FZ album(s) in which song has appeared

Tour(s) on which song is known to have been performed (main source: FZShows, v. 7.1)


Foggy G, "The Songs That Were Played," We're Only In It For The Touring

1981-82: Essentially played as on YCDTOSA Volume V, and always followed "What's New In Baltimore?". [Note the similarities between the 2 songs- they actually contain the same, short musical theme. Prior to the '81 tour, the '80's bands frequently rehearsed a tune known as "The Mystery Studio Song". "Moggio" and "WNIB?" are the two offspring of this creation.]

"Mōggio" & "What's New In Baltimore?"

Marc Ziegenhagen, Society Pages #1, April, 1990

"Moggio" & "What's New In Baltimore?", two very different songs released 4 years apart, are surprisingly similar in structure, The time signatures, chord changes, and bass motion are nearly identical to each other (same "blue-prints"), and both codas are identical. They were created during rehearsals for the '81 tour and were initially one composition called "Mystery Studio Song", which eventually became "Furnished Singles," and later became known as "Ne Pas Deranger" which is French for "Do Not Disturb." Frank verified these facts in the interview conducted by Dennis Sims (see next issue for this part.)

Marc Ziegenhagen, Society Pages #2, c. May-June, 1990

In the last issue, I mentioned how "Moggio" and "What's New in Baltimore" were written with the same "musical blue prints", and how the codas are identical. Well, here's s'more: the last four notes of the coda to those songs are also the last four notes of the basic melody in the song "Envelopes" (see manuscript fig. 4). The "basic melody" for "Envelopes" is a 16 bar phrase that repeats before going on to the "development" section, and the four notes in question occur in the last two bars of the phrase, respectively. Listen closely, and you'll hear it for yourself. Also, for those so inclined, whistle along.

(Collectively researched by Marc Ziegenhagen and Mike Genovese)

Steve Vai, Guitar Player, February, 1983

. . . or a song called "Moggio". It was arranged with really nice, beautifully arpeggiated chords with odd meters in it. But there's one great thing about the way Frank writes odd meters. As far as I'm concerned, he doesn't just write odd meters for the sake of writing odd meters. If something is in an odd meter, it's the effect he wanted. So this song started out with the arpeggiated chords, and then it went to a guitar solo, and then it went back to the arpeggiated chords, with a big long melody on top of it. And the melody's really tough, but it's nice. The only thing that's in the final mix of the album is the melody. Frank just sliced the melody off and put it on the record.


Conceptual Continuity

Additional informant: Dave Wilcher

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