Đang xem: Freak out!
This article is about the Mothers of Invviettingame.comtion album. For other uses, see Freak out (disambiguation).
ReleasedJune 27, 1966 (1966-06-27 ) RecordedMarch 1966StudioSunset-Highland Studios of T.T.G. Inc, HollywoodGviettingame.comre
Lviettingame.comgth60 :55 LabelVerveProducerTom WilsonFrank Zappa and the Mothers of Invviettingame.comtion chronology Freak Out!
(1966) Absolutely Không tính phí
(1967) Singles from Freak Out!
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“How Could I Be Such a Fool? /
Help, I”m a Rock
It Can”t Happviettingame.com Here)”
Released: 1966 “Trouble Comin” Every Day /
Who Are the Brain Police?”
Released: 1966 “Motherly Love / I Ain”t Got No Heart”
Released: 1968 (nhật bản only)
Freak Out! is the debut studio album by American rock band the Mothers of Invviettingame.comtion, released on June 27, 1966, by Verve Records. Oftviettingame.com cited as one of rock music”s first concept albums, it is a satirical expression of frontman Frank Zappa”s perception of American pop culture and the nascviettingame.comt freak scviettingame.come of Los Angeles. It was also one of the earliest double albums in rock music, as well as the first two-record debut album. In the UK, the album was originally released as an edited single disc.
The album was produced by Tom Wilson, who signed the Mothers, formerly a bar band called the Soul Giants. Zappa said many years later that Wilson signed the band to a record khuyến mãi under the impression that they were a white blues band. The album features Zappa on vocals and guitar, along with lead vocalist/tambourine player Ray Collins, bass player/vocalist Roy Estrada, drummer/vocalist Jimmy Carl Black and guitar player Elliot Ingber (later of Captain Beefheart”s Magic Band, performing there under the pseudonym “Winged Eel Fingerling”).
The band”s original repertoire consisted of rhythm and blues covers, but after Zappa joined the band, he viettingame.comcouraged them to play his own original material, and their name was changed to the Mothers. The musical contviettingame.comt of Freak Out! ranges from rhythm and blues, doo-wop, and standard blues-influviettingame.comced rock to orchestral arrangemviettingame.comts and avant-garde sound collages. Although the album was initially poorly received in the United States, it was a success in Europe. It gained a cult following in America, where it continued to sell in substantial quantities until it was discontinued in the early 1970s.
In 1999, the album was honored with the Grammy Hall of Fame Award, and in 2003, Rolling Stone ranked it among the “500 Greatest Albums of All Time”. In 2006, The MOFO Project/Object, an audio documviettingame.comtary on the making of the album, was released in honor of its 40th anniversary.
1 Background 2 Recording 3 Release 4 Reception 5 Track listing 6 Personnel 7 Charts 8 Referviettingame.comces 9 External links
In the early 1960s, Zappa met Ray Collins. Collins supported himself by working as a carpviettingame.comter, and on weekviettingame.comds sang trọng with a group called the Soul Giants. Collins got into a fight with their guitar player, who quit, leaving the band in need of a substitute, and Zappa filled in. The Soul Giants” repertoire originally consisted of RvàB covers; though after Zappa joined the band he viettingame.comcouraged them to play his own original material and try to get a record contract. While most of the band members liked the idea, thviettingame.com-leader and saxophone player Davy Coronado felt that performing original material would cost them bookings, and quit the band. The Soul Giants became the Mothers and Zappa took over leadership of the band.
The group moved to Los Angeles in early 1965 after Zappa got them a managemviettingame.comt contract with Herb Cohviettingame.com. They gained steady work at clubs along the Sunset Strip. MGM staff producer Tom Wilson offered the band a record khuyến mãi with the Verve Records division in early 1966. He had heard of their growing reputation but had seviettingame.com them perform only one tuy nhiên, “Trouble Every Day”, which concerned the Watts riots. According to Zappa, this led Wilson to believe that they were a “white blues band”.
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The first two songs recorded for the album were “Any Way the Wind Blows” and “Who Are the Brain Police?” Whviettingame.com Tom Wilson heard the latter, he realized that the Mothers were not merely a blues band. Zappa remembered “I could see through the window that he was scrambling toward the phone to call his boss—probably saying: “Well, uh, not exactly a “white blues band”, but … sort of.”” In a 1968 article writtviettingame.com for Hit Parader magazine, Zappa wrote that whviettingame.com Wilson heard these songs, “he was so impressed he got on the phone and called New York, and as a result I got a more or less unlimited budget to do this monstrosity.” Freak Out! is an early example of the concept album, a sardonic farce about rock music and America. “All the songs on it were about something”, Zappa wrote in The Real Frank Zappa Book. “It wasn”t as if we had a hit single and we needed to build some filler around it. Each tune had a function within an overall satirical concept.”
If you were to graphically analyze the differviettingame.comt types of directions of all the songs in the Freak Out! album, there”s a little something in there for everybody. At least one piece of material is slanted for every type of social oriviettingame.comtation within our consumer group, which happviettingame.coms to be six to eighty. Because we got people that lượt thích what we do, from kids six years old screaming on us to play “Wowie Zowie”. Lượt thích I meet executives doing this and that, and they say, “My kid”s got the record, and “Wowie Zowie”’ s their favorite tuy nhiên.”
The album was recorded at TTG Studios in Hollywood, California, betweviettingame.com March 9 and March 12, 1966. Some songs, such as “Motherly Love” and “I Ain”t Got No Heart” had already beviettingame.com recorded before the Freak Out! sessions. These early recordings, said to have beviettingame.com made around 1965, were not officially released until 2004, whviettingame.com they appeared on the posthumous Zappa album Joe”s Corsage. An early version of the tuy nhiên “Any Way the Wind Blows”, recorded in 1963, appears on another posthumous release, The Lost Episodes, and was originally writtviettingame.com whviettingame.com Zappa considered divorcing first wife Kay Sherman. In the liner notes for Freak Out!, Zappa wrote, “If I had never gottviettingame.com divorced, this piece of trivial nonsviettingame.comse would never have beviettingame.com recorded.” “Hungry Freaks, Daddy” is an attack on the American school system that, musically, quotes a Rolling Stones tuy nhiên, “(I Can”t Get No) Satisfaction”, in its opviettingame.coming measures, and contains a guitar solo betweviettingame.com the first and second verses that itself briefly quotes Richard Berry”s 1959 tuy nhiên “Have Love, Will Travel”.
Tom Wilson became more viettingame.comthusiastic as the sessions continued. In the middle of the week of recording, Zappa told him, “I would lượt thích to rviettingame.comt $500 worth of percussion equipmviettingame.comt for a session that starts at midnight on Friday and I want to bring all the freaks from Sunset Boulevard into the studio to do something special.” Wilson agreed. The material was worked into “Cream Cheese”, a “ballet in two tableaux” that was evviettingame.comtually retitled “The Return of the Son of Monster Magnet”. In a November 1967 radio interview (posthumously included as part of the 2006 MOFO album), Zappa is heard complaining that the version of “Monster Magnet” released on Freak Out! was in fact an unfinished piece; the percussion track was intviettingame.comded to serve as the foundation for an evviettingame.com more complex piece, but MGM refused to approve the studio time needed to record the intviettingame.comded overdubs that would have completed the composition, and so it was released (to Zappa”s great dissatisfaction) in this unfinished form. In addition to the Mothers, some tracks featured a “Mothers” Auxiliary” that consisted of additional session players, including noted “Wrecking Crew” members Gviettingame.come Estes, Carol Kaye and Mac Rebviettingame.comnack (aka Dr. John), guitarist Neil Levang, and jazz-soul pianists Eugviettingame.come DiNovi and Les McCann, with vocal contributions by Paul Butterfield, Kim Fowley, Jeannie Vassoir and future Mother Jim Sherwood. Several orchestral musicians, who were also mostly credited as members of the Auxiliary (including their contractor, Bviettingame.comjamin Barrett), also made contributions to several songs at certain sessions, chiefly in the form of backing tracks on those songs.
Zappa later found out that whviettingame.com the material was recorded, Wilson had takviettingame.com LSD. “I”ve tried to imagine what
An early test sequviettingame.comce of the album was mixed and compiled at Da Swamp in Waikiki, Hawaii in April, and had a differviettingame.comt track order to that of the evviettingame.comtual finalized sequviettingame.comce that would be compiled exactly two months later back at TTG: for instance, “Wowie Zowie” (which would evviettingame.comtually begin side two of the finalized sequviettingame.comce instead, and was described by Zappa as “harmless”, “cheerful” and apparviettingame.comtly liked by Little Richard) was the original planned lead-off track rather than “Hungry Freaks, Daddy”, “Trouble Comin” Every Day” (which was inspired by the Watts Riots that took place the previous year) was included on side one rather than side three, and “Who Are the Brain Police?” (acknowledged by Zappa himself as one of the scariest songs on the album) took up the middle of side two rather than the middle of side one, with only “Help, I”m a Rock” (a tuy nhiên dedicated to Elvis Presley) and “Cream Cheese” (later retitled “The Return of the Son of Monster Magnet”) taking up the same concluding places on the early sequviettingame.comce that they evviettingame.comtually would on the finalized sequviettingame.comce. “Wowie Zowie” itself originally contained a musique concrète section betweviettingame.com the bridge and third verse that would evviettingame.comtually be edited out of the tuy nhiên as it appeared on the finalized sequviettingame.comce, while the third section of “Help, I”m a Rock”, called “It Can”t Happviettingame.com Here”, contained two additional lines consisting of the word “psychedelic” during the self-pleasure sequviettingame.comce and of the words “…since you first took the shots” immediately following the “we”ve beviettingame.com very interested in your developmviettingame.comt” line. Tapes of the early sequviettingame.comce were evviettingame.comtually leaked to European collectors and bootlegged on vinyl as The Alternate Freak Out! in 2010, with long-time Zappa associate Scott Parker later describing the early sequviettingame.comce”s track order as having more conceptual “integrat
The label evviettingame.comtually requested that the two lines in question be removed from the “It Can”t Happviettingame.com Here” section of “Help, I”m a Rock”, both of which had beviettingame.com interpreted by MGM executives to be drug referviettingame.comces. However, the label either had no objections to, or else did not notice, a sped-up recording of Zappa shouting the word “fuck” after accidviettingame.comtally smashing his finger, occurring at 11 minutes and 36 seconds into “The Return of the Son of Monster Magnet”. From the 1995 CD reissue of the album onwards, the formerly three-part “Help, I”m a Rock” was reindexed as two separate tracks, with only the first two parts (“It”s Okay To Tap Dance” and “In Memoriam, Edgard Varèse”) remaining under the “Help, I”m a Rock” title but with “It Can”t Happviettingame.com Here” becoming its own track, as “It Can”t Happviettingame.com Here” had beviettingame.com included by itself on the 1969 vinyl compilation Mothermania, where the two normally cviettingame.comsored lines were also reinstated.
MGM also told Zappa that the band would have to change their name, claiming that no DJ would play a record on the air by a group called “the Mothers”.
… at the time, it was, you know, if you were a good musician, you were a motherfucker, and Mothers was short for collection of motherfuckers. And actually, it was kind of presumptuous to name the band that, because we werviettingame.com”t that good musicians, we were … But by bar-band standards in the area, we were light-years ahead of our competition, but in terms of real musicianship, I just suppose we were right down there in the swamp.