FRANK ZAPPA & THE MODERN OF INVENTION — Freak Out! (1966-1995) RM | FLAC (tracks+.cue), lossless

Freak Out! is the debut album by American 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. It was also one of the earliest double albums in rock music (although Bob Dylan's Blonde on Blonde preceded it by a week), and the first 2-record debut. In the UK the album was originally released as a single disc.

The album was produced by Tom Wilson, who signed The Mothers, formerly a bar band called the Soul Giants. Zappa said many years later that Wilson signed the group to a record deal in the belief that they were a white blues band. The album features Zappa on vocals and guitar, along with lead vocalist/tambourine player Ray Collins, bass player/vocalist Roy Estrada, drummer/vocalist Jimmy Carl Black and guitar player Elliot Ingber, who would later join Captain Beefheart's Magic Band under the name Winged Eel Fingerling.

The band's original repertoire consisted of rhythm and blues covers; though after Zappa joined the band he encouraged them to play his own original material, and the name was changed to The Mothers. The musical content of Freak Out! ranges from rhythm and blues, doo-wop and standard blues-influenced rock to orchestral arrangements and avant-garde sound collages. Although the album was initially poorly received in the United States, it was a success in Europe. It gained a cult following in America, where it continued to sell in substantial quantities until it was discontinued in the early 1970s.

In 1999, it was honored with the Grammy Hall of Fame Award, and in 2003, Rolling Stone ranked it among the "500 Greatest Albums of All Time." In 2006, The MOFO Project/Object, an audio documentary on the making of the album, was released in honor of its 40th anniversary. This is Official Release #1.

One of the most ambitious debuts in rock history, Freak Out! was a seminal concept album that somehow foreshadowed both art rock and punk at the same time. Its four LP sides deconstruct rock conventions right and left, eventually pushing into territory inspired by avant-garde classical composers. Yet the album is sequenced in an accessibly logical progression; the first half is dedicated to catchy, satirical pop/rock songs that question assumptions about pop music, setting the tone for the radical new directions of the second half. Opening with the nonconformist call to arms "Hungry Freaks, Daddy," Freak Out! quickly posits the Mothers of Invention as the antithesis of teen-idol bands, often with sneering mockeries of the teen-romance songs that had long been rock's commercial stock-in-trade. Despite his genuine emotional alienation and dissatisfaction with pop conventions, though, Frank Zappa was actually a skilled pop composer; even with the raw performances and his stinging guitar work, there's a subtle sophistication apparent in his unorthodox arrangements and tight, unpredictable melodicism. After returning to social criticism on the first song of the second half, the perceptive Watts riot protest "Trouble Every Day," Zappa exchanges pop song structure for experiments with musique concrète, amelodic dissonance, shifting time signatures, and studio effects. It's the first salvo in his career-long project of synthesizing popular and art music, high and low culture; while these pieces can meander, they virtually explode the limits of what can appear on a rock album, and effectively illustrate Freak Out!'s underlying principles: acceptance of differences and free individual expression. Zappa would spend much of his career developing and exploring ideas -- both musical and conceptual -- first put forth here; while his myriad directions often produced more sophisticated work, Freak Out! contains at least the rudiments of almost everything that followed, and few of Zappa's records can match its excitement over its own sense of possibility. Steve Huey  

Tracklist :

1.     Hungry Freaks, Daddy 3:27

2.     I Ain't Got No Heart 2:33

3.     Who Are The Brain Police? 3:33

4.     Go Cry On Somebody Else's Shoulder 3:39

5.     Motherly Love 2:43

6.     How Could I Be Such A Fool 2:11

7.     Wowie Zowie 2:51

8.     You Didn't Try To Call Me 3:16

9.     Any Way The Wind Blows 2:54

10.     I'm Not Satisfied 2:38

11.     You're Probably Wondering Why I'm Here 3:38

12.     Trouble Every Day 5:49

13.     Help, I'm A Rock 4:43

14.     It Can't Happen Here 3:55

15.     The Return Of The Son Of Monster Magnet 12:16

The Mothers of Invention :

Frank Zappa - Leader and Musical director

Ray Collins - Lead vocalist, harmonica, tambourine, finger cymbals, bobby pin & tweezers

Jim Black - Drums (also sings in some foreign language)

Roy Estrada - Bass & guitarron; boy soprano

Elliot Ingber - Alternate lead & rhythm guitar with clear white light

FRANK ZAPPA & THE MOTHERS OF INVENTION — Absolutely Free (1967-1995) RM | FLAC (tracks+.cue), lossless

Frank Zappa's liner notes for Freak Out! name-checked an enormous breadth of musical and intellectual influences, and he seemingly attempts to cover them all on the second Mothers of Invention album, Absolutely Free. Leaping from style to style without warning, the album has a freewheeling, almost schizophrenic quality, encompassing everything from complex mutations of "Louie, Louie" to jazz improvisations and quotes from Stravinsky's Petrushka. It's made possible not only by expanded instrumentation, but also Zappa's experiments with tape manipulation and abrupt editing, culminating in an orchestrated mini-rock opera ("Brown Shoes Don't Make It") whose musical style shifts every few lines, often in accordance with the lyrical content. In general, the lyrics here are more given over to absurdity and non sequiturs, with the sense that they're often part of some private framework of satirical symbols. But elsewhere, Zappa's satire also grows more explicitly social, ranting against commercial consumer culture and related themes of artificiality and conformity. By turns hilarious, inscrutable, and virtuosically complex, Absolutely Free is more difficult to make sense of than Freak Out!, partly because it lacks that album's careful pacing and conceptual focus. But even if it isn't quite fully realized, Absolutely Free is still a fabulously inventive record, bursting at the seams with ideas that would coalesce into a masterpiece with Zappa's next project. Steve Huey
"Absoutely Free" (1st In A Series Of Underground Oratorios)    
1.    Plastic People    3:42
2.    The Duke Of Prunes    2:13
3.    Amnesia Vivace    1:01
4.    The Duke Regains His Chops    1:52
5.    Call Any Vegetable    2:15
6.    Invocation & Ritual Dance Of The Young Pumpkin    7:00
7.    Soft-Sell Conclusion    1:40
8.    Big Leg Emma    2:31
9.    Why Don'tcha Do Me Right?    2:37
"The M.O.I. American Pageant" (2nd In A Series Of Underground Oratorios)    
10.    America Drinks    1:53
11.    Status Back Baby    2:54
12.    Uncle Bernie's Farm    2:10
13.    Son Of Suzy Creamcheese    1:34
14.    Brown Shoes Don't Make It    7:30
15.    America Drinks & Goes Home    2:45
Credits :
Artwork By [Cover Art, Layout, Collages Etc.], Liner Notes, Composed By, Arranged By, Conductor – Frank Zappa
Performer – Billy Mundi, Bunk Gardner, Don Preston, Frank Zappa, Jim Black, Jim Sherwood, Ray Collins, Roy Estrada

FRANK ZAPPA & THE MOTHERS OF INVENTION — We're Only in It for the Money (1968-1995) RM | FLAC (tracks+.cue), lossless

From the beginning, Frank Zappa cultivated a role as voice of the freaks -- imaginative outsiders who didn't fit comfortably into any group. We're Only in It for the Money is the ultimate expression of that sensibility, a satirical masterpiece that simultaneously skewered the hippies and the straights as prisoners of the same narrow-minded, superficial phoniness. Zappa's barbs were vicious and perceptive, and not just humorously so: his seemingly paranoid vision of authoritarian violence against the counterculture was borne out two years later by the Kent State killings. Like Freak Out, We're Only in It for the Money essentially devotes its first half to satire, and its second half to presenting alternatives. Despite some specific references, the first-half suite is still wickedly funny, since its targets remain immediately recognizable. The second half shows where his sympathies lie, with character sketches of Zappa's real-life freak acquaintances, a carefree utopia in "Take Your Clothes Off When You Dance," and the strident, unironic protest "Mother People." Regardless of how dark the subject matter, there's a pervasively surreal, whimsical flavor to the music, sort of like Sgt. Pepper as a creepy nightmare. Some of the instruments and most of the vocals have been manipulated to produce odd textures and cartoonish voices; most songs are abbreviated, segue into others through edited snippets of music and dialogue, or are broken into fragments by more snippets, consistently interrupting the album's continuity. Compositionally, though, the music reveals itself as exceptionally strong, and Zappa's politics and satirical instinct have rarely been so focused and relevant, making We're Only in It for the Money quite probably his greatest achievement. Steve Huey 
Tracklist :
1.    Are You Hung Up?    1:24
2.    Who Needs The Peace Corps?    2:34
3.    Concentration Moon    2:22
4.    Mom & Dad    2:16
5.    Telephone Conversation    0:48
6.    Bow Tie Daddy    0:33
7.    Harry, You're A Beast    1:21
8.    What's The Ugliest Part Of Your Body?    1:03
9.    Absolutely Free    3:24
10.    Flower Punk    3:03
11.    Hot Poop    0:26
12.    Nasal Retentive Calliope Music    2:02
13.    Let's Make The Water Turn Black    2:01
14.    The Idiot Bastard Son    3:18
15.    Lonely Little Girl    1:09
16.    Take Your Clothes Off When You Dance    1:32
17.    What's The Ugliest Part Of Your Body? (Reprise)    1:02
18.    Mother People    2:26
19.    The Chrome Plated Megaphone Of Destiny    6:25
Credits :
Artwork [Plastic Figures & All Other Artwork], Design [CD Design Consultant] – Cal Schenkel
Composed By, Arranged By, Edited By [Scientifically Mutilated By], Supervised By [Orchestral Segments Conducted Under The Supervision Of] – Frank Zappa
Drums, Trumpet, Vocals, Voice [Indian Of The Group] – Jimmy Carl Black
Drums, Vocals, Other [Yak & Black Lace Underwear] – Billy Mundi
Electric Bass, Vocals, Other [Asthma] – Roy Estrada
Guitar, Piano, Lead Vocals, Other [Weirdness], Edited By [Editing] – Frank Zappa
Performer [Retired] – Don Preston
Performer [Snorks] – Dick Barber
Piano, Woodwind, Other [Wholesome] – Ian Underwood
Soprano Saxophone, Baritone Saxophone, Voice [Road Manager], Other [All Purpose Weirdness And Teen Appeal] – Euclid James Motorhead Sherwood
Voice [Has Graciously Consented To Speak To You In Several Critical Area] – Eric Clapton
Voice [Telephone] – Suzy Creamcheese
Woodwind [All], Vocals [Mumbled Weirdness] – Bunk Gardner

FRANK ZAPPA & THE MOTHERS OF INVENTION — Uncle Meat (1969-1995) RM | 2CD | FLAC (tracks+.cue), lossless

Just three years into their recording career, the Mothers of Invention released their second double album, Uncle Meat, which began life as the largely instrumental soundtrack to an unfinished film. It's essentially a transitional work, but it's a fascinating one, showcasing Frank Zappa's ever-increasing compositional dexterity and the Mothers' emerging instrumental prowess. It was potentially easy to overlook Zappa's melodic gifts on albums past, but on Uncle Meat, he thrusts them firmly into the spotlight; what few lyrics there are, Zappa says in the liner notes, are in-jokes relevant only to the band. Thus, Uncle Meat became the point at which Zappa began to establish himself as a composer and he would return to many of these pieces repeatedly over the course of his career. Taken as a whole, Uncle Meat comes off as a hodgepodge, with centerpieces scattered between variations on previous pieces, short concert excerpts, less-realized experiments, doo wop tunes, and comedy bits; the programming often feels as random as the abrupt transitions and tape experiments held over from Zappa's last few projects. But despite the absence of a conceptual framework, the unfocused sprawl of Uncle Meat is actually a big part of its appeal. It's exciting to hear one of the most creatively fertile minds in rock pushing restlessly into new territory, even if he isn't always quite sure where he's going. However, several tracks hint at the jazz-rock fusion soon to come, especially the extended album closer "King Kong"; it's his first unequivocal success in that area, with its odd time signature helping turn it into a rhythmically kinetic blowing vehicle. Though some might miss the gleeful satire of Zappa's previous work with the Mothers, Uncle Meat's continued abundance of musical ideas places it among his most intriguing works. Steve Huey

Disc 1 Time: 57:21

1.     Main Title Theme (1:56)

2.     The Voice of Cheese (0:26)

3.     Nine Types of Industrial Pollution (6:00)

4.     Zolar Czakl (0:54)

5.     Dog Breath, in the Year of the Plague (3:59)

6.     The Legend of the Golden Arches (3:28)

7.     Louie Louie (At the Royal Albert Hall) (2:19)

8.     The Dog Breath Variations (1:48)

9.     Sleeping in a Jar (0:50)

10.     Our Bizarre Relationship (1:05)

11.     The Uncle Meat Variations (4:46)

12.     Electric Aunt Jemima (1:46)

13.     Prelude to King Kong (3:38)

14.     God Bless America (1:10)

15.     A Pound for a Brown on the Bus (1:29)

16.     Ian Underwood Whips It Out (5:05)

17.     Mr. Green Genes (3:14)

18.     We Can Shoot You (2:03)

19.     If We'd All Been Living in California... (1:14)

20.     The Air (2:57)

21.     Project X (4:48)

22.     Cruisin' for Burgers (2:18)

Disc 2 Time: 63:05

1.     Uncle Meat Film Excerpt, Pt. 1 (37:34)

2.     Tengo Na Minchia Tanta (3:46)

3.     Uncle Meat Film Excerpt, Pt. 2 (3:50)

4.     King Kong Itself [Played by the Mothers] (0:49)

5.     King Kong II [Interpreted by Tom Dewild] (1:21)

6.     King Kong III [Motorhead Explains It] (1:44)

7.     King Kong IV [Gardner Varieties] (6:17)

8.     King Kong V (0:34)

9.     King Kong VI [Live at Miami Pop Festival] (7:24)

Total Time: 120:26

Line-up / Musicians

Frank Zappa - Guitar, Percussion, Keyboards, Vocals

Don Preston - Bass, Keyboards, Electric Piano

Jimmy Carl Black - Comedy, Percussion, Drums, Voices

Ray Collins - Guitar, Vocals

Aynsley Dunbar - Guitar

Roy Estrada - Basses, Vocals

Bunk Gardner / clarinet, flute, bass clarinet, piccolo, saxes, wind

Ruth Komanofff - Percussion, Marimba

Billy Mundi - Drums, Vocals

Jim Sherwood - Guitar, Vocals, Wind

Art Tripp - Percussion, Chimes, Drums, Marimba, Xylophone, Bells, Tympani, Vibraphone, Wood Block

Ian Underwood - Organ, Clarinet, Flute, Guitar, Piano, Celeste, Harpsichord, Keyboards, Saxes, Wind, Electric Organ

Ruth Underwood - Percussion, Keyboards

Nelly Walker - Vocals

Euclid James Sherwood - Tenor Sax, Tambourine, Voices 

FRANK ZAPPA & THE MOTHERS OF INVENTION — Burnt Weeny Sandwich (1970-1995) RM | FLAC (tracks+.cue), lossless

Burnt Weeny Sandwich is an album by The Mothers of Invention, released in 1970. It consists of both studio album and live elements. In contrast to Weasels Ripped My Flesh, which is predominately live and song-oriented, most of Burnt Weeny Sandwich focuses on studio recordings and tightly arranged compositions.

The LP included a large triple-folded black and white poster ("The Mothers of Invention Sincerely Regret to Inform You") which has never been reproduced in any of the CD reissues. Until the 2012 Zappa Family Trust reissue campaign, CD editions had a severe dropout at the beginning of "The Little House I Used to Live In" that wasn't present on the original LP pressing. This is Official Release #9.

The album's unusual title, Zappa would later say in an interview, comes from an actual snack that he enjoyed eating, consisting of a burnt Hebrew National hot dog sandwiched between two pieces of bread with mustard.

Burnt Weeny Sandwich and Weasels Ripped My Flesh were also reissued together on vinyl as 2 Originals of the Mothers of Invention, with the original covers used as the left and right sides of the inner spread, and the front cover depicting a pistol shooting toothpaste onto a toothbrush.

The album was essentially a 'posthumous' Mothers release having been released after Frank Zappa dissolved the band.

Ian Underwood's contributions are significant on this album. The album, like its counterpart Weasels Ripped My Flesh, comprises tracks from the Mothers vault that were not previously released. Whereas Weasels mostly showcases the Mothers in a live setting, much of Burnt Weeny Sandwich features studio work and structured Zappa compositions, like the centerpiece of the album, "The Little House I Used to Live In", which consists of several movements and employs compound meters such as 11/8 with overlaid melodies in 6/8 and 4/4.

The guitar solo portion of the "Theme from Burnt Weeny Sandwich" is an outtake from an unused extended version of "Lonely Little Girl" from the 1967 sessions for the We're Only in It for the Money LP. Zappa and Art Tripp later added multiple percussion overdubs for the released version (The source recordings for the percussion overdubs were issued in 2012 on the posthumous Zappa release Finer Moments under the title "Enigmas 1-5").

"Valarie" was originally intended to be released as a single coupled with "My Guitar Wants to Kill Your Mama". However, either Zappa or his label, Reprise Records, cancelled its release, resulting in its inclusion on the LP.

"Igor's Boogie" is a reference to a major Zappa influence, composer Igor Stravinsky.

Cal Schenkel has noted that his unique cover art for Burnt Weeny Sandwich was originally commissioned for the cover of an Eric Dolphy release.

The piano introduction of "The Little House I Used to Live in" appears in Yvar Mikhashoff's four CD set "Yvar Mikhashoff's Panorama of American Piano Music"

After guiding the Mothers of Invention to significant critical respect and even modest commercial success over the second half of the ‘60s, Frank Zappa welcomed 1970 as a newly minted solo artist. But you wouldn’t necessarily know it based on his recently disbanded group’s lingering presence all over Zappa’s first album of the new year, Burnt Weeny Sandwich, which arrived in stores in February 1970 and was credited to the defunct group.

Named after one of Zappa’s favorite snacks in times of hunger emergency, the burnt weeny sandwich essentially consisted of flash-roasting a hot dog over an open flame, sticking it between two slices of bread, and snarfing it down while expediently returning to work, which, in Zappa’s case, entailed filling endless pieces of paper with little black dots called notes.

‘Burnt Weeny Sandwich’ in many ways mirrored the recipe for the snack in that it somewhat hastily and haphazardly threw together songs of radically diverse style and origin, as was aptly represented by artist Cal Shenkel’s chaotic collage adorning the LP cover. As such, two doo-wop covers — the Four Deuces’ “WPLJ” and Jackie & the Starlites’ “Valarie” — book-ended the other musical contents like thin slices of white bread. They may have harked back to Zappa’s earliest musical influences, but they had pretty much zero in common with the musical condiments they surrounded.

These included a dazzling display of the Mothers’ ensemble virtuosity in “Theme From Burnt Weeny Sandwich” (complete with blazing lead guitar and found sound effects), a mutant sea shanty named “Aybe Sea” (named after its A-B-C chord progression) and a quartet of bite-sized avant-classical pieces in “Igor’s Boogie, Phases 1 & 2,” “Overture to a Holiday in Berlin” and “Holiday in Berlin, Full Blown.” Though consistently stimulating, and typical of Zappa’s fearless genre-hopping tendencies, many of these songs were essentially leftovers from previous recording sessions with the recently unemployed Mothers, and mostly an exercise in closet cleaning.

The biggest single ingredient packing this savory musical hoagie was a near-20-minute concert performance entitled “The Little House I Used to Live In.” Recorded at London’s Royal Albert Hall in June 1969, the song’s extended improvisations provided an epic send-off to the beloved Mothers, in all of their eclectic audaciousness under the leadership and in the service of  Zappa’s singular vision. The recording even contains a snippet of heated repartee between Zappa and an audience member that spawned his famous critique of all the flower children present: “Everybody in this room is wearing a uniform.”

Everyone, that is, except for Zappa, who would almost finish clearing out his vaults of Mothers material later in the year with the release of Weasels Ripped My Flesh. In October, Zappa released Chunga’s Revenge, which introduced the first of many new Mothers lineups that would back him over the decade ahead. web

Burnt Weeny Sandwich is the first of two albums by the Mothers of Invention that Frank Zappa released in 1970, after he had disbanded the original lineup. While Weasels Ripped My Flesh focuses on complex material and improvised stage madness, this collection of studio and live recordings summarizes the leader's various interests and influences at the time. It opens and closes on '50s pop covers, "WPLJ" and "Valarie." "Aybe Sea" is a Zappafied sea shanty, while "Igor's Boogie" is named after composer Igor Stravinsky, the closest thing to a hero Zappa ever worshipped. But the best material is represented by "Holiday in Berlin," a theme that would become central to the music of 200 Motels, and "The Little House I Used to Live In," including a virtuoso piano solo by Ian Underwood. Presented as an extended set of theme and variations, the latter does not reach the same heights as "King Kong." In many places, and with the two aforementioned exceptions in mind, Burnt Weeny Sandwich sounds like a set of outtakes from Uncle Meat, which already summarized to an extent the adventures of the early Mothers. It lacks some direction, but those allergic to the group's grunts and free-form playing will prefer it to the wacky Weasels Ripped My Flesh. François Couture 

Tracklist :

1.     WPLJ (The Four Deuces)     3:02

2.     Igor's Boogie, Phase One       0:40

3.     Overture to a Holiday in Berlin       1:29

4.     Theme from Burnt Weeny Sandwich       4:35

5.     Igor's Boogie, Phase Two       0:35

6.     Holiday in Berlin, Full Blown       6:27

7.     Aybe Sea       2:45

8.     The Little House I Used to Live in       18:42

9.     Valarie (Jackie and the Starlites)     3:14

All songs written and composed by Frank Zappa except where noted. 

Personnel :

Frank Zappa – Organ, Guitar, Vocals

Jimmy Carl Black – Percussion, Drums

Roy Estrada – Bass, Backing Vocals, Pachuco rap on "WPLJ"

Janet Ferguson – Backing Vocals on "WPLJ"

Bunk Gardner – Horn, Wind

Buzz Gardner - Trumpet

Billy Mundi – Drums (uncredited, left group in December 1967, possibly played on "Theme from Burnt Weeny Sandwich")

Lowell George – Guitar, Vocals

Don "Sugarcane" Harris – Violin on "The Little House I Used to Live In"

Don Preston – Bass, Piano, Keyboards

Jim Sherwood – Guitar, Vocals, Wind

Art Tripp – Drums, Percussion

Ian Underwood – Guitar, Piano, Keyboards, Wind

John Balkin – Bass on "WPLJ", string bass on "Overture to a Holiday in Berlin" 

FRANK ZAPPA — Zoot Allures (1976-1995) RM | FLAC (tracks+.cue), lossless

Zoot Allures, released in October 1976, is mostly a studio album (there are some basic live tracks, as in the title track and "Black Napkins") featuring a revolving cast of musicians who, oddly, do not correspond to the ones pictured on the album cover (for instance, Patrick O'Hearn and Eddie Jobson did not contribute). Compared to previous releases like One Size Fits All, Roxy & Elsewhere, or even Over-Nite Sensation, and to upcoming ones such as Zappa in New York, Studio Tan, or Sheik Yerbouti, Zoot Allures sounds very stripped down to bare essentials. Zappa focused on limited instrumentation, lots of bass, and whispered vocals to create a masterpiece of dark, slow, sleazy rock. Except for the opening and closing numbers ("Wind Up Workin' in a Gas Station" and "Disco Boy"), all the material is slow to medium tempo with Zappa delivering the closest he'll ever get to a crooner vocal performance. "The Torture Never Stops" is the highlight, ten minutes of suggestive lyrics, crawling riffs, searing solos, and female screams of pain. That song and "Disco Boy" became classic tracks; "Black Napkins" and "Zoot Allures" rate among the man's best guitar solos. Historical note: The album was first devised as a two-LP set and would have included "Sleep Dirt," "Filthy Habits," and "The Ocean Is the Ultimate Solution," which all also fit the mood. Although humor has not been completely evacuated, Zoot Allures comes through as a much more serious rock record. Yet, it is more than a transitional album; it represents one of Zappa's strongest. François Couture  
Tracklist :
1.        Wind Up Workin' In A Gas Station 2:29
Drums – Terry Bozzio
Guitar, Bass, Synthesizer, Lead Vocals – FZ
Lead Vocals, Backing Vocals – Davey Moire
2.        Black Napkins 4:15
Bass, Vocals – Roy Estrada
Drums – Terry Bozzio
Guitar – FZ
Organ, Vocals – Andre Lewis
Saxophone, Vocals – Napoleon Murphy Brock
3.        The Torture Never Stops 9:45
Drums – Terry Bozzio
Guitar, Bass, Keyboards, Directed By [Vocal Director Of Recreational Activities] – FZ
4.        Ms. Pinky 3:40
Backing Vocals – Roy Estrada
Drums – Terry Bozzio
Guitar, Bass, Synthesizer, Lead Vocals – FZ
Synthesizer – Ruth Underwood
5.        Find Her Finer 4:07
Backing Vocals – Andre Lewis, Roy Estrada, Ruben Ladron De Guevara
Drums, Backing Vocals – Terry Bozzio
Guitar, Bass, Keyboards, Synthesizer, Vocals – FZ
Harmonica – Donnie Vliet
6.        Friendly Little Finger 4:17
Drums – Terry Bozzio
Guitar, Bass – FZ
Marimba, Synthesizer – Ruth Underwood
7.        Wonderful Wino 3:38
Drums – Terry Bozzio
Guitar, Bass, Keyboards, Vocals – FZ
8        Zoot Allures 4:12
Bass – Dave Parlato
Drums – Terry Bozzio
Guitar – FZ
Harp – Lu Ann Neil
Marimba – Ruth Underwood
9.        Disco Boy 5:11
Backing Vocals – Andre Lewis, Davey Moire, Roy Estrada, Sharkie Barker
Drums, Backing Vocals – Terry Bozzio
Guitar, Bass, Keyboards, Synthesizer, Vocals – FZ