'. And the next one they'll be putting out is a studio album called 'Studio Tan'.
Does that explain why there was a late change in the track listing on 'Live In New York'?
There was one track that got removed, 'Punky's Whips'. They took it out. First of all they had no right to tamper with the tapes. Secondly they didn't pay me for any of the stuff that I delivered to them. I mean, they're just so far in breach of the contract and they're just so grossly unfair. For instance, that track 'Punky's Whips' is 12 minutes and 37 seconds long. It's most of a side. They took it out because they didn't have the permission from Punky Meadows to use it. Then they have the audacity to go ahead and release the album with 12 minutes missing. There was something in one of the papers over here complaining about how short the album was (It was Sounds actually—Ed.). It wasn't my fault. I didn't have any control over it. I think Herb Cohen was the one who took it out.
Then I heard this noise
Like a crunchin' twig, 'n up jumped the Devil . . .
In the song Titties 'n Beer, the line 'Up Jumped the Devil' is in reference to an Robert Johnson song called 'Preachin' Blues (Up Jumped the Devil)', which I'm sure Frank was familiar with.
Why there was Milhous Nixon 'n Agnew, too . . .
'N both of those suckers was worse 'n you . . .
Spiro T. Agnew. Vice-president under Nixon, who was faced with indictment by a grand jury for having accepted bribes from construction contractors while serving as Governor of the state of Maryland. This did not come out until both of them had been re-elected as Pres and Vice-pres; Agnew, seeing that the game was up for him, resigned. This was about 6 months to a year before Nixon was forced out. Agnew never went to prison.
You know . . . ever since that guy told you that he contained more fluid than Jeff Beck you've been tryin' to outdo him . . .
Let go of your pickle!
A pickle is a cucumber (or some other food item) that has been soaked in saltwater or vinegar. In ZINY, "pickle" is clearly meant to refer to Terry's penis. I've never heard the word used this way, but it is undeniably what is intended. "Let go of your pickle!" thus means, "Stop masturbating!" ("To let go" means "to release", so "Let go of it!" means "Release it!" or "Put it down!")
"Pickle" is common American slang for "penis", especially as applied to infant or small boys by their squeamish mothers. Older males usually discard it in favor of "dick" or somesuch.
Hey, Dale, would you like to come up here and hold my pickle to satisfy this weird man out here on the stage?
Dale [Bozzio] met Frank in an all-night deli in Boston when he was in town sometime in 1975. He told her that if she was ever in L.A. to come over to the studio and she could sit in on a session. When she turned up one day, Frank was working with the band, which included Terry. They were attracted to each other right away and got together. Dale continued to live in Boston for a little while but relocated to L.A. soon after that. Terry quit Zappa's band during rehearsals for the Fall 1978 tour, and Terry & Dale got married in 1979. They formed Missing Persons with Warren in 1980. Missing Persons and the Bozzio marriage both broke up in 1986.
|December 29, 1976||5.03. Chrissy Puked Twice—ZINY 40th (CD, 2019)||1.01. Titties & Beer—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||1.01. Titties & Beer—ZINY (CD, 1991)||3.02. Titties 'N Beer—Läther (CD, 2012)||07. Titties 'N Beer—HIOS? (CD, 2012)||Zappatite (CD, 2016)|
|30. Titties & Beer|
I spoke to FZ in 1992, and he told me that the guitar solo on BURGERS from LIVE IN NY is in fact the first time he ever stumbled across the notes that would eventually become the opener for MO ['N HERB'S VACATION] and the little thing in WET [T-SHIRT NITE].
Thanks to Patrick Buzby.
|December 29, 1976||Läther Era Outtakes, 1978||5.04. Cruisin' For Burgers (1977 Mix)—ZINY 40th (CD, 2019)||1.02. Cruisin' For Burgers—ZINY (CD, 1991)|
|31. Cruisin' For Burgers|
|00:04-00:40||0:00-0:36||0:00-0:36||0:04-0:40 (with guitar overdub)|
A sensitive instrumental ballad for late-nite easy listening.
Special thanks to Charles Ulrich & Patrick Buzby.
|December 26, 1976||December 27, 1976||December 28, 1976||December 29, 1976||2.07. I Promise Not To Come In Your Mouth—ZINY 40th (CD, 2019)||5.02. I Promise Not To Come In Your Mouth—ZINY 40th (CD, 2019)||1.02. I Promise Not To Come in Your Mouth—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||1.03. I Promise Not To Come In Your Mouth—ZINY (CD, 1991)||2.08. Läther—Läther (CD, 2012)|
|07. I Promise Not To Come In Your Mouth||05. Punky's Whips||1.06. I Promise Not To Come In Your Mouth||11. I Promise Not To Come In Your Mouth|
|06. I Promise Not To Come In Your Mouth|
Terry recently fell in love with a publicity photo of a boy named Punky Meadows, lead guitar player from a group called ANGEL. In the photo, Punky was seen with a beautiful shiny hairdo in a semi-profile which emphasized the pooched out succulence of his insolent pouting rictus.
At a recent LA concert Zappa and his band performed "Punky's Whips" complete with a backdrop photo of Punky Meadows to the roar of approval from the standing room only crowd. After the show, Frank posed for a pic with Angel who stopped by the show just specially to hear Frank sing the song.
Were there any legal hassles with "Punky's Whips"?
Oh, yeah; there were legal hassles. I have the release from Punky Meadows [of the group Angel] saying it's okay to put it out. Warner Bros. did not, so they panicked and decided not to put it out so, against the terms of the contract, they removed twelve minutes from the album, the song, "Punky's Whips".
And they also knocked out the mention of Punky in, uh....
"Titties And Beer".
So the release is to you, not to Warners?
Right. As a matter of fact, Herb Cohen offered to pay Punky Meadows a couple of thousand dollars to sign a release, but he wouldn't do it.
So if Warners can't use it, it might end up on a future thing of yours?
That's right. In fact, there's an even better version now, that we taped and filmed last year in New York at the Halloween show.
Oh, Punky, isn't it romantic?
Please note that at this point, the band plays the melody of the 1930s pop tune "Isn't It Romantic?"
His hair is so pretty . . . I'd like to bite his neck
I've heard a rumor he's more fluid than Jeff Beck
Special thanks to Patrick Buzby, Charles Ulrich & Tan Mitsugu.
|December 26, 1976||December 27, 1976||December 28, 1976||December 29, 1976||2.06. Punky's Whips—ZINY 40th (CD, 2019)||5.06. Punky's Whips (Unused Version)—ZINY 40th (CD, 2019) / ZINY (withdrawn LP, 1977)||1.04. Punky's Whips—ZINY (CD, 1991)||2.04. Punky's Whips—Läther (CD, 2012)|
|06. Punky's Whips||05. Punky's Whips||1.05. Punky's Whips||09. Punky's Whips|
|01:19-01:42||01:14-01:38||01:18-01:41 (with guitar overdub)||01:15-01:38|
|01:51-01:56||01:41-01:46 (with guitar overdub)|
|01:56-02:02||01:43-01:49||01:46-01:52 (with guitar overdub)||01:43-01:49|
|02:02-02:33||01:52-02:23 (with guitar overdub)|
|02:21-02:27||02:27-02:34 (with guitar overdub)|
|02:43-03:39||02:34-03:29 (with guitar overdub)|
|03:49-04:13||03:24-03:48||03:41-04:05 (with guitar overdub)||03:25-03:48|
|05:33-05:57||04:07-04:31||03:48-04:12||04:05-4:29 (with guitar overdub)||03:48-04:12|
|04:48-05:12||04:40-05:03 (with guitar overdub)|
|05:11-08:00||04:46-07:36||05:03-07:52 (with guitar overdub)||04:47-07:37|
|(missing in tape)||09:01-09:03||09:02-09:04|
|(missing in tape)||09:03-09:20||09:03-09:21||09:04-09:21|
|(missing in tape?)||10:38-10:57||10:39-10:59|
Additional informant: Tan Mitsugu
The candles were drippy, they saw a REAL HIPPY
Who delivered their dinner
Insert hippie riff here (D cord with the pinky flailing around on the high G note).
Special thanks to Patrick Buzby.
|December 26, 1976||December 27, 1976||December 28, 1976||December 29, 1976||2.08. Honey, Don't You Want A Man Like Me?—ZINY 40th (CD, 2019)||1.08. Honey, Don't You Want A Man Like Me?—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||1.05. Honey, Don't You Want A Man Like Me?—ZINY (CD, 1991)||2.01. Honey, Don't You Want A Man Like Me?—Läther (CD, 2012)|
|08. Honey, Don't You Want A Man Like Me?||07. Honey, Don't You Want A Man Like Me?||1.07. Honey, Don't You Want A Man Like Me?||12. Honey, Don't You Want A Man Like Me?|
Michael H. Kenyon, 30, the suspected enema bandit who terrorized coeds at the Universtity of Illinois for 10 years, has pleaded guilty in Urbana, Ill., to six counts of armed robbery. He has admitted administering enemas to woman victims in at least three of the six robberies.
|December 29, 1976||1.09. The Illinois Enema Bandit—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||1.06. The Illinois Enema Bandit—ZINY (CD, 1991)||1.09. The Legend Of The Illinois Enema Bandit—Läther (CD, 2012)|
|13. The Illinois Enema Bandit|
And then the Bandit might say, "Why is everybody lookin' at me?"
And the Bandit might say, "Why is everybody always pickin' on at me?"
Special thanks to Patrick Buzby & Charles Ulrich.
|December 26, 1976||December 27, 1976||2.01. I'm The Slime—ZINY (CD, 1991)|
|12. I'm The Slime||10. I'm The Slime|
Special thanks to Patrick Buzby.
|December 26, 1976||December 29, 1976||1.04. Sofa—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||2.02. Pound For A Brown—ZINY (CD, 1991)|
|13. Pound For a Brown|
|28. Find Her Finer Improv & Manx Preamble|
|2:17-2:22||2:57-3:01 (with guitar overdub)|
|2:22-2:34||3:01-3:13 (with guitar overdub)||3:26-3:38 (with guitar overdub)|
|29. Manx Needs Women|
An arrangement of the exercise published in GUITAR PLAYER MAGAZINE, with a few alterations and additions.
This song used to be called "Mars Needs Women," but since Bozzio went to The Gilded Grape, sort of a modification (?) in the social life, where he became very impressed with the M.C.—it's not just Punky's picture that's influencing him, you understand—Terry has fallen under the magic spell of the M.C at The Gilded Grape, a man, a great man and a great M.C, right up there with Don Pardo, a man that we have named Manx . . . his real name is Timothy, but we call him Manx, because of the way his hair is cut.
|December 28, 1976||December 29, 1976||1.05. Manx Needs Women—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||2.03. Manx Needs Women—ZINY (CD, 1991)|
|29. Manx Neeeds Women|
|04. Pound For A Brown||1.06. The Black Page Drum Solo/Black Page #1—ZINY 40th (CD, 2019) / ZINY (LP, 1978)|
|05. Black Page Drum Solo|
The reason it's called "The Black Page" is there's so many dots on it that the page appears to change color.
Basically he walked in and he said, "What do you think about this, Bozzio?" And I said "Wow, Frank. I'm impressed." He wrote it because we had done this 40-piece orchestra gig together [The Abnuceals Orchestra], and he was always hearing the studio musicians in LA that he was using on that talking about the fear of going into sessions some morning and being faced with 'the black page'. So he decided to write his 'Black Page'. Then he gave it to me, and I could play parts of it right away. But it wasn't a pressure thing, it just sat on my music stand and for about 15 minutes every day for 2 weeks before we would rehearse I would work on it. And after 2 weeks I had it together and I played it for him. And he said, "Great!" took it home, wrote the melody and the chord changes, brought it back in. And we all started playing it.
When we were rehearsing and recording during the days while performing nights at Royce Hall, Frank overheard the studio musicians talking about the difficulty of the music and how they all lived in mortal terror of coming in to a jingle session one morning and being presented with a mythological "Black Page," a piece of music so hard and filled with notes that it appeared 'black'. He joked about it and I soon forgot, but that was the initial incentive for "The Black Page" drum solo he would write for me two years later!
In a Japanese interview with Terry Bozzio, which appeared on the October 1993 issue of "Rhythm & Drums Magazine", he stated that his short drum solo before The Black Page Drum Solo was actually a note-for-note imitation of Tony Williams licks. When he realized that FZ used that portion for the album, he got so embarrassed that it determined him to establish his own unique style.
Two things happened in 1979. I'd left Frank, and he was Live In New York with "The Black Page." And "The Black Page" starts with a snippet of a ten-minute drum solo I had improvised, which was a note-for-note rip-off of a Tony Williams lick off a Stanley Clark album. There, for posterity. This stuck in my craw. And then, when I got to England, I just went wild, listening to King Crimson albums, and here's a guy who's not a chops-oriented American Fusion drummer, like Tony Williams and all the guys I emulated, and he really got this wonderful sonic personality, and a beautiful, inventive style. And so this really made me aware of developing my own style. So I started stacking the cymbals at that time, and stayed away from things I had seen.
When we all assembled at Royce Hall for a full rehearsal it was pretty impressive—40 of the best musicians in town: first call guys, strictly union and fully professional. During one of the breaks (10 minutes on the hour, every hour, whether in the middle or near the end of a recording take or not! On one take we were 16 bars from the end when someone pressured the Union Rep. that we had to stop for a break!!!) Frank noticed that many of these musicians, huddling around the coffee machine seemed to be living in mortal terror of their jobs. Of being called in for an innocent Corn Flakes commercial jingle on a Monday morning and being faced with a mythological "black page" so full of difficult notes that the page appeared to be all black and they wouldn't be able to play it! This, Frank told me, was the inspiration for his "Black Page" that I was honored to have premiered.
Special thanks to Patrick Buzby.
|December 28, 1976||1.06. The Black Page Drum Solo/Black Page #1—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||2.04. The Black Page Drum Solo/Black Page #1—ZINY (CD, 1991)||2.02. The Black Page #1—Läther (CD, 2012)|
|2.05. Black Page Drum Solo|
|2.06. Black Page #1|
One thing I found from discussions of the new release [...]: "Big Leg Emma" has guitar overdubs in all past releases.
|December 28, 1976||1.03. Big Leg Emma—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||2.05. Big Leg Emma—ZINY (CD, 1991)||3.02. Big Leg Emma—Läther (CD, 2012)|
|2.07. Big Leg Emma|
|0:00-2:11||0:00-2:10 (with guitar overdubs)||0:00-2:11 (with guitar overdubs)||0:00-2:11 (with guitar overdubs)|
|2:11-2:17||2:10-2:16 (with guitar overdubs)||2:11-2:17 (with guitar overdubs)|
FZ's guitar in the album version of Sofa was an overdub.
An arousing waltz, originally released on the album "ONE SIZE FITS ALL." Since that album was not very popular, this presentation might guide a few curious listeners back in that direction to check it out.
I also mentioned to Frank how much I loved One Size Fits All. He sort of cocked his head and gave me an odd, slightly sad, puzzled look and said, "It didn't sell very well at all."
Special thanks to Patrick Buzby.
|December 27, 1976||December 29, 1976||1.04. Sofa—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||2.06. Sofa—ZINY (CD, 1991)|
|09. Sofa #1||15. Sofa|
|0:29-3:18||0:00-2:48 (with guitar overdub)||0:00-2:48 (with guitar overdub)|
|2:36-2:44||2:48-2:56 (with guitar overdub)||2:48-2:56 (with guitar overdub)|
|2:44-2:45||2:56-2:57 (with guitar overdub)|
Trying to remember, is there any evidence of who played the piano overdubs on Black Page #2 from ZINY?
Nothing beyond the fact that Ruth is explicitly credited for synthesizer but not for piano.
So the piano overdubs were either done by Eddie Jobson, who is credited for piano but is not otherwise known to have participated in overdub sessions for the album, or by Ruth Underwood, who is known to have participated in the overdub sessions but is not credited for piano.
Special thanks to Patrick Buzby.
|December 28, 1976||1.07. Black Page #2—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||2.07. Black Page #2—ZINY (CD, 1991)|
|1.03. Black Page #2 1st|
Special thanks to Patrick Buzby and Charles Ulrich.
|December 29, 1976||2.08. The Torture Never Stops—ZINY (CD, 1991)|
|03. The Torture Never Stops|
Purple Lagoon is one of the two themes that's played against each other in the head of the song. It was the "tour theme" for the fall '76, spring '77 and spring '78 tours, but the special medley arrangement with Approximate was only played at SNL and the Christmas shows at the Palladium in Dec 1976.
Here's a dissection of the ZINY version:
00:17—00:36 The Purple Lagoon 00:37—01:16 Approximate (O'Hearn keeps playing PL until 00:46) 01:17—15:23 Solos, over the Pound For A Brown vamp 15:23—end Purple Lagoon
Special thanks to Patrick Buzby, Charles Ulrich & Tan Mitsugu.
|December 27, 1976||December 28, 1976||December 29, 1976||3.11. The Purple Lagoon—ZINY 40th (CD, 2019)||1.10. The Purple Lagoon—ZINY 40th (CD, 2019) / ZINY (LP, 1978)||2.09. The Purple Lagoon/Approximate—ZINY (CD, 1991)||2.06. The Purple Lagoon—Läther (CD, 2012)|
|15. The Purple Lagoon||2.08. The Purple Lagoon||24. The Purple Lagoon|
|20:18-21:01||05:45-06:28 (with guitar overdub)||05:44-06:27 (with guitar overdub)||05:45-06:28 (with guitar overdub)|
|21:45-22:43||06:28-07:26 (with guitar overdub)||06:27-07:25 (with guitar overdub)||06:28-07:26 (with guitar overdub)|
|08:57-11:55||08:54-11:50||07:26-10:22 (with guitar overdub—07:26-07:31)||07:25-10:20 (with guitar overdub—07:25-07:51, 08:37-09:29)||07:26-10:23 (with guitar overdub—07:26-07:31)|
|25. Bebop Tango Interlude & P.L. Epilogue|
|16. Find Her Finer|
Research, compilation and maintenance by Román García Albertos