Published on Jul 2, 2001
Several different compilations featuring Frank Zappa’s name have
been released, nearly all of which were near or after his passing.
Cheap Thrills and
Son Of Cheep Thrills were intended as an introduction to
“Frank the accessible,”
Strictly Genteel was “Frank the Composer” and
Strictly Commercial was “Frank the Rock Star.” This
particular set serves as introduction to “Frank the Misogynistic,
Homophobic, Bitter Anti-Semite.”
Do I believe he was any of those things? No, not really. But he
certainly didn’t help his case with the American Public with this
particular compilation – which I think was precisely his intention.
It contains a selection of his more offensive tunes, some of which
were modified for release – whether out of artistic choice or
commercial appeal is left to the listener.
The album starts out with an interestingly slower version of
“Bobby Brown Goes Down,” one of my least favorite FZ songs. This
version is almost tolerable, if only for the interesting rhythms
and modifications made to it. Same goes for “Disco Boy,” another of
my least favorite songs, which undergoes a transformation here that
livens it up a bit. Does it salvage the song? Not really. It’s
still an overlong satire – but it’s definitely more interesting
this way.
The inclusion of “Goblin Girl” on this disc is a mystery to me.
It’s not an
overtly offensive song – it relies on a not-so-subtle play
on words, which constraints with the fairly explicit nature of the
rest of the disc. This song, actually, is one of my more favorite
FZ songs – a highlight of
You Are What You Is – and the “VSO’d to Slower Speed” as the
booklet says sufficiently modifies it to make this a “new”
version.
“In France” fits very well, and is actually an enjoyable song to
listen to. It’s kind of a fun rocking tune, with some fittingly
acerbic comments about France that always make me laugh guiltily.
“He’s So Gay” is yet another song Zappa relies on obscenely
falsetto voices to chant over and over to sustain the melody, and
while it’s good and fun the first time, it gets very annoying upon
repeated listens. It definitely fits the compilation’s attitude,
however, announcing rather than denouncing a variety of homosexual
stereotypes. “Titties ‘n Beer” is one of my very favorite Zappa
tunes, although here it is
yet again – a re-edited version of the
Zappa In New York cut, mangled and distorted to remove all
the stage-banter that gave the original its charm. It’s almost a
shame this version was included, in this humble listener’s
opinion.
“We’re Turning Again,” a satire of the hippie-leftover culture
of the early 80’s, manages to work well. It’s an unapologetic
portrayal of what FZ saw as stupidity in the wistfulness felt
toward the 60’s and 70’s. Definitely a keeper – and the way it
rocks back and forth, disguising criticisms in the very styles it
criticizes, goes ahead and shows Zappa’s sometimes confusing
duplicity.
“Dumb All Over” is possibly the only directly political song on
the album, and it certainly fits in well. “Catholic Girls” works
well, although it’s the original version from
Joe’s Garage, which always sounds stripped down to me now
that I’ve heard the big-band arrangement. “Dianh-Moe Humm,” one of
FZ’s more popular tunes, never had any appeal for me. The extended
interlude inserted here turns it from an annoying and skipped track
into an ordeal of Allman Brothers magnitude.
“Tinsel Town Rebellion” is fast and heavy, and a welcome break
from the vamp-vamp-lewd comment motif of “Dinah-Moe Humm.” “Valley
Girl” is difficult to sit and listen to, although it seems to work
well in a background music capacity. “Jewish Princess,” featuring
horns, funny voices, and even a touch of blatantly stereotyping
humor, is a good listen, if a bit tasteless and guilt-inducing. “Yo
Cats” is difficult to listen to, and I almost always skip over it
on the otherwise satisfying “Mothers of Prevention.”
This compilation had so much potential – but fell so short. One
of Frank Zappa’s primary strengths was his ability to combine
satirical, offensive and
insightful lyrics with difficult, stimulating, and expansive
music. This collection grabs the first two – satire and
offensiveness – but fails entirely to get the insight. It comes
across as bitter, small-minded and venomous, when a contextual
analysis would remove so many of those negative attributes. The
“new” versions of most songs here aren’t worth buying the CD for,
and neither is the track listing.
This seeks to be a compilation for the fans, and I would
recommend they be the only people to buy this disc. It’s certainly
not something I’d want a FZ neophyte to listen to in order to
decide if he wants to try Zappa’s extensive back-catalog.