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"We Can Shoot You"

"We Can Shoot You"


[Ian:] Dee . . . dee BAH dam . . . eeeeh-dam pa-pa-pa-pa-pam . . . tee-pa pa-pa-pa-pa-pam! And just wail out the last one.
[Bunk:] Mmm, let's (stack) here, then.
[Ian:] Yeah.
[Bunk:] Three, four . . .
 
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"We Made Our Reputation Doing It That Way..."

"We Made Our Reputation Doing It That Way..."


[FZ:]
The story of the . . . the music of the Mothers is the story of, uh . . . a combination of what I knew about music from . . . from my studies plus the musical capabilites of the players in the group as I found them, you know, which had . . . . Somewhere along the line, I had to teach them a lot of what they didn't know about music.

I started out playing rhythm & blues when I was about 14 or 15 years old in San Diego. And, uh . . . I was playing nothing but blues 'til I was 18 and, you know, I was really honking and I started out playing drums with a band and got tired of listening to other people's guitar solos. Took up a guitar and started playing lead right away. Then I spent, uh . . . the early part of my musical teen childhood doing the same thing that most of the, uh . . . uh, white blues bands are, uh, pulling down heavy bread for. But in those days it was, you know . . . it was the underground music, uh . . . the unpopular underground music because the kids, uh, then wanted to hear, uh . . . you know, sweeter, easier stuff. They didn't go for hard, screaming blues or Chicago, uh, you know, weirdness. Nobody knew who the Howlin' Wolf was, nobody . . . you know, Muddy Waters, what the fuck is that? And, uh, so I grew up on that stuff but simultaneously buying, uh, classical albums and, uh, going to the library to study music. I had albums of Stravinsky and Varèse and Webern and Bartók. And I never bought anything el . . . I never bought any Beethoven or, uh, Mozart or anything like that because I didn't like the way it sounded, it was too weak.

So . . . eventually I started hearing a little folk music. I didn't like most of the commercial folk music that was around. My taste in folk music was, uh, sea shanties and, uh . . . uh, Middle Eastern stuff. I like Indian music, I like, uh . . . Arab music. So, that . . . that was all my own personal taste-making, uh, influences.

The original guys in the band had been brought up on nothing but rhythm & blues. Now, rhythm & blues branches out into about four different categories the way we grew up with it. There was the ooh-wah ballad, you know, with the high falsetto and the grunting bass and all that stuff. That type. There's a Chicago blues type with the harmonica and, you know, and the funky-ness. There was a Texas type with a, you know . . . rock, uh, Bobby, uh, "Blue" Bland type thing. And then there was the hard drive type James Brown shit. And offshoots of the, uh . . . of each one of those, like in the ooh-wah classification you've got the uptempo singers where the . . . like Hank Ballard and the Midnighters and the Royales. They had a different type of a thing.

Uh . . . all the other guys in the group grew up with just that and had no knowledge whatsoever of any kind of classical music, uh, or serious music, the . . . uh, above and beyond Mozart or, uh, Beethoven or, you know, standard concert hall, uh . . . warhorses. And even that, they didn't give a shit about and they weren't interested at all in folk music. And, uh . . . so I had quite a bit of trouble in the beginning, eh . . . just making them aware that there were other kinds of music that we could be playing. To top it off, we were in a, uh . . . very sterile area. We . . . we kept getting fired because we'd playing anything other than "Wooly Bully" or, uh . . . you know . . . uh, "Twist and Shout" or the rest of that stuff. We'd lost job after job.

[Interviewer:]
When . . . when is this that you're talking about exactly?

[FZ:]
Two years ago.

[Interviewer:]
In '65?

[FZ:]
Yeah. And, uh . . . so it was . . . it was rough keeping it together because there's lots of times that, uh . . . the guys wanted to quit, I mean, everybody's quit at least 200 times. So . . . we finally got a chance to come into L.A. and the reason we stood out from the bands in Los Angeles, you know, why we would attract any attention at all at that point . . . 'cuz, uh, we were working out in the sticks, this whole thing was developing out, uh, away from any, uh . . . you know, any urban civilization. We were really, you know, just out there with the Okies.

And we got to town, we expected to find all kinds of, you know . . . uh, all the bands gotta be really far-out. Well, they weren't, they were bullshit and they had no balls, you know, they weren't funky, they weren't, uh, tasteful, they weren't nothin'. They were just, you know, plastic, folk-rock, teenage puker bands. And they were making a lot of bread. And we came on the scene . . . and, uh, we were loud and we were coarse and we were strange and if anybody in the audience ever gave us any trouble, we'd tell 'em to fuck off. And . . . we made our reputation doing it that way
 
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"We're Turning Again"

"We're Turning Again"


[includes little quotes from Sunshine Of Your Love (Brown/Bruce/Clapton), Purple Haze (Hendrix), Light My Fire (The Doors) and Monday, Monday (Phillips)]

Turn turn
Turn turn
We're turning again
Turn turn
Turn turn
We're turning again

They took a whole bunch of acid
So they could see where it's at
(It's over there, over there,
Over there, over there
And under here also)
Doont, da-doodem doodem!
They lived on a whole bunch of nothing
They thought they looked very good
They'd never ever worry
They were always in a hurry
To convince themselves that what they were
Was really very groovy
Yes, they believed in all the papers
And the magazines that defined their folklore
They could never laugh
At who or what they thought they were
Or even what they thought
They sorta oughta be
They were totally empty
(Totally empty)
And their lives were really useless
So what the fuck?
They didn't have no sense of humor
(Oodly-oodly-yeah!)
Now they got nothing left
To laugh about
Including themselves

Turn turn
Turn turn
We're turning again
Turn turn
Turn turn
We're turning again

Bprr . . . bprr . . . the year 1967
Drug-crazed youth discovered vagrancy as a way of life
EWW-WW!
Dey were mellow
Dey were yellow
Dey were wearing smelly blankets
Dey looked like DONOVAN fans
(HU-UR-DE-EE
GU-UR-DE-EE)
Dey walkin' 'round
With stupid flowers
In dey hair an' evvywhere
Dey tried to stuff 'em up de guns
Of all the cops and other servants of the law
(LA LA-LA-LA LA-LA)
Who tried to push 'em around
And later moved 'em down
But they were full of all that shit
That they believed in
(PHEW!)
So what the fuck?
(WHAT THE FUCK?)
Now I seen 'em tightenin' up dey headbands
On the weekend and dey get loaded
When dey came to town
Dey walk around in GREEMICH VILLAGE
To buy posters dey could hang up
In dem smelly little secret
Black light bedrooms
On LONN-ISLAND
Singin': "JIMI COME BACK!"
Now come back and regulate de boy's FURZ-tone
Yo' HAZE was so PURPLE
It caused your AXIS to be BOLD AS LOVE
(JIMI-JIMI-JIMI-JIMI-JIMI FEED BACK)
Now Jimi gimme some feedback
Come back and feed back on my knapsack
You can feed back the fuzz tone from your WAH-WAH
While you bend down
And set your stuff on FIRE

Turn turn
Turn turn
We're turning again
Turn turn
Turn turn
We're turning again

We can turn it around
We can do it again
We can go back in time
Through the canyons of your mind
On the EVE O' DESTRUCTION
We can act like we are something really special
WOOOH, we'll just jump in the bath-tub
With that other guy JIM
And make him be more careful
We can visit Big Mama
And whap her on the back
When she eats her sandwich
(LA LA LA LA)
We can take care of Janis
When she gets so depressed
She can't take it no more
We can laugh at Keith Moon's jokes
(HA HA HA HA HA)
And the colour TV
(HA HA)
He threw out de windum
Fum de second flew-ah!
(YEAAHHHHHH!)
Everybody come back
No one can do it like you used to
If you listen to the radio
And what they play today
You can tell right away:
All those assholes really need you!

Turn turn
Turn turn
We're turning again
Turn turn
Turn turn
We're turning again

Turn turn
Turn turn
We're turning again
Turn turn
Turn turn
We're turning again
 
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"Weasels Ripped My Flesh"

"Weasels Ripped My Flesh"


[FZ:] Good night boys & girls . . . Thank you for coming to our concert

Zappa!
 
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"Welcome To The United States"

"Welcome To The United States"


[includes Narrhalla-Marsch (trad.) and a quote from Louie Louie (Richard Berry)]

[Reiner Romer:] Ladies and gentlemen, here he goes, Peter Rundel, he seems to be disgusted. Whatever. Ridero ridera! [?] Ha ha ha! LAUGH NOW! (HA HA HA HA HA!) Be quiet! Von seiner Werkbank zu uns heute Abend hergekommen ist unser Hermann Kretzschmar wolle merm reinlasse? Laugh now! (HA HA HA HA HA!)

Welcome to the United States

This form must be completed by every nonimmigrant visitor not in possession of a visitor's visa.

Type or print legibly in pen in ALL CAPITAL LETTERS. USE ENGLISH.

Item 7 - If you are entering the United States by land, enter LAND in this space. (LAND!) If you are entering the United States by ship, enter, unh-unh, SEA in this space.

Do any of the following apply to you? (Answer Yes or No)

(No! No! Yes! No! Yes! No!)

A. Do you have a communicable disease; (COUGH NOW! Coughs . . . ) physical or mental disorder; or are you a drug abuser or addict?

Tell me, Bill, Yes or No. (No) Louder. (No!)

B. Have you ever been arrested or convicted for an offense or crime involving moral turpitude or a violation related to a controlled substance; or ever been arrested or convicted for two or more offenses for which the aggregate sentence to confinement was five years or more?

Answer Yes or No. (Yes! Yes, sir! Yes! No! No! No!)

Or been a controlled substance trafficker; or are you seeking entry to engage in criminal or immoral activities?

Answer Yes or No. (Yes or No) Thank you!

C. Have you ever been or are you now involved in espionage or sabotage; or terrorist activities; or genocide; or between 1933 and 1945 were you involved, in any way, in persecutions associated with Nazi Germany or its allies?

Answer Yes or No. (Yes)

Thank you very much! And welcome to the United States!

[Reiner Romer:] Thank you very much! Here they go! Frank Zappa and Hermann Kretzschmar! Back on stage, Peter Rundel!
 
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30.172
"Well"

"Well"



You know I love you, baby, please, don't go, well, well
You know I love you, baby, please, don't go, well, well
You know I love you, honey, child
'Cause nothing I wouldn't do for you right now
You know I love you, baby, please, don't go, well

You know I love you, baby, please, don't go
You know I love you, baby, please, don't go
You know I love you, honey, child
Nothing I wouldn't do for you right now
Y'know I love you, baby, please, don't go, well
Zappa!

You know I want you, baby, please, don't go, well, well
You know I want you, baby, please, don't go
You know I love you, honey, child
'Cause nothing I wouldn't do for you right now
You know I want you, baby, please, don't go, well

Well, you know I love you, baby, please, don't go, well
You know I love you, baby, please, don't go
You know I love you, honey, child
'Cause nothing I wouldn't do for you right now
I know I love you, baby, please, don't go, well
Yeah!
 
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"What Ever Happened To All The Fun In The World"

"What Ever Happened To All The Fun In The World"



What ever happened to all the fun in the world?
Larry's not with us any more; he went on y'know
Yeah Yeah
He bit the big one
Ahem Yeah
Well, he's got his own little piece of heaven now
 
MODERATOR
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06.07.2010
Poruka
30.172
"What Kind Of Girl Do You Think We Are?"

"What Kind Of Girl Do You Think We Are?"


[Howard:]
What's a girl like you
Doin' in a place like this?

[Mark:]
I left my place after midnight
And I came to this hall
Me and my girlfriend, we came here
Lookin' to ball

[Howard:]
You came to the right place
This is it
This is the swingin'-est place
In New York City

[Chorus:]
NO SHIT!

[Mark:]
How true that is!

[Howard:]
Oh, how true indeed

[Mark:]
Yeah, me and my,
Me and my girlfriend, we come here
Every Friday 'n Saturday night looking for that
Hot romance we need
We like to get it on-
Do you like to get it on, too?

[Howard:]
Well now, what did you have in mind?

[Mark:]
Well, I'll tell ya
Well I get off bein' juked
With a baby octopus
And spewed upon with creamed corn . . .
An' my girlfriend, she digs it
With a hot Yoo-hoo bottle
While somebody's screamin':
CORKS 'N SAFETIES
PIGS 'N DONKEYS
ALICE COOPER, baby . . .
WAAAAH!

[Bob:]
Well, it gets me so hot
I could scream

[Chorus:]
ALICE COOPER, ALICE COOPER! WAAAAH!
ALICE COOPER, ALICE COOPER! WAAAAH!

[Howard:]
You two chicks sound real far out and groovy
Ever been to a Holiday Inn?
Mna-ha-ha-ha-ha-ha-haaa . . .
Magic Fingers in the bed (Picture it!)
Wall-mounted TV screens
Coffee-Host plugged into the bathroom wall
Formica's really keen!

[Chorus:]
(What kind of girl?)
What kind of girl do you think we are?
(What kind of girl?)
What kind of girl do you think we are?
(I ain't no groupie)
Don't call us groupies
That is going too far
(What kind of girl?)
We wouldn't ball you
Just because you're a star

[FZ:]
These girls wouldn't let just anybody
Spew on their vital parts
They want a guy from a group
With a big hit single in the charts!

[Howard:]
Funny you should mention it
Our new single made the charts this week
With a bullet!
With a bullet!
Just let me put a little more
Rancid Budweiser on my beard right now, baby
And you can show me how
A young girl such as you
Might be thrilled and
Overwhelmed by me, ho-ho . . .

[Mark:]
What hotel did you say you were staying at?

[Howard:]
Wanna split right away?

[Mark:]
Not so fast, you silly boy . . .
There's one thing I gotta say

[Chorus:]
We want a guy from a group who's got a thing in the charts
We want a guy from a group who's got a thing in the charts
We want a guy from a group who's got a thing in the charts
We want a guy from a group who's got a thing in the charts
 
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06.07.2010
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30.172
"What Kind Of Girl?"

"What Kind Of Girl?"


[includes quotes from The Untouchables (Riddle), The Battle Hymn Of The Republic (Steffe/Howe) and Strawberry Fields Forever (Lennon/McCartney)]

What's a girl like you
Doin' in a Motel like this?

"I left my place after midnight,
When I first got the call . . .
The escort service I work for
Said you wanted it ALL!"

Well, you came to the right place - this is it!
I got the most sanctified johnson in all Louisiana!
No shit!

"How true that is!"

How true, indeed, Llama!

"The other whores at the service said
You helped fulfill their need!
I like to get right down . . .
Do you like to get right down too?"

Well, what did you have in mind?

"Well, I get off being spoo-ed upon
By hypocritical TV preachers
With close ties to the Republican Party,
While Ed Meese wipes his ass
On the U.S. Constitution, screamin' . . .

That is I think I know tune in
But it's all wrong
That is I think I disagree

'I don't think so -
I can't remember -
I just couldn't ever do that -'"

Gets me so hot I could scream:
'I don't think so: can't remember who . . .
Wrote the memo, or to whom it's to . . . '

Hey, your escort service has always been far-out 'n groovy -
Ever been to the Texas Motel?
Let me take you dow-how-how-how-how-how-hownnnnn!

Magic Jesus by the bed,
Wall mounted TV screen,
My church plugged into the gravy train,
And Reagan keeps me clean!

What kind of girl?
What kind of girl would suck his rod?
What kind of girl?
What kind of girl would suck his rod?
(A lazy prostitute!)
We wouldn't blow you just because you know "GOD"!
What kind of girl?
What kind of girl would suck his rod?

This unfortunate little vixen wouldn't let just ANYBODY
Spoo all over her lap -
She wants an ignorant Cracker TV Evangelist
Who's reciting all that crap . . .
 
MODERATOR
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06.07.2010
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30.172
"What Will This Evening Bring Me This Morning"

"What Will This Evening Bring Me This Morning"



What will this evening
Bring me this morning?
What will this evening
Bring me this morning?
Dawn will arrive
Without any warning

What will I say
The next day to whatever
I drag to my hotel tonight?
(If things go right!)

What will I say
The next day to whatever
I drag to my hotel tonight?
(Will she be outa-site?)

What will this evening
Bring me this morning?
What will this evening
Bring me this morning?
A succulent fat one
A mod little flat one
Maybe a hot one (to give me the clap!)
Maybe a freak who gets off with a strap

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
If things go right!
(If things go right!)

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
Will she be outa-site?
(Will she be outa-site?)

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
If things go right!
(If things go right!)

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
Will she be outa-site?
(Will she be outa-site?)

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
If things go right!
(If things go right!)

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
Will she be outa-site?
(Will she be outa-site?)

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
If things go right!
(If things go right!)

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
Will she be outa-site?
(Will she be outa-site?)

What will I say the next day to whatever I drag to my hotel tonight?
(What will I say the next day to whatever I drag to my hotel tonight?)
If things go right!
(If things go right!)

What will I say the next day . . .
 
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