"Ripped My Flesh"" and ""Burnt Weeny Sandwich"" (both released in 1970). Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the ""of Invention""). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name ""The Phlorescent Leech and Eddie"", or ""Flo & Eddie"". This version of the Mothers debuted on Zappa's next solo album ""Chunga's Revenge"" (1970),"
"Mothers of Invention alumnus) Billy Mundi, was a mixture of folk and psychedelic influences. The group frequently opened for The Doors, who were also on Elektra Records. Although the first album never charted, Elektra was willing to record a second LP, ""The Great American Eagle Tragedy"". By this time, Stevenson had left. The second album featured an array of eminent guests including John Cale (viola) and Bill Keith (pedal steel). ""The Great American Eagle Tragedy"" managed to reach the lower end of the national charts, the cover featuring a parody of the U.S. presidential seal with a superimposed death skull"
"Frank Zappa's Mothers of Invention for excessive drug use), asked if he could join the band and was accepted while keeping Edwards on temporarily. Soon Edwards departed (he went on to form the Stone Poneys with Linda Ronstadt) and at the same time Frank Cook came in to replace Holmes as their permanent drummer. Cook already had substantial professional experience, having performed with such jazz luminaries as bassist Charlie Haden, trumpeter Chet Baker, and pianist Elmo Hope and had also collaborated with black soul/pop artists such as Shirley Ellis and Dobie Gray. Producer Johnny Otis recorded the band's first (unreleased)"
"it was St Vincent absolutely shredding her guitar, FKA mesmerising with her gymnastic ability or CB demonstrating equal levels of lyrical dexterity, the women proved that gender doesn’t dictate the skill of the performer or strength of the performance. Mac Demarco spearheaded a gang of rabble-rousers that included Connan Mockasin, Peter Bibby and Pond whose mutual admiration for each other culminated in plenty of guest appearances onstage and memorable scenes off. A surprise hit of the festival was Agnes Demarco, mother of Mac, along for the ride as a special guest MC. Armed with bundles of immaculately researched notes, Agnes"
"few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as ""Mother"" was short for ""motherfucker""—a term that, apart from its profane meanings, can denote a skilled musician. With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking ""Freak"
"by Martin Lickert (who was Ringo's chauffeur) for the film. Almost every scene is drenched with video special effects (double and triple exposures, solarisation, false color, speed changes, etc.) which were innovative in 1971. The film has been dubbed a ""surrealistic documentary"". In 1970, Frank Zappa formed a new version of The Mothers of Invention which included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of The Turtles—bass player Jim Pons, and singers Mark Volman and Howard Kaylan—who, due to persistent legal and contractual problems, adopted the stage name ""The"
"releases, ""Help, I'm a Rock"" is credited as two tracks: ""Help, I'm a Rock"" (4:43) and ""It Can't Happen Here"" (3:57) The Mothers of Invention The Mothers' Auxiliary Production credits Freak Out! Freak Out! is the debut record by the American rock band the Mothers of Invention, released June 27, 1966 on Verve Records. Often cited as one of rock music's first concept albums, the album is a satirical expression of frontman Frank Zappa's perception of American pop culture and the nascent freak scene of Los Angeles. It was also one of the earliest double albums in rock music, and"
"Absolutely Free Absolutely Free is the second studio album by the American rock band the Mothers of Invention, led by Frank Zappa, released in 1967. ""Absolutely Free"" is, again, a display of complex musical composition with political and social satire. The band had been augmented since ""Freak Out!"" by the addition of woodwinds player Bunk Gardner, keyboardist Don Preston, rhythm guitarist Jim Fielder and drummer Billy Mundi. Fielder quit the group before the album was released and his name was removed from the album credits. The album's emphasis is on interconnected movements, as each side of the original vinyl LP"
"to Jerry Rubin's 'Filthy Speech Movement'. Freak A freak is someone with something strikingly unusual about their appearance or behaviour. This usage dates from the ""freak scene"" of the 1960s and 1970s, most famously championed by Frank Zappa, leader of the rock band the Mothers of Invention. The term originally referred to the physically deformed, or having extraordinary diseases and conditions, such as sideshow performers. An older usage refers to the physically deformed, or having extraordinary diseases and conditions, such as sideshow performers. This has fallen into disuse, except as a pejorative, and (among the performers of such shows) as"
"Mothers of Invention to Verve Records and was credited as producer on the group's seminal debut album ""Freak Out!"" although it is widely believed that Frank Zappa, the leader of the group, did most of the real production work. Also in 1966, after the Animals split from producer Mickie Most, Wilson became their producer, which continued until the original band broke up in 1967. Wilson also produced the Velvet Underground, featuring Lou Reed and John Cale. Although Andy Warhol is credited as the producer of the group's acclaimed debut album, ""The Velvet Underground & Nico"", Cale credits Wilson as the"
"""freak"" appeared throughout the liner notes of the 1966 Mothers of Invention album, ""Freak Out!"". At the first Mothers of Invention concerts, audience members were invited to ""freak out!"", which meant to express themselves freely, be it through dancing, screaming, or letting a band member spray them with whipped cream. In terms of concert culture, the freak mentality influenced similar bands of subsequent musical generations. The freaks, by Zappa's reckoning, resisted the binaries of right versus left, dominant culture versus counterculture, or squares versus hippies, preferring instead to align themselves with an aesthetic not narrowly defined by fashion or political"
"Steenhaut (DeMorgen) gave high praise to the musicians and Cohen himself, saying ""Everyone was given ample opportunity to solo, and both backup singer – Sharon Robinson and the British Webb Sisters – were handed Cohen songs which they could shine on. Cohen himself singing downright excellent, though his deep, almost otherworldly baritone had not much variation in the set, exactly why was it right that the ladies often introduced a different timbre, and the rest of the band – all virtuoso with an impressive track record – could demonstrate their skill."" Another reviewer (Robert Heller of Bloomberg Businessweek) states of"
"were seen by Sire A&R man Craig Leon he brought the band to the attention of the label. Stein's wife, Linda Stein, saw the band play at Mothers; she would later co-manage them along with Danny Fields. By this time, the Ramones were recognized as leaders of the new scene that was increasingly being referred to as ""punk"". The group's unusual frontman had a lot to do with their impact. As Dee Dee explained, ""All the other singers [in New York] were copying David Johansen [of the New York Dolls], who was copying Mick Jagger... But Joey was unique, totally"
"and poetry. Most of the songs were composed by Cartwright, with lyrical contributions by other band members and associates. According to reviewer Pete Frame of ""Zigzag"" magazine, the album was ""brimming with invention: time changes, unusual chord changes, interesting lyrics..."". The sometimes whimsical, sometimes epic (verging on progressive rock) writing style of Cartwright was paired with the eclectic lyrical contributions of David Jones, Gillian Hadley and Monica Nettles, and was performed by vocalist Vivienne McAuliffe. The violin and recorders of Bindy Bourquin were another key element of the group's trademark sound. Lyn Edwards, originally on bongos, took over on the"
"""The really left-of-center artists, you really wonder about them. Can the world catch up? Can the culture meet them in the middle? That's what the adventure is. It doesn't always happen, but it should and it could."" Richard Russell, head of XL Recordings, states, ""You've got to bend culture around to suit you, and I think M.I.A has done that"" adding that M.I.A.'s composition and production skills were a major attraction for him. As a vocalist, M.I.A. is recognisable by her distinctive whooping, chanting voice, which has been described as having an ""indelible, nursery-rhyme swing."" She has adopted different singing"
"minutes, ""Help, I'm a Rock"" remains one of the Mothers of Invention's most lengthy and experimental pieces in their catalogue. The Mothers of Invention entered TTG Studios to record ""Help, I'm a Rock""—among other tracks for the ""Freak Out!"" album—after record producer Tom Wilson signed the group to MGM Records under the incorrect assumption that they were a traditional blues ensemble. As a testament to its absurdity, Zappa explained ""Help, I'm a Rock"" was created spontaneously as ""just a thing that spewed out. What was happening was what was in the air that night"". For the composition's unusual droning background"
"Mothermania Mothermania (1969), subtitled ""The Best of the Mothers"", is a compilation album by the Mothers of Invention. While the songs were previously released on ""Freak Out!"", ""Absolutely Free"" and ""We're Only in It for the Money"", it contains unique mixes or edits done specifically for this compilation. After the Mothers of Invention's contract with MGM and Verve Records expired, Frank Zappa and Herb Cohen negotiated to form a semi-independent record label Bizarre Records, with Verve releasing three Bizarre releases with distribution by MGM: a new Mothers of Invention album, ""Cruising with Ruben & the Jets"", the compilation ""Mothermania"", and"
"by Zappa in his studio while on the phone with Van Vliet prior to the album's sessions; Jeff Cotton was put on the phone to recite Van Vliet's latest poem, which Zappa recorded and put over a Mothers of Invention backing track (which had been known to the Mothers, unacknowledged on ""Trout Mask""'s credits, as ""Charles Ives""). When they entered the studio the band knocked out 20 instrumental tracks in a single six-hour recording session. Van Vliet spent the next few days overdubbing the vocals. Instead of singing while monitoring the instrumental tracks over headphones, he heard only the slight"
"I was coming up with. Tom was always championing that song as something we needed to keep working on, so we all decided that he should take a crack at writing lyrics for it then. It's cool. I think it really works."" Singer-songwriter Courtney Marie Andrews provided backing vocals for five of the album's tracks. Adkins, who met Andrews through mutual friends in Phoenix, Arizona, described her as ""extremely talented"", and stated that she is ""very versatile; she can sing really high. [...] There’s a few spots on the record that I knew I wanted a female vocal. [...] She"
"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 Gene Estes, Carol Kaye and Mac Rebennack (Dr. John), guitarist Neil Levang, and jazz-soul pianists Eugene 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, Benjamin Barrett), also made contributions to several songs at certain sessions, chiefly in the form of backing tracks on those songs."
"Jeff Simmons (musician) Jeff Simmons (born May 21, 1949 in Seattle, Washington) is an American rock musician best known as a former member of Frank Zappa's Mothers of Invention. Simmons provided bass, guitar, vocals and harmonica for Mothers of Invention during 1970 and 1971. He left the Mothers in early 1971 just prior to the filming of ""200 Motels"" (where he was replaced by Ringo Starr's chauffeur Martin Lickert). Jeff later returned to the Mothers occasionally during the period of 1972 to 1974. Zappa and Mothers albums he appeared on include ""Chunga's Revenge"" (1970), ""Waka/Jawaka"" (1972) and ""Roxy & Elsewhere"""
"The Mothers of Invention, and Pere Ubu. The band then signed to Frank Zappa's Bizarre and Straight labels, but broke up in 1973. Several of the members went on to more renowned music careers, including Glenn Phillips' solo work and Bruce Hampton's work with the Aquarium Rescue Unit. Harold Kelling formed The Starving Braineaters and continued playing with several bands in the Atlanta area. Sam Whiteside was also the road manager. Sam Whiteside and Espy Geisler designed the cover art and most of the artwork on the inside of their album ""Music to Eat"". ""Music to Eat"" gained a significant"
"Freak A freak is someone with something strikingly unusual about their appearance or behaviour. This usage dates from the ""freak scene"" of the 1960s and 1970s, most famously championed by Frank Zappa, leader of the rock band the Mothers of Invention. The term originally referred to the physically deformed, or having extraordinary diseases and conditions, such as sideshow performers. An older usage refers to the physically deformed, or having extraordinary diseases and conditions, such as sideshow performers. This has fallen into disuse, except as a pejorative, and (among the performers of such shows) as jargon. ""Freaks"" of this kind can"
"Only in It for the Money, and he isn't featured on this album.)"" Production Absolutely Free Absolutely Free is the second studio album by the American rock band the Mothers of Invention, led by Frank Zappa, released in 1967. ""Absolutely Free"" is, again, a display of complex musical composition with political and social satire. The band had been augmented since ""Freak Out!"" by the addition of woodwinds player Bunk Gardner, keyboardist Don Preston, rhythm guitarist Jim Fielder and drummer Billy Mundi. Fielder quit the group before the album was released and his name was removed from the album credits. The"
"to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a ""gook baby"". Zappa uniquely contributed to the avant-garde, anti-establishment music scene of the 1960s, sampling radio tape recordings and incorporating his own philosophical ideals to music and freedom of expression in his pieces. Bands such as AMM and Faust also contributed to the radio sampling techniques of the 1960s. Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album"
"would make things happen, because they were dancing in a way nobody had seen before, screaming and yelling out on the floor and doing all kinds of weird things. They were dressed in a way that nobody could believe, and they gave life to everything that was going on."" Musicians and others who became associated with the scene at the time included Zappa, his later wife Gail Sloatman, Kim Fowley, Arthur Lee, David Crosby, Don Van Vliet (Captain Beefheart), and The GTOs. Zappa and The Mothers of Invention became central to the freak scene in Los Angeles, and the term"
"Jimmy Carl Black James Carl Inkanish, Jr. (February 1, 1938 – November 1, 2008), known professionally as Jimmy Carl Black, was a drummer and vocalist for The Mothers of Invention. Born in El Paso, Texas, Black was of mixed Native American heritage. His trademark line was ""Hi Boys and Girls, I'm Jimmy Carl Black, and I'm the Indian of the group."" The line can be heard several times on The Mothers of Invention's album ""We're Only in It for the Money"" (for example, on the tracks ""Are You Hung Up?"" and ""Concentration Moon""). The line can also be heard in"
"for the tour, needed to replace the original high backing vocals of the now departed Martyn Ware. He immediately noticed Catherall and Sulley dancing together in the Crazy Daisy, and now states that they stood out from all the other girls in the club due to their unique dress sense, immaculate make-up, and idiosyncratic but sophisticated dance moves. Without preamble Oakey asked both girls to join the tour as dancers and incidental vocalists. Catherall now states that she knew immediately it was a genuine offer, as Oakey was well known in Sheffield; she and Sulley already had tickets to see"
"helped the group to distinguish themselves from the other girl groups in the label including the pop-oriented Marvelettes and the doo-wop-influenced Supremes with a rougher, brassier gospel-influenced sound. Reeves was a brassy alto while Annette was a deep contralto, and Rosalind was a high soprano. Like the Supremes' Florence Ballard, the Marvelettes' Wanda Rogers and The Four Tops' Abdul ""Duke"" Fakir, Ashford registered as the high background vocal in Vandellas records. After ""Quicksand"" gave the group a third top forty pop hit, Beard left to start a family with her new spouse. Reeves recruited a former member of The Velvelettes,"
"a regular performer for the entire run of the series. The Strangers also performed their own material on weekly basis throughout the life of the show. They notably secured one of the first sponsorship deals in Australian pop and were provided with a set of distinctive ""El Toro"" model electric guitars and basses made by the noted Melbourne-based luthier Maton. Strangers singer-guitarist John Farrar became a prominent session arranger in the late '60s before moving overseas and achieving great international success in the 1970s and beyond as a producer for Olivia Newton-John. He also wrote two additional songs for the"
"themselves at an impasse, as the Mothers of Invention were out of action for a time. They responded to these events by recording ""The Phlorescent Leech & Eddie"" on Reprise Records with most of the other members of the Mothers of Invention. Although it failed to chart, they continued releasing albums, including the more successful ""Flo & Eddie""; ""Illegal, Immoral and Fattening""; ""Moving Targets""; and ""Rock Steady with Flo & Eddie"". During the 1970s, Kaylan and Volman continued to do session work. They were backing vocalists on Bang a Gong (Get it on), singing the inadvertent extra chorus that ""worked."""
"The Mother of Invention The Mother of Invention is a 2009 American mockumentary-style comedy film directed by Joseph M. Petrick and Andrew Bowser, with screenplay by Petrick. The film stars Jimmi Simpson, Kevin Corrigan, Mark Boone Junior, Dee Wallace, Craig Anton, Ruby Wendell, F. Jason Whitaker and Chris Hardwick. It features cameos by Dave Allen, Chris Franjola, Keir O'Donnell, Martha Madison and Ron Lynch. The film premiered at the 2009 Sci-Fi-London film festival internationally and the Hollywood Film Festival domestically. The original score was composed and performed by Jim Hanft and the credits feature an original song by the band"
"Who Are the Brain Police? ""Who Are the Brain Police?"" is a Frank Zappa song, performed by The Mothers of Invention, released on the Mothers' debut album, ""Freak Out!"". It was released by Verve Records as a single in 1966. Zappa stated that the song was one of religious theme. Zappa wrote about the song on the ""Freak Out!"" liner notes: ""At five o’clock in the morning someone kept singing this in my mind and made me write it down. I will admit to being frightened when I finally played it out loud and sang the words."" In a 1988"