Hot rats

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Hot rats
Studio album by Frank Zappa

Publication
(s)

15th October 1969

Label (s) Bizarre Records
Reprise Records
Zappa Records (CD)
Rykodisc (CD)
VideoArts Music

Format (s)

LP vinyl , CD

Genre (s)

Jazz rock , progressive rock

Title (number)

6th

running time

47:09

occupation
  • John Guerin - drums in Willie the Pimp , Little Umbrellas and It Must Be a Camel
  • Paul Humphrey - drums in Son of Mr. Green Genes and The Gumbo Variations
  • Ron Selico - drums in Peaches en Regalia

production

Frank Zappa

Studio (s)

TTG , Los Angeles
Sunset Sound, Los Angeles
Whitney Studios, Glendale

chronology
Uncle Meat
(1969) 		Hot rats Burnt Weeny Sandwich
(1970)

Hot Rats (English for hot rats , a line of text from the piece Willie the Pimp ) is Frank Zappa's second solo albumand was released in 1969. It reached number 9 on the UK charts. This made it Zappa's first top ten album worldwide.

The album is considered one of the first jazz rock albums and represents a turning point in Zappa's musical style. With one exception, the long-playing record contains exclusively instrumental pieces of music. For the first time, Zappa dispensed with interjections in the style of new music , especially musique concrète , collage-like style changes and spoken sections that were typical of his previous albums. Zappa put his fellow musicians together completely from scratch for this production. The album came out after he declared the breakup of the Mothers of Invention . Zappa played with a specially formed group that included his childhood friend Captain Beefheart , violinist Don Sugarcane Harris and several professional session musicians such as John Guerin .

For the production of Hot Rats , Zappa used the 16-track tape technology that had just become available , with the help of which he arranged multilayered brass sections.

History of origin

Frank Zappa at the Theater de Clichy, Paris, in the early 1970s

The year 1969, in which Hot Rats was produced, was a year of upheaval for Frank Zappa. As the front man of the Mothers of Invention , founded in 1964 , Frank Zappa had increasing success with his works with the media and the public. From the first album Freak Out! (1966), which is also known as the "bravest debut album in rock history", Zappa had created his own style, which was continued in the following albums, such as We're Only in It for the Money . These rock albums were like collages with fragments and borrowings from other genres, such as surf rock , doo wop or new music . The lyrics were often satirical and socially critical and contained many allusions to the freak and rock music scene.

After the release of the commercially unsuccessful album Uncle Meat in April 1969, Zappa was no longer satisfied with the band, which he and his fellow musicians led as a partnership . In later interviews he complained that the audience did not appreciate the musical quality of his music and criticized the limited musical abilities of the other band members. The lack of commercial success also led to financial difficulties. In June 1969, Zappa called for the Mothers of Invention to end . The last appearance with the original line-up was on August 18, 1969.

Roland Kirk, 1970s

The production of the album Hot Rats falls during this period . In April 1969 the Mothers of Invention had performed at the Boston Globe Jazz Festival and Zappa had invited the jazz saxophonist Rahsaan Roland Kirk to play with the band. The performance was a great success. The Anglist and Zappa biographer Kelly Fisher Lowe sees this jazz performance as one of the initial spark for Hot Rats . Zappa developed the ideas from Boston on the album.

In the summer of 1969, Zappa began rehearsing for the Hot Rats project in the basement of his house . He initially played with Roy Estrada (who, however, cannot be heard on the recordings) and Ian Underwood . Bass player Max Bennett and jazz drummer Paul Humphrey , who had already worked with Wes Montgomery and Lee Konitz , were added later . In addition, Zappa hired the studio musician John Guerin , who also worked for Quincy Jones and had already played on Zappa's first solo album Lumpy Gravy in 1967, for the drums . In addition, Zappa had hired producer Johnny Otis as band leader to make recordings in the TTG studios in the last two weeks of July . Zappa had met Otis as a student in Lancaster and valued his work as a producer and his keen sense for rhythm and blues . Otis had brought his son Shuggie into the studio and let him play the bass for Peaches en Regalia . Through Johnny Otis, Zappa also got in touch with jazz violinist Don Sugarcane Harris . Harris had recorded the rhythm and blues track Leavin 'It All Up to You , which Zappa loved , and was jailed for a drug offense at the time. Zappa made bail and hired Harris to do the violin parts. Harris only plays the electric violin on Hot Rats .

The producer Richard Bock , for whom Zappa had played recordings of Hot Rats , put him in touch with the jazz violinist Jean-Luc Ponty , who finally contributed a short part on It Must Be a Camel . This provided the impetus for the later collaboration, which manifested itself above all in the album King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa , released in 1970 .

The roots of Hot Rats go back a long way. Sun can be found on the album themes from the score for the film The Greatest Sinner by Timothy Carey that Zappa had composed in the early 1960s and headed 52-December 17, 1961 by college orchestra Pamona Valley Symphony Orchestra was recorded was.

Hot Rats was released on October 15, 1969. The title of the album takes up a line of text from Willie the Pimp .

Stylistic classification

Jazz rock

Hot Rats is assigned to jazz rock , a style of music that combines elements of rock and jazz . Generous jazz improvisations and “jazz interpretations” are the focus of the album.

There is no conclusive investigation in the literature as to whether Zappa's decision to work with jazz musicians was caused by the increasing popularity of jazz rock or whether Zappa himself, as the driving force, gave this development a new boost. In any case, Zappa used elements of jazz in his recordings early on, for example with Invocation And Ritual Dance of the Young Pumpkin on the album Absolutely Free . This was recorded in 1966, well before jazz rock became popular. In his first solo album Lumpy Gravy , Zappa also used jazz passages that were incorporated into collages. On the previous album by Hot Rats , Uncle Meat , you can find King Kong, an 18-minute instrumental jazz rock piece that gives room for four improvisations by various soloists. The album Weasels Ripped My Flesh , which was recorded between 1967 and 1969 and was released after Hot Rats in 1970 , contains the jazz rock pieces Get a Little and The Orange County Lumber Truck . Zappa's pure jazz rock records include Hot Rats and the 1972 albums Waka / Jawaka and The Grand Wazoo .

Miles Davis in Nice, 1989

Some music critics call Hot Rats the first jazz fusion album. It appeared about the same time as Bitches Brew by Miles Davis , the album widely regarded as the trigger for the popularization of the genre. Nonetheless, Kelly Fisher Lowe notes that the album is ultimately closer to the blues than to jazz. In the mixture of rock, jazz and blues, Lowe considers the album to be more progressive than Zappa's earlier works, also because the pieces are composed and arranged much more complex.

The sound is characterized by electrically amplified instruments, new electronic sound generators and sound alien. For the first time, Zappa completely dispenses with Dadaist sound collages in the style of musique concrète and the reference to new music .

Recording technology and instrumentation

Ampex MM1000 16-track recording device available around 1970 (right)

Hot Rats is a pure studio album that makes extensive use of the possibilities of overdubbing . Different soundtracks of a multi-track recorder are recorded one after the other and finally mixed to get a polyphonic recording. This makes it possible to create sweeping sound arrangements with just a few musicians. The Whitney Studio in Glendale , where parts of Hot Rats were recorded, was one of the first studios to have a 16-track recording device. With his help, Zappa was able to create complex arrangements of brass sections, which Ian Underwood recorded alone and which Kelly Fisher Lowe exuberantly rated as a “mixture of musical mastery and studio magic”.

Zappa himself emphasized several times that the possibility of being able to work with a 16-track device was the real reason for the studio work on the album Hot Rats and that the use of overdubbing was even the essence of the album. According to his own account, Zappa was the first after Les Paul , who had worked more experimentally, to use 16-track technology for the production of an album. At that time, analog recording technology was still dominated by tape machines with four or eight sound tracks.

John Guerin reports that the tape ran continuously during the recording sessions. Zappa let Guerin develop grooves and individual improvisations without music on the drums . The finished pieces were then created in the control room .

The large pipe organ played by Ian Underwood and referred to as Organus Maximus in the Hot Rats cast list also contributes to the special sound of the album . It was installed in the Whitney Studio , where many pieces of religious music were recorded.

Frank Zappa and sound engineer Dic Kunc later used the Whitney studio for other record projects, such as Trout Mask Replica by Captain Beefheart or Pretties for You (1969), Alice Cooper's first studio album .

Publications

The long-playing record was released on October 10, 1969 in the US on Bizarre Records , and Reprise Records was responsible for worldwide distribution . The album was reissued several times by the late 1970s. On November 2, 1986, the record was reissued as part of the Old Masters Box . The album was released on compact disc in September 1987 in America on Rykodisc and in Europe on Zappa Records . The CD version had been remixed by Zappa , using the original studio tapes to make changes to the sound characteristics, the instrumentation and the sequences of the pieces. For example, The Gumbo Variations is about four minutes longer on the CD and a recorder passage has been inserted into Little Umbrellas . A new edition of the CD with a restored cover was released by Rykodisc in 1995. In 2019 the 6-CD edition The Hot Rats Sessions was released ; The set contains unreleased base tracks, rare and unedited mixes, working mixes and relevant takes from Zappa's legacy.

Track list

No. title Duration of original vinyl (1969) Duration CD (1995)
1. Peaches en Regalia 03:39 03:37
2. Willie the Pimp 09:25 09:16
3. Son of Mr. Green Genes 08:58 09:00
4th Little Umbrellas 03:09 03:03
5. The Gumbo Variations 12:55 16:57
6th It must be a camel 05:15 05:16

Description of each title

Peaches en Regalia

Peaches en Regalia (from English peach : peach and regalia : regalia, regalia ), the first track on the album, is a precisely structured and tightly executed instrumental piece that looks like an overture . It differs from the following pieces, which leave a lot of room for improvisation. Peaches en Regalia is characterized by piano trills , synthesizer runs and a deep drum sound that is arranged in the center of the stereo image . The piece has an energetic and dynamic effect. It is pompous in a parodistic way, comparable to later titles like Regyptian Strut ( Sleep Dirt , 1979), and benefits from the multi-track tape technology that allows the piece to achieve the seamless quality of West Coast jazz . Peaches en Regalia has been described as "one of Zappa's most enduring pieces" and is one of the few tracks by the musician that is occasionally played on the radio in America. It opens up to the listener without much effort and was later taken up again and again by Zappa, for example at many live concerts, but also on the albums Fillmore East, June 1971 (1971), Tinsel Town Rebellion (1981) and two albums by Beat the Boots series.

Willie The Pimp

Captain Beefheart, Toronto, 1974

On Willie The Pimp (f Engl.. Willie, the pimp ), the only vocal tracks on the album, sings Don Van Vliet, aka Captain Beefheart , with the Zappa just the album Trout Mask Replica was produced and which he already knew from his youth .

The text, and in particular the title, is inspired by an interview that Zappa had with two women in New York in 1969. It was later released in 1985 under the title The Story of Willie the Pimp on the Mystery Disc of the album sampler The Old Masters Box One . In the song, the "wannabe pimp named Willie" describes how he stands in the lobby of a hotel with styled hair, khaki pants and polished shoes and offers his girl: "Twenny dollah bill (I can set you straight)". f. “I can get it for you for twenty dollars”), and mocked the suggestion of a man in a suit to want to pay the prostitute with a crossed check. In the chorus, colloquial, sometimes ambiguous terms that allude to the sexual are lined up: "Hot meat hot rats / Hot zitz ​​hot wrists [...]" ("Hot meat, hot rats, hot teats, hot hands") The title of the album, Hot Rats , is a quote from the first line of the chorus.

Lowe describes the song as "hilarious" and sees parallels to gangsta rap with its debauchery, while Nicolas Slonimsky makes references to the exploitation genre by laconically noting that Willie the Pimp exploits disgust at "unclean animals".

The nine-minute piece begins with a blues violin riff by Don Sugarcane Harris. Zappa complements the drums (John Guerin) with percussive elements that support the groove of the piece. Max Bennett also plays a flowing walking bass . After four two-line stanza blocks follows a short guitar break , then another two lines of verse and the chorus, to which the guitar solo starts in parallel and which is continued beyond the chorus. After a Scat interlude, Beefheart repeats the chorus. Zappa then continues the solo, which is slightly withdrawn during the singing, until the end of the piece.

Most reviewers take the heavily wah-wah- distorted guitar solo positively. Ben Watson, for example, rates it as innovative and the best solo recorded by Zappa to date, Kelly Fisher Lowe describes it as a masterpiece that shows the direction in which Zappa is developing stylistically. Lester Bangs from Rolling Stone Magazine, on the other hand, sees the solo as long, monotonous and characterized by “astonishingly simple patterns”. It shows that Zappa is not a jazz improviser.

Several reviewers highlight Captain Beefheart's blues voice positively, music reviewer Steve Huey compares Beefheart with blues singer Howlin 'Wolf .

Son of Mr. Green Genes

Chorus by Son of Mr. Green Genes from the album Hot Rats . ( Audio sample of the topic with added chords ? / I )Audio file / audio sample

Son of Mr. Green Genes (Engl. F. The son of Mr. Green Genes ) takes over the theme of the title Mr. Green Genes from the album Uncle Meat (1969) and is the basis for detailed improvised solos used a method that Zappa at used older pieces quite often. Lowe sees this “recycling of one's own issues” as a postmodern trait; it expresses the boredom and exhaustion of the late 20th century.

The piece is based on a 16-bar chorus . After the topic is presented twice, different solos follow, each showing the harmony sequence (D minor, G major, D minor, G major, D minor, G major, D minor, G major, C Major, A minor, C major, A minor, F / G major, A minor, B major, B major) and the number of bars of the theme. The theme is repeated a total of thirteen times. In the improvisation parts, Zappa mainly plays the electric guitar, the accompaniment varies from chorus to chorus and is arranged through, partly with the help of an extensive brass section.

The Gumbo Variations

Guitar and bass riffs in The Gumbo Variations from the album Hot Rats . ( Audio sample guitar and bass riff ? / I )Audio file / audio sample

The play The Gumbo Variations (Engl. F. The Gumbo Variations ) consists of a guitar and a Bassriff to be played repeatedly, and serve as the basis for extended improvised solos. The riff is held in G pentatonic with the interval steps 1½ - 1 - 1 - 1½ - 1. The musicologist Wolfgang Ludwig assumes that the musicians were only given these riffs.

The bass riff played by Max Bennett is in connection with the cymbal-heavy drum figures by Paul Humphrey in the style of the radio of the late 1960s. Ian Underwood played the first solo on tenor saxophone, followed by Frank Zappa on electric guitar and finally Don Sugarcane Harris on electric violin . Bass and drums also have short solos, but here Zappa mainly leaves Underwood and Harris room to fully develop.

Little Umbrellas and It Must Be a Camel

Enlargement and reduction of the rhythm It Must Be a Camel from the album Hot Rats , bars 12 and 13 ( audio sample ? / I )Audio file / audio sample
Interval jumps of different sizes in It Must Be a Camel from the album Hot Rats , bars 3 and 4. ( audio sample ? / I )Audio file / audio sample

Little Umbrellas (English for small umbrellas ) and It Must Be a Camel (English for It must be a camel ) are stylistically similar. Both pieces are more thoroughly composed than The Gumbo Variations, for example . The scope of improvisations in the recordings is correspondingly less. The instrumental sound of the piano, bass and percussion is little electronically alienated. Both pieces are characterized by a wide range of notes and a jazz harmonic , especially altered chords , four-note and multiple notes . The instrumentation changes frequently, and it is remarkable that Little Umbrellas even use the recorder.

It Must Be a Camel shows in bars 12 and 13 an enlargement and reduction of the rhythm that is typical for Zappa, groups of notes are played faster or slower without the relative length of the individual notes changing. Another characteristic of Zappa is the juxtaposition of interval jumps of different sizes, such as in measure 4, in which the intervals, which are rather unusual in rock and jazz music, are reduced fifth - major second - perfect fourth - major seventh - perfect fifth. Wolfgang Ludwig also regards the sequence of fifths, for example in bars 3 and 4, as defining the style on the most elementary level. The expansive wind arrangements were recorded one after the other using the overdub method. Also noteworthy is a short contribution - also known as a break - by violinist Jean-Luc Ponty , which Zappa introduces with a percussion reminiscent of Edgar Varèse .

Album cover

Album Art Hot Rats
External web links to copyrighted content.

The hinged gatefold cover was designed by the collagen artist Cal Schenkel . It consists of a photograph that appears tinted purple. However, it is actually a picture taken with infrared slide film, presumably from Kodak. The photograph had long been attributed to the photographer Ed Caraeff . In fact, the photo was taken by Andee Nathanson, a Californian photographer, former roommate of Christine Frka (model of this cover) and companion of the GTOs, who had given Zappa the pictures for the front and back covers. When "Hot Rats" was reprinted, Nathanson's work was recognized by a small entry on the back cover of the booklet ("Photos: Andee Nathanson"). On the front cover, the photograph is framed horizontally by two white bars at the top and bottom. You are in Versaler Groteskschrift up with "Frank Zappa" and below - fat awarded - labeled "Hot Rats". The photograph shows the head and arms of a woman who, like a zombie, appears to be climbing out of a brick basin and looking directly at the viewer. The arms are spread, the hands are placed on the edge of the pool and point away from the woman. The face, of which only the upper part with the dark-rimmed eyes and long, strongly curled hair can be seen, is lightly made up. A hedge with a garden gate can be seen in the background of the overgrown garden in which the pool is located. The model was 18-year-old Christine Frka, who lived in the Zappa family's household and was employed as a nanny. Frka, a costume designer by profession, was also a founding member of the GTO’s group , which was produced by Zappa.

The reverse shows the same motif from a slightly lower perspective. Here the photo completely fills the area, the titles of the album are listed in black in the lower third. The inside shows various photographs by Zappa, Captain Beefheart, Ian Underwood and other musicians, some as a color photo collage.

reception

Chart positions
Explanation of the data
Albums
Hot rats
  DE 45 December 27, 2019 (1 week)
  UK 9 02/28/1970 (29 weeks)
  US 173 December 13, 1969 (6 weeks)

In the United States, the album had only moderate success, it reached number 173 on the Billboard 200 charts. In Europe, especially the United Kingdom, the record was much better sold, it reached number 9 and in the British album charts stayed there for more than six months. The album became one of Zappa's greatest successes and established him as a virtuoso musician and composer.

In Rolling Stone Magazine discussed Lester Bangs album: After Zappa's lofty serious music and his "sleazy '50s routines" had become stiff, the new album would provide a new direction, which was inspired by Captain Beefheart. Bangs particularly praises Don Sugarcane Harris' violin playing, while Zappa's solos are rated as monotonous. In general, Bangs finds words of praise for Zappa's fellow musicians, who beat every other rock and roll jam album in the last two years. If this album shows Zappa's new direction, one has to be prepared for some “devilish rides”. This makes Hot Rats one of the few albums that Rolling Stone rated positively immediately after its release.

Thirty years later, the tenor that Zappa as a composer had reached a “majestic climax” with Hot Rats was also retained in The New Rolling Stone Album Guide .

Kelly Fisher Lowe states that Hot Rats did not generate much response from music critics after their publication or afterwards. There is little literature on the album and it is often only briefly touched upon in publications that describe Zappa's work in detail. Lowe sees the reason for this in the fact that the album should be seen as a strategic retreat to music that the audience can understand. The low commercial success of the previous, avant-garde works such as Lumpy Gravy or Uncle Meat was out of all proportion to the effort that was put into it. Lowe proposes that the album also expresses Zappa's disappointment with his audience, with the failed promises of the sixties and with the Mothers of Inventions . After releasing several avant-garde albums interspersed with elements of musique concrète, with inside jokes, parodies and anthropological observations of musical life, he has now released an album that was understood by the audience.

Ornette Coleman, 1994

Music reviewer Ben Watson writes that Hot Rats is essentially an "Underwood / Zappa duo album". Underwood is able to play a wide variety of instruments such as organ, piano, flute, clarinet and saxophone from sight. According to Joachim-Ernst Berendt , he was not a convincing jazz soloist, but his "noisy nature" was perfect for Zappa's music. Watson recognizes the influence of Igor Stravinsky and Nikolai Rimsky-Korsakov in the rich texture of Hot Rats . The jazz musician Ornette Coleman exerted a covert influence on the album through Ian Underwood . He states that the album with its "exuberant real-time sound" represents a clear contrast to the "Dadaist surprises" of the previous album Uncle Meat . He compares Underwood's organ playing in its “highly polished power plant dynamics” with Shirley Scott or Jimmy McGriff . However, because of Zappa's deliberately exaggerated melody and the selected instrumentation, the album would never seem as pompous as many pieces of progressive rock . The album is full of apparent virtuosity, everything was played and recorded at its best, and this lack of restraint and refusal made the album so successful.

Steve Huey from Allmusic sees the album as a classic of the genre. He particularly emphasizes the connection between the compositional sophistication of jazz and the dirty and unscrupulous attitude of rock. The three improvised pieces are relaxed and dashing, while a surprisingly winding elegance characterizes the through-composed pieces, such as Peaches en Regalia . He particularly emphasizes the direct, straightforward performance and the instrumental complexity. For the first time, the album presents Zappa's virtuoso electric guitar solos; especially the solo on Willie the Pimp is given positive mention. Overall, only a few jazz rock albums would have changed so freely between the two genres and achieved such a "steadfast excitement and energy."

aftermath

Jean-Luc Ponty's contribution resulted in the follow-up project Jean-Luc Ponty Plays the Music of Frank Zappa , in which the cast of the Hot Rats album took part. Zappa used some of the recordings that were made during the Hot Rats sessions in the studios in later albums. For example, a violin solo by Don Sugarcane Harris was used for The Little House I Used To Live In (album Burnt Weeny Sandwich , 1970), and other recordings also appeared on Chunga's Revenge in 1970 .

Album art Waka / Jawaka
External web links to copyrighted content

After Hot Rats , Zappa released Burnt Weeny Sandwich and Weasel's Ripped My Flesh in 1970, initially two albums, which mainly contained recordings of the Mothers of Invention in the original line-up. The following albums, which contained a lot of material from band tours of his new Mothers formation, were more rock-oriented. During an accident-related forced break from touring, Zappa turned his compositionally back to jazz and also to arrangements for big big bands and recorded the jazz and big band-oriented album Waka / Jawaka , which was released in July 1972. It has a drawing by Marvin Mattelsson on the cover showing a wash basin with two taps, which are labeled with Hot and Rats . It was also known as Hot Rats 2 . Barry Miles notes that the recording band was made up of studio musicians who would never have “ jammed ” before. Therefore the improvisations got lost in "musical platitudes". After recording the album The Grand Wazoo , also known as Hot Rats 3 , which was recorded with a slightly different line-up and released in December 1972, Zappa went on a concert tour with a 20-piece orchestra. This formation was announced as the Mothers of Invention / Hot Rats / Grand Wazoo .

Hot Rats has also influenced the composer Tom Scott , who hired the musicians John Guerin and Max Bennett used on Hot Rats for his own projects and named the Mothers on the album Rural Still Life as his favorite rock and roll group. The influence of Hot Rats can be seen in the popular film scores composed by Scott.

The musicians Gareth "Gaz" Michael Coombes and Daniel "Danny" Goffey from the band Supergrass named their cover project after the album by Frank Zappa HotRats .

Peaches En Regalia is part of the repertoire of Dweezil Zappa's Zappa-Plays Zappa project with Steve Vai and Napoleon Murphy Brock . At the Grammy Awards 2009 , the piece was awarded in the category Best Rock Instrumental Performance (English for best performance of a rock instrumental ).

literature

  • Andy Alledort: Frank Zappa - Hot Rats . In: Recorded Guitar Versions. Authentic Transcriptions with Notes and Tabluatures . Hal Leonard Cooperation, Milwaukee 2000, ISBN 0-634-02152-4 .
  • Lester Bangs: Album Reviews. Hot rats. (No longer available online.) In: Rolling Stone magazine. March 7, 1970, archived from the original on May 25, 2009 ; Retrieved March 21, 2010 .
  • Kelly Fisher Lowe: The Words and Music of Frank Zappa . University of Nebraska Press, Lincoln and London 2007, ISBN 978-0-8032-6005-4 , Chapter 4, Hot Rats Section , pp. 73-77 .
  • Wolfgang Ludwig: Investigations into the musical work of Frank Zappa - a music-sociological and analytical study to determine a musical style . In: Europäische Hochschulschriften, XXXVI series, musicology . tape 88 . Verlag Peter Lang, 1991, ISBN 3-631-45128-8 .
  • Ben Watson: Frank Zappa. The Negative Dialectics of Poodle Play . Quarted Books Ltd., London 1996, ISBN 0-7043-0242-X , Chapter 2, Section Hot Rats , p. 159-162 .
  • Frank Wonneberg : Grand Zappa - International Frank Zappa Discology . Schwarzkopf & Schwarzkopf, 2010, ISBN 978-3-89602-581-4 .

Web links

Individual evidence

  1. ↑ a b c d e Barry Miles : Zappa . Rogner & Bernhard bei Zweiausendeins, Berlin 2005, ISBN 3-8077-1010-8 , p.  228 .
  2. ↑ Hot Rats in the official discography on zappa.com. (No longer available online.) Archived from the original on October 13, 2009 ; accessed on March 31, 2010 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.zappa.com
  3. ↑ a b c d e f g h i j k l m n o p q r Kelly Fisher Lowe: The Words and Music of Frank Zappa . University of Nebraska Press, Lincoln / London 2007, ISBN 978-0-8032-6005-4 , pp. 73-77 .
  4. ^ Gary Graff (Ed.): Musichound rock: The Essential Album Guide . Visible Ink Press, Detroit 1996, pp. 757 . Quoted from Kelly Fisher Lowe: The Words and Music of Frank Zappa . University of Nebraska Press, Lincoln and London 2007, ISBN 978-0-8032-6005-4 , pp. 73-77 .
  5. ↑ Barry Miles : Zappa . Rogner & Bernhard bei Zweiausendeins, Berlin 2005, ISBN 3-8077-1010-8 , p.  217-221 .
  6. ↑ John Guerin. United Mutations, 2002, accessed May 12, 2010 .
  7. ↑ Barry Miles : Zappa . Rogner & Bernhard bei Zweiausendeins, Berlin 2005, ISBN 3-8077-1010-8 , p.  226-227 .
  8. ^ Carl Ludwig Reichert: Frank Zappa . Deutscher Taschenbuch Verlag, Munich 2000, ISBN 3-423-31039-1 , pp. 58 .
  9. ↑ The World Greatest Sinner in the Internet Movie Database (English)
  10. ↑ Barry Miles : Zappa . Rogner & Bernhard bei Zweiausendeins, Berlin 2005, ISBN 3-8077-1010-8 , p.  83 .
  11. ↑ Volker Rebell : Frank Zappa - freak genius with tailcoat habit . In: Rocksession 1 . Rororo non-fiction book, 1977, ISBN 3-499-17086-8 , p.  264 .
  12. ↑ Wolfgang Ludwig: Investigations into the musical work of Frank Zappa - A music-sociological and analytical study to determine a musical style (=  European University Writings, Series XXXVI, Musicology . Volume 88 ). Verlag Peter Lang, 1991, ISBN 3-631-45128-8 , p. 73 .
  13. ↑ a b c d Wolfgang Ludwig: Investigations into the musical work of Frank Zappa - A music-sociological and analytical study to determine a musical style (=  European University Writings, Series XXXVI, Musicology . Volume 88 ). Verlag Peter Lang, 1991, ISBN 3-631-45128-8 , p. 72-77 .
  14. ^ Neill Slaven: Electric Don Quixote . Bothworth Music GmbH, Berlin 2006, ISBN 3-86543-042-2 , p. 162-165 .
  15. ↑ Interview with John Guerin . In: Modern Drummer Magazine . January 1999. Quoted from Geoff Wills: John Guerin. United Mutations, 2002, accessed May 12, 2010 .
  16. ↑ Billy James: Frank Zappa and the Mothers of Invention . Koch International, Höfen 2007, ISBN 978-3-85445-279-9 , pp. 142-143 .
  17. ↑ The Frank Zappa Album Versions Guide. Hot rats. Retrieved March 28, 2010 .
  18. ↑ Original (English): There is a lot of cunning multi-tracking […] but the overall effect also has some of the seamless quality of West Coast cool jazz.
  19. ↑ a b c d e f g Ben Watson: Frank Zappa. The Negative Dialectics of Poodle Play . Quarted Books, London 1996, ISBN 0-7043-0242-X , pp. 159-162 .
  20. ↑ Frank Zappa. Song list on globalia.net, entry Peaches en Regalia. Retrieved March 20, 2010 .
  21. ↑ Kelly Fisher Lowe: The Words and Music of Frank Zappa . University of Nebraska Press, Lincoln / London 2007, ISBN 978-0-8032-6005-4 , pp. 75 .
  22. ^ A b Translation after Frank Zappa: Plastic People. Song book. Corrected Copy . Two thousand and one, Frankfurt 1977, p. 172 .
  23. ^ Nicolas Slonimsky: Zappa, Frank . In: Baker's Biographical Dictionary of Music . Schirmer Books, 1992. , quoted from: Richard Kostelanetz (Ed.): The Frank Zappa Companion. Four Decades of Commentary . Schirmer Books, New York 1997, ISBN 0-02-864628-2 , pp. 4 .
  24. ^ A b Lester Bangs: Album Reviews. Hot rats . In: Rolling Stone magazine . March 7, 1970 ( rollingstone.com ( Memento of May 25, 2009 on the Internet Archive ) [accessed March 21, 2010]). Album Reviews. Hot Rats ( Memento of the original from June 19, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.rollingstone.com
  25. ↑ a b Steve Huey: Review of Hot Rats on All Music Guide. Retrieved March 27, 2010 (English).
  26. ↑ Wolfgang Ludwig: Investigations into the musical work of Frank Zappa - A music-sociological and analytical study to determine a musical style (=  European University Writings, Series XXXVI, Musicology . Volume 88 ). Verlag Peter Lang, 1991, ISBN 3-631-45128-8 , p. 114 .
  27. ↑ Wolfgang Ludwig: Investigations into the musical work of Frank Zappa - A music-sociological and analytical study to determine a musical style (=  European University Writings, Series XXXVI, Musicology . Volume 88 ). Verlag Peter Lang, 1991, ISBN 3-631-45128-8 , p. 127-130 .
  28. ↑ Ben Watson: Frank Zappa. The Negative Dialectics of Poodle Play . Quarted Books, London 1996, ISBN 0-7043-0242-X , pp. 121 .
  29. ↑ DE Charts UK Charts US
  30. ^ William Ruhlmann: Frank Zappa: The Present Day Composer . In: gold mine . December 9, 1994. Quoted from the 1996 revised version in Richard Kostelanetz (Ed.): The Frank Zappa Companion. Four Decades of Commentary . Schirmer Books, New York 1997, ISBN 0-02-864628-2 , pp. 23 .
  31. ^ Nathan Brackett, Christian Hoard (eds.): The New Rolling Stone Album Guide: Completely Revised and Updated . 4th edition. Simon & Schuster, New York 2004, p. 309 . Quoted from Kelly Fisher Lowe: The Words and Music of Frank Zappa . University of Nebraska Press, Lincoln and London 2007, ISBN 978-0-8032-6005-4 , pp. 77 .
  32. ^ Joachim Berendt: The Jazz Book . 1972, p. 220 (US edition). , quoted from Ben Watson: The Negative Dialectics of Poodle Play . Quarted Books, London 1996, ISBN 0-7043-0242-X , pp. 90 .
  33. ↑ Ben Watson: Frank Zappa. The Negative Dialectics of Poodle Play . Quarted Books, London 1996, ISBN 0-7043-0242-X , pp. 90 .
  34. ↑ Ben Watson: Frank Zappa. The Negative Dialectics of Poodle Play . Quarted Books, London 1996, ISBN 0-7043-0242-X , pp. 9-10 .
  35. ↑ a b c Barry Miles : Zappa . Rogner & Bernhard bei Zweiausendeins, Berlin 2005, ISBN 3-8077-1010-8 , p.  264-268 .
  36. ↑ Barry Miles : Zappa . Rogner & Bernhard bei Zweiausendeins, Berlin 2005, ISBN 3-8077-1010-8 , p.  210 .
  37. ↑ Barry Miles : Zappa . Rogner & Bernhard bei Zweiausendeins, Berlin 2005, ISBN 3-8077-1010-8 , p.  240 .
  38. ↑ Steve Huey: Review of Waka / Jawaka on All Music Guide. Retrieved March 21, 2010 (English).
  39. ^ Stuart Berman: Album Review. The HotRats. Turn ons. Pitchfork Media , January 28, 2010, accessed March 27, 2010 .
  40. ↑ Gerald Jatzek: Grammy Awards: The Year of the Folkniks. Wiener Zeitung, February 9, 2009, accessed on January 19, 2012 .
This article was added to the list of excellent articles on December 13, 2010 in this version .