Official Release #13 '200 Motels' (Released 10/1971)
Background Information:One of Zappa’s biggest works. A monstrous undertaking with The Mothers and the Royal Philharmonic Orchestra, combining both Zappa’s new comedy rock music and some of his most challenging orchestral works. All of this packed in over an hour and a half of musical madness.
And as if that weren’t enough, they only had 5 rehearsal days (and only 7 shooting days!) for an entire movie, during which they would have to record this album as well.
Since this is a discography discussion, the soundtrack will be the main focus point.
The Mothers at this point were Flo & Eddie, good old Ian Underwood and George Duke. Furthermore there was bass player Martin Lickert (he replaced Jeff Simmons who quit the group just before the filming began) and drummer Aynsley Dunbar (Ruth Underwood is credited as well). He was the first rock star to be added to the Mothers line up, back in 1969, but now with Flo & Eddie there were more band members who already had a career.
For 200 motels Zappa needed some extra characters, and he was fortunate enough to find Keith Moon willing to add his craziness to the movie. Besides Moon, Ringo Starr played a pretty big part in the movie. Zappa found himself surrounded by rockstars.
A remarkable name on this list of musicians is Jimmy Carl Black. The original Mother didn’t part in good ways with Zappa but he does play a part in this album, mainly singing ‘Lonesome Cowboy Burt’.
The album wasn’t released on CD until 1997, and then sold out quickly.
The Album Itself:So conceptually this album mainly deals with what touring life can do with you: ’Touring can make you go crazy’. Musically it’s a record that has everything Zappa is known for (except for long solo’s). There’s the spoken work, comedy, rock music, classical music and even some tape editing. This was the first time Zappa could record with a REAL orchestra, meaning he could write whatever he’d want to write. Some parts are vaguely reminiscent of the synclavier albums, later on in his career.
Although there are a lot of tracks, and there’s a lot of music on this album, it really flows well. Not many tracks are suitable for standalone listens (with the possible exception of Mystery Roach, Lonesome Cowboy Burt and Daddy, Daddy, Daddy).
A track by track breakdown of this record is pointless, 5 tracks are shorter than a minute, and only 11 tracks (out of 34!) are longer than 3 minutes. Most tracks segue, and nearly all tracks feature all kinds of music mixed in one Zappa-esque bag. Again: a track by track review would be pointless.
This is a record to go to when you’re interested in Zappa classical music, but can’t make yourself to listen to a full album of that stuff. If you’re a fan of the Flo & Eddie era this is a great one too, they really shine.
In terms of conceptual continuity (Zappa’s way of describing recurring themes throughout his work) this album is a big one. There’s hint of past and future releases everywhere. This is also the record that got Zappa in real trouble with the law. Because of the sexual references everywhere he had to appear in court, of which there’s a hilarious account in The Real Frank Zappa Book. The way Zappa’s describes him defending himself agains an 80 year old judge reading out ‘The last boy to do her got in and got soft’ is really amusing to read.
PS. I’ve noticed that this album isn’t on spotify. You can find a vinyl rip on youtube.
Essential Tracks:Semi Fraudulent/Direct-From-Hollywood Overture
Mystery Roach
Lonesome Cowboy Burt
She Painted Up Her Face through Shove It Right In