JACK KEROUAC — Reads On The Road (1999) Voices Series | FLAC (tracks+.cue), lossless

While Rhino's compilation might mark a better place to start, Reads on the Road is certainly a worthy collection of some of Jack Kerouac's narratives and poetry, embellished by some actual singing. Kerouac is a more enjoyable author to hear reading on disc than most, since his prose had much of a jazz rhythm, and since he was an engaging reader/performer himself. The big find on this 74-minute CD is the 28-minute excerpt from On the Road his most famous and widely-read book, found on '50s acetates that had been thought lost. "On the Road" is presented as it was discovered, with just Kerouac's voice, but guitarist Vic Juris and Hammond organist John Medeski recorded music in 1998 for his early-'60s musical song-poem "On the Road" (a separate performance from his reading of material from the book). It's unexpected, and amusing if not brilliant, to hear Kerouac sing three jazz standards by the likes of Sammy Cahn, Johnny Mercer, and Gordon Jenkins in the late 1950s (presented with the original musical backing, by unknown musicians). David Amram, who had provided musical backup for Kerouac's readings in the late 1950s, wrote and recorded music in 1998 for two more Kerouac poems, cut by Kerouac in the back of a record shop, including the previously unpublished "Washington D.C. Blues," which runs for 17 minutes. Ending the set is Tom Waits, backed by Primus, doing yet another "On the Road," for which Waits put music to Kerouac's prose. Richie Unterberger
Tracklist :
1.    Jack Kerouac–    Ain't We Got Fun 2:31
Instrumentation By – Unknown Artist
Recorded By, Mixed By – Jerry Newman
Technician – Sean Slade
Vocals – Jack Kerouac
Written-By – Egan, Whiting, Sammy Kahn
2.    Jack Kerouac–    On The Road (Jazz Of The Beat Generation)  28:40
Technician – Greg Calbi, Steve Fallone
Voice – Jack Kerouac
3.    Jack Kerouac–    On The Road 2:16
Arranged By, Guitar – Victor Juris
Arranged By, Organ [Hammond] – John Medeski
Engineer [Assistant] – James Harned
Engineer, Mixed By – Danny Lawrence
Technician – Jim Sampas
Voice – Jack Kerouac
4.    Jack Kerouac–    Come Rain Or Shine 3:37
Instrumentation By – Unknown Artist
Lyrics By – Johnny Mercer
Music By – Harold Arlen
Recorded By, Mixed By – Jerry Newman
Technician – Sean Slade
Vocals – Jack Kerouac
5.    Jack Kerouac–    Orizaba 210 Blues 9:32
Composed By, Performer, French Horn, Piano, Shanai, Goblet Drum [Dumbek], Drums [Frame Drum], Flute [Lakota], Tin Whistle [Penny], Ocarina, Congas, Percussion – David Amram
Engineer [Assistant] – James Harned
Engineer, Mixed By – Danny Lawrence
Technician – Jim Sampas
Voice – Jack Kerouac
6.    Jack Kerouac–    When A Woman Loves A Man 2:54
Instrumentation By – Unknown Artist
Recorded By, Mixed By – Jerry Newman
Technician – Sean Slade
Vocals – Jack Kerouac
Written-By – Bernard D. Hanighen, Gordon Jenkins, John H. Mercer
7.    Jack Kerouac–    Leavin' Town 3:00
Instrumentation By – Unknown Artist
Recorded By, Mixed By – Jerry Newman
Technician – Sean Slade
Vocals – Jack Kerouac
Written-By – George Handy, Jack Segal
8.    Jack Kerouac–    Washington D.C. Blues 17:43
Alto Saxophone – Jerry Dodgion
Bass – Victor Venegas
Bassoon – Jane Taylor
Composed By, Performer – The David Amram Ensemble
Congas – Candido
Drums, Bongos – Johnny Almendra
Engineer [Assistant] – Danny Harned
Engineer, Mixed By – Danny Lawrence
Guitar – Victor Juris*
Oboe, English Horn – Ronald Roseman
Organ [Hammond] – John Medeski
Piano, French Horn, Shanai, Goblet Drum [Dumbek], Whistle [Penny] – David Amram
Technician – Jim Sampas
Viola – Midhat Serbagi
Voice – Jack Kerouac
9.    Tom Waits & Primus–    On The Road 3:58
Bass [Upright], Percussion – Les Claypool
Engineer [Second] – Jeff Sloan
Guitar, Percussion – Larry LaLonde
Mixed By – Bernd Burgdorf
Music By, Performer, Vocals, Guitar, Percussion – Tom Waits
Percussion – Brain (26)
Performer – Primus
Recorded By – Biff Daws
Saxophone – Ralph Carney 

AIRTO MOREIRA - The Other Side of This (1992) FLAC (tracks+.cue), lossless

Using voice, drum, whistle, chimes, shakers, rattle, tambourine, and didgeridoo, Airto and company make music that comes from all regions and belongs to none. These are songs for ritual and healing, based on many cultures. The mood is ethereal, yet because of the predominance of percussion, also powerful. New age music with punch. by Steven McDonald
Tracklist :
1     Endless Cycle 4:00
Airto Moreira
Vocals, Drums [The 'Beast' - Suspended Steel Cylinder Drums], Bells, Whistle [Air Whistle] – Airto Moreira   
2     Tumbleweed 5:20
Airto Moreira
Ghatam – T.H. "Vikku" Vinayakram
Tabla, Wood Block [Wood] – Zakir Hussain
Wood Block [Wood] – Babatunde Olatunji, Kitaro, Mickey Hart
Wood Block [Wood], Vocals, Rattle, Shaker, Flute [Wooden], Flute [Charming] – Airto Moreira   
3     Back Streets of Havana 2:44
Bata, Cowbell, Shekere, Vocals – Giovanni Hidalgo
Bata, Shekere, Lead Vocals – Frank Colon
Bata, Vocals, Handclaps – Airto Moreira
Vocals, Handclaps – Diana Moreira   
4     Healing Sounds 2:42
Verna Yater
Vocals – Dr Verna Yater   
5     The Underwater People 8:30
Airto Moreira
Ghatam – T.H. "Vikku" Vinayakram
Tabla – Zakir Hussain
Vocals – Diana Moreira
Vocals, Percussion [Water Bottle], Flute [Wooden], Caxixi, Ganzá, Whistle [Air Whistle] – Airto Moreira
6     Old Man's Song 2:04
Airto Moreira
Vocals, Tambourine [Brazillian], Djembe, Caxixi – Airto Moreira
7     Hey Ya 4:06
Airto Moreira
Percussion [Stomping, Tree Branches], Vocals, Surdo, Shaker, Cowbell, Rattle, Bullroarer – Airto Moreira
Percussion [Stomping], Vocals – Caryl Ohrbach, Cheryl McEnaney, Diana Moreira, Flora Purim, Kitaro, Rose Solomon
Percussion [Stomping], Vocals, Shaker, Rattle – Mickey Hart
8     When Angels Cry 4:17
Flora Purim
Chimes, Performer [Bird Calls] – Airto Moreira
Vocals – Flora Purim
9     Dom-Um (A Good Friend) 5:58
Zakir Hussain / Airto Moreira
Berimbau, Caxixi, Triangle, Nose Flute, Vocals, Performer [Bird Calls] – Airto Moreira
Tabla – Zakir Hussain
10     Street Reunion 2:57
Bata, Lead Vocals, Shekere – Frank Colon
Bata, Vocals, Handclaps – Airto Moreira
Bata, Vocals, Shekere, Cowbell – Giovanni Hidalgo
Vocals, Handclaps – Diana Moreira   
11     Mirror of the Past 6:12
Airto Moreira
Didgeridoo, Vocals, Flute [African Black], Rattle [African Rattles], Bells [Chinese], Wind [Hollow Bamboo Blown On Water] – Airto Moreira
12     Sedonia's Circle 3:31
Stanley Clarke
Frame Drum, Vocals – Amrita Blain, Caryl Ohrbach, Jana Holmer, Justine Toms, KC Ross, Leah Martino, Sedonia Cahill
Rattle, Vocals – Margie Clark
Tar (Drum), Vocals – Margaret Barkley
Vocals – Diana Moreira, Flora Purim
13     Terra E Mar 6:03
Airto Moreira
Singing Bowls [Tibetan Bowl] – Mickey Hart
Vocals – Diana Moreira
Vocals, Rainstick [Brazilian], Conch, Performer [Bird Calls], Nose Flute, Sounds [Water Sounds] – Airto Moreira

AIRTO / MICKEY HART / FLORA PURIM - Dafos (1989) FLAC (image+.cue), lossless

Long before 'world music' was a widely used term, ethnomusicologist and performer Mickey Hart became enamored with the culture of rhythms. After hooking back up with the Grateful Dead in the mid-'70s, Hart began incorporating advanced time-signatures into the "Drums" portion of the "Rhythm Devils" duets with Bill Kreutzmann (drums). As described in the liner notes, this is something of a soundtrack album for a planet called Däfos (1985). Hart (tar/beam/stick/tubular bells/percussion/berimbaus/saron/vocals) is accompanied by Steve Douglas (woodwinds), Shabda Khan (tar), Jody Diamond (saron), Bobby Vega (bass), Flora Purim (vocals), Airto Moreira (percussion) and the Brazilian group Batucaje among others for a collection of ambient soundscapes adorned by an array of indigenous hand and mallet-struck percussion. Although dominated by instruments, Flora Purim's vocals during "Reunion I" through "Reunion III" are equally as expressive as Vega's propulsive electric bass interjections, backed by Hart and Moreira's perpetual pursuit. "Saudação Popular" is one of the cuts to feature Batucaje, who join Hart on berimbau. The instrument's wah-wah effect is produced by the bow-like object that is struck, while the frequency is controlled by the amount of pressure the player places when moving it against the body. The mid-tempo tune incrementally increases in speed to match the intensity of the participants fervor. "Psychopomp" is Hart providing ambience on the amplified piano-string Beam -- that was often the highlight of the Grateful Dead's "Space" jams. The hollow, almost metallic "Subterranean Caves of Kronos" is once again just Hart on a series of subdued melodic tubular bell progressions. Conversely cacophonous is the multi-drum Beast, a 25-foot round aluminum frame able to support a capacious assemblage of drums. Its use became another zenith of Grateful Dead shows and Hart gives it a workout on the hell-bound "Gates of Däfos." According to the brief text supplied for each song title, the lengthy "Passage" depicts the journey once inside the Gates of Däfos, which develops from the atmosphere of a pastoral setting to the urban sounds of sambas and celebrations. Upon its release, Däfos (1985) garnered substantial notice from audiophiles, including a write-up in Absolute Sound that is reprinted in the Rykodisc CD edition. by Lindsay Planer  
Tracklist :
1     Dry Sands of the Desert 5:05
Mickey Hart
2     Ice of the North 1:20
Mickey Hart
3     Reunion I/Reunion II/Reunion III 9:52
Mickey Hart
4     Saudação Popular 5:12
Batucaje / Mickey Hart
5     Psychopomp 4:54
Mickey Hart
6     Subterranean Caves of Kronos 2:12
Mickey Hart
7     The Gates of Däfos 3:55
Mickey Hart
8     Passage 10:55
Mickey Hart
Credits :
Bass – Bobby Vega (faixas: 4)
Berimbau, Backing Vocals – Batucaje (faixas: 2), Mickey Hart (faixas: 2)
Gamelan – Jody Diamond (faixas: 3), Mickey Hart (faixas: 3, 5)
Other [Crew] – Billy Bullshit, Luvell, Ramrod, Young Dan Dundas
Percussion – Airto Moreira (faixas: 2, 4), Batucaje (faixas: 7), Mickey Hart (faixas: 4, 7)
Percussion [Tars] – Brian Crittenden (faixas: 1), Daniel Kennedy (faixas: 1), Habib Bishop (faixas: 1), Khadija Mastah (faixas: A1), Mica Katz (faixas: 1), Mickey Hart (faixas: 1), Ray Patch (faixas: 1), Shabda Kahn (faixas: 1)
Percussion [The Beast] – Mickey Hart (faixas: 6)
Vocals – Flora Purim (faixas: 2, 4), Marcos Antonio Dias (faixas: 2)
Woodwind – Steve Douglas (faixas: 1)

FRANK ZAPPA — You Can't Do That on Stage Anymore, Vol. 1 (1988) 2CD | FLAC (tracks+.cue), lossless

While most of the other volumes in the You Can't Do That on Stage Anymore series would be compiled around loose themes (whether topical or historical), this first volume contained a little of everything for everyone. The material spans most of Frank Zappa's career, from 1969 live recordings by the original Mothers of Invention (the medley "Let's Make the Water Turn Black/Harry, You're a Beast/The Orange County Lumber Truck" constitutes a highlight) up to the 1984 tour, with about every incarnation of his group in-between. The music is also quite varied, but focuses mainly on songs, with a few instrumentals and moments of live craziness thrown in for good measure. Special points of interest include "Once Upon a Time," a segment from the lost 1970-1971 "Sofa Suite," which provides important elements of conceptual continuity; a performance of "The Groupie Routine" from the same period, which when compared to the previously available version of this Flo & Eddie comedy routine (as "Do You Like My New Car?" on Fillmore East, June 1971) shows how much improvisation the singers poured in their parts; and examples of stage humor ("Ruthie-Ruthie," "Diseases of the Band"). But the real treat is the complete performance of the suite "Don't Eat the Yellow Snow" from 1979, replete with audience participation (spontaneous poetry!) and the finale "Rollo," not officially released before. You Can't Do That on Stage Anymore, Vol. 1 addresses both the dedicated fan and the casual listener.  François Couture  
Tracklist :
1-1.     The Florida Airport Tape 1:04
Composed By – F.Z.
1-2.     Once Upon A Time 4:37
Composed By – F.Z.
1-3.     Sofa #1 2:53
Composed By – F.Z.
1-4.     The Mammy Anthem 5:41
Composed By – F.Z.
1-5.     You Didn't Try To Call Me 3:39
Composed By – F.Z.
1-6.     Diseases Of The Band 2:22
Composed By – F.Z.
1-7.     Tryin To Grow A Chin 3:44
Composed By – F.Z.
1-8.     Let's Make The Water Turn Black / Harry, You're A Beast / The Orange County Lumber Truck 3:28
Composed By – F.Z.
1-9.     The Groupie Routine 5:41
Composed By – F.Z.
1-10.     Ruthie-Ruthie 2:57
Music By – Richard Berry
1-11.     Babbette 3:36
Composed By – F.Z.
1-12.     I'm The Slime 3:13
Composed By – F.Z.
1-13.     Big Swifty 8:47
Composed By – F.Z.
1-14.     Don't Eat The Yellow Snow 20:16
Composed By – F.Z.
2-1.     Plastic People 4:39
Music By – Richard Berry
2-2.     The Torture Never Stops 15:48
Composed By – F.Z.
2-3.     Fine Girl 2:55
Composed By – F.Z.
2-4.     Zomby Woof 5:39
Composed By – F.Z.
2-5.     Sweet Leilani 4:39
Written-By – Harry Owens
2-6.     Oh No 4:34
Composed By – F.Z.
2-7.     Be In My Video 3:30
Composed By – F.Z.
2-8.     The Deathless Horsie 5:29
Composed By – F.Z.
2-9.     The Dangerous Kitchen 1:50
Composed By – F.Z.
2-10.     Dumb All Over 4:20
Composed By – F.Z.
2-11.     Heavenly Bank Account 4:06
Composed By – F.Z.
2-12.     Suicide Chump 4:56
Composed By – F.Z.
2-13.     Tell Me You Love Me 2:09
Composed By – F.Z.
2-14.     Sofa #2 3:01
Composed By – F.Z.
Credits:
Tracks 1-1 to 1-4, 1-6, 1-7, 1-8 (on 'The Orange County Lumber Truck'), 1-9, 1-11 to 1-14, 2-2 to 2-4, 2-7 to 2-14: Munchkin Music ASCAP
Tracks 1-5, 1-8 (except 'The Orange County Lumber Truck'), 2-6: Frank Zappa Music - BMI
Tracks 1-10, 2-1: Limax Music - BMI
Track 2-5: Royal Music -ASCAP

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 MOTHER OF INVENTION — One Size Fits All (1975-1995) RM | FLAC (tracks+.cue), lossless

Released soon after the live Roxy & Elsewhere, One Size Fits All contained more of the material premiered during the 1973-1974 tour, but this time largely re-recorded in the studio. The band remains the same: George Duke, Napoleon Murphy Brock, Chester Thompson, Tom Fowler, and Ruth Underwood. Johnny "Guitar" Watson overdubbed some vocals and Captain Beefheart (credited as Bloodshot Rollin' Red) played some harmonica ("when present," state the liner notes). The previous album focused on complex music suites. This one is more song-oriented, alternating goofy rock songs with more challenging numbers in an attempt to find a juste milieu between Over-Nite Sensation and Roxy & Elsewhere. "Inca Roads," "Florentine Pogen," "Andy," and "Sofa" all became classic tracks and live favorites. These are as close to progressive rock (a demented, clownish kind) Zappa ever got. The obscurity of their subjects, especially the flying saucer topic of "Inca Roads," seem to spoof prog rock clichés. The high-flying compositions are offset by "Can't Afford No Shoes," "Po-Jama People," and "San Ber'dino," more down-to-earth songs. Together with Zoot Allures, One Size Fits All can be considered as one of the easiest points of entry into Zappa's discography. The album artwork features a big maroon sofa, a conceptual continuity clue arching back to a then-undocumented live suite (from which "Sofa" was salvaged) and a sky map with dozens of bogus stars and constellations labeled with inside jokes in place of names. An essential third-period Zappa album. François Couture  

Tracklist :

1.     Inca Roads 8:45

2.     Can't Afford No Shoes 2:38

3.     Sofa No. 1 2:40

4.     Po-Jama People 7:39

5.     Florentine Pogen 5:27

6.     Evelyn, A Modified Dog 1:05

7.     San Ber'dino 5:57

8.     Andy 6:03

9.     Sofa No. 2 2:38

Credits :

Bass – Tom Fowler

Drums – Chester Thompson

Harmonica – Bloodshot Rollin' Red

Keyboards, Synthesizer, Backing Vocals – George Duke

Lead Vocals – Frank Zappa (tracks: 4, 6, 9), George Duke (tracks: 1, 8, 9), Napoleon Murphy Brock (tracks: 5, 9)

Tenor Saxophone, Flute, Backing Vocals – Napoleon Murphy Brock

Vibraphone [Vibes], Marimba, Percussion – Ruth Underwood

Vocals [Flambe] – Johnny Guitar Watson (tracks: 8, 9)

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 — Hot Rats (1969-1995) RM | FLAC (tracks+.cue), lossless

Aside from the experimental side project Lumpy Gravy, Hot Rats was the first album Frank Zappa recorded as a solo artist sans the Mothers, though he continued to employ previous musical collaborators, most notably multi-instrumentalist Ian Underwood. Other than another side project -- the doo wop tribute Cruising With Ruben and the Jets -- Hot Rats was also the first time Zappa focused his efforts in one general area, namely jazz-rock. The result is a classic of the genre. Hot Rats' genius lies in the way it fuses the compositional sophistication of jazz with rock's down-and-dirty attitude -- there's a real looseness and grit to the three lengthy jams, and a surprising, wry elegance to the three shorter, tightly arranged numbers (particularly the sumptuous "Peaches en Regalia"). Perhaps the biggest revelation isn't the straightforward presentation, or the intricately shifting instrumental voices in Zappa's arrangements -- it's his own virtuosity on the electric guitar, recorded during extended improvisational workouts for the first time here. His wonderfully scuzzy, distorted tone is an especially good fit on "Willie the Pimp," with its greasy blues riffs and guest vocalist Captain Beefheart's Howlin' Wolf theatrics. Elsewhere, his skill as a melodist was in full flower, whether dominating an entire piece or providing a memorable theme as a jumping-off point. In addition to Underwood, the backing band featured contributions from Jean-Luc Ponty, Lowell George, and Don "Sugarcane" Harris, among others; still, Zappa is unquestionably the star of the show. Hot Rats still sizzles; few albums originating on the rock side of jazz-rock fusion flowed so freely between both sides of the equation, or achieved such unwavering excitement and energy. Steve Huey 
Tracklist :
1.    Peaches En Regalia 3:37
Bass – Shuggy Otis
Drums – Ron Selico
2.    Willie The Pimp 9:16
Bass – Max Bennett
Drums – John Guerin
Violin – Sugar Cane Harris
Vocals – Captain Beefheart
3.    Son Of Mr. Green Genes 8:58
Bass – Max Bennett
Drums – Paul Humphrey
4.    Little Umbrellas 3:04
Bass – Max Bennett
Drums – John Guerin
5.    The Gumbo Variations 16:55
Bass – Max Bennett
Drums – Paul Humphrey
Violin – Sugar Cane Harris
6.    It Must Be A Camel 5:15
Bass – Max Bennett
Drums – John Guerin
Violin – Jean Luc Ponty
Credits :
Guitar, Bass [Octave], Percussion, Composed By, Arranged By, Producer [This Movie For Your Ears Was Produced And Directed By] – Frank Zappa
Piano, Flute, Clarinet [All], Saxophone [All], Performer [Organus Maximus] – Ian Underwood

FRANK ZAPPA — Waka / Jawaka (1972-1995) RM | FLAC (tracks+.cue), lossless

When Frank Zappa found himself stuck in a wheelchair for most of the year 1972 (after a "fan" pushed him off the stage in December of the previous year), he relieved his band (including singers Flo & Eddie) of its duties and turned to studio work. One of the first things he tried was to write jazz fusion music scored for wider instrumentation than an average rock band. Waka/Jawaka was conceived in parallel to The Grand Wazoo, but with fewer players. The album, released in July 1972, is comprised of two extended instrumental pieces and two shorter songs. "Big Swifty," a theme-and-solos showcase, would become a live favorite, but the highlight came in the form of the orgiastic title track, recorded with ex-Mothers of Invention keyboardist Don Preston, trumpeter Sal Marquez, trombonists Bill Byers and Ken Shroyer, saxophonist Mike Altschul, bassist Erroneous, and drummer Aynsley Dunbar. The songs, never performed live, feel like filler material. Waka/Jawaka was Zappa's second solo album and is occasionally referred to as "Hot Rats II" (the handles of the faucets on the cover artwork show the words "hot" and "rats" instead of "hot" and "cold"). His writing and recording technique had matured a lot in very little time. The dirty blues jamming of the 1969 LP was replaced by clean, crisp jazz improvisations -- no need to say this was also an abrupt change in style from the Mothers' 1969-1971 incarnation. But this album was only transitional: Zappa's big-band stylings would really flourish in The Grand Wazoo a few months later. François Couture

Tracklist :

1.     Big Swifty 17:22

Chimes, Trumpet [Many Trumpets] – Sal Marquez

Drums – Aynsley Dunbar

Electric Bass – Alex Dmochowski

Electric Piano [Ring-modulated & Echoplexed] – George Duke

Guitar, Percussion – Frank Zappa

Slide Guitar – Tony Duran

2.     Your Mouth 3:12

Baritone Saxophone, Piccolo Flute – Mike Altschul

Drums – Aynsley Dunbar

Electric Bass – Alex Dmochowski

Guitar – Frank Zappa

Piano [Tack] – George Duke

Slide Guitar – Tony Duran

Tenor Saxophone – Joel Peskin

Trumpet, Vocals – Sal Marquez

Vocals – Chris Peterson 

3.     It Just Might Be A One-Shot Deal 4:16 

Acoustic Guitar, Performer [Electric Bed-springs] – Frank Zappa

Drums, Washboard, Tambourine – Aynsley Dunbar

Electric Bass, Vocals – Alex Dmochowski

Guitar [Hawaiian], Vocals – Jeff Simmons

Pedal Steel Guitar – "Sneaky Pete" Kleinow

Slide Guitar , Vocals – Tony Duran

Trumpet, Vocals – Sal Marquez

Vocals – Janet Ferguson

4.     Waka/Jawaka 11:18

Drums – Aynsley Dunbar

Electric Bass, Bass [Fuzz] – Alex Dmochowski

Flugelhorn, Trumpet, Chimes – Sal Marquez

Guitar – Frank Zappa

Piano, Synthesizer [Mini-moog] – Don Preston

Piccolo Flute, Flute [Bass], Bass Clarinet, 

Tenor Saxophone – Mike Altschul

Trombone, Horn [Baritone] – Bill Byers, Ken Shroyer

FRANK ZAPPA — The Grand Wazoo (1973-1995) RM | FLAC (tracks+.cue), lossless

When Frank Zappa found himself stuck in a wheelchair for most of the year 1972 (after a "fan" pushed him off the stage in December of the previous year), he relieved his band (including singers Flo & Eddie) of its duties and turned to studio work. One of the first things he tried was to write jazz fusion music scored for wider instrumentation than an average rock band. Waka/Jawaka was conceived in parallel to The Grand Wazoo, but with fewer players. The album, released in July 1972, is comprised of two extended instrumental pieces and two shorter songs. "Big Swifty," a theme-and-solos showcase, would become a live favorite, but the highlight came in the form of the orgiastic title track, recorded with ex-Mothers of Invention keyboardist Don Preston, trumpeter Sal Marquez, trombonists Bill Byers and Ken Shroyer, saxophonist Mike Altschul, bassist Erroneous, and drummer Aynsley Dunbar. The songs, never performed live, feel like filler material. Waka/Jawaka was Zappa's second solo album and is occasionally referred to as "Hot Rats II" (the handles of the faucets on the cover artwork show the words "hot" and "rats" instead of "hot" and "cold"). His writing and recording technique had matured a lot in very little time. The dirty blues jamming of the 1969 LP was replaced by clean, crisp jazz improvisations -- no need to say this was also an abrupt change in style from the Mothers' 1969-1971 incarnation. But this album was only transitional: Zappa's big-band stylings would really flourish in The Grand Wazoo a few months later. François Couture
Tracklist :
1.    The Grand Wazoo 13:19
Bass – Erroneous
Brass – Ernie Tack, Malcolm McNabb
Brass, Contractor [And Spiritual Guidance] – Ken Shroyer
Brass, Soloist [Trombone] – Bill Byers*
Brass, Soloist [Trumpet] – Sal Marquez
Drums – Aynsley Dunbar
Guitar, Soloist [Bottle-neck Solo] – Tony Duran
Guitar, Soloist [Opening Solo] – Frank Zappa
Percussion – Alan Estes, Bob Zimmitti
Synthesizer [Mini-moog] – Don Preston
Vocals – Janet Neville-Ferguson*, Sal Marquez
Woodwind – Tony "Bat Man" Ortega*, Earl Dumler, Fred Jackson, Joanne Caldwell McNabb, Johnny Rotella, Mike Altschul
2.    For Calvin (And His Next Two Hitch-Hikers) 6:06
Bass – Erroneous
Brass – Bill Byers*, Ernie Tack, Malcolm McNabb*, Sal Marquez
Brass, Contractor [And Spiritual Guidance] – Ken Shroyer*
Drums – Aynsley Dunbar
Guitar – Frank Zappa, Tony Duran
Percussion – Alan Estes, Bob Zimmitti
Synthesizer [Mini-moog] – Don Preston
Vocals – Janet Neville-Ferguson*, Sal Marquez
Woodwind – Tony "Bat Man" Ortega*, Earl Dumler, Fred Jackson*, Joanne Caldwell McNabb, Johnny Rotella*, Mike Altschul
3.    Cletus Awreetus-Awrightus 2:57
Bass – Erroneous
Brass – Sal Marquez
Drums – Aynsley Dunbar
Guitar – Frank Zappa
Keyboards – George Duke
Trombone [Multiple] – Ken Shroyer*
Vocals – "Chunky"*, Frank Zappa, George Duke
Woodwind – Mike Altschul
Woodwind, Soloist [Sax Solo] – Ernie Watts
4.    Eat That Question 6:42
Bass – Erroneous
Brass [Multiple Toots] – Sal Marquez
Drums – Aynsley Dunbar
Gong – Lee Clement
Keyboards – George Duke
Percussion – Frank Zappa
Woodwind – Joel Peskin, Mike Altschul
5.    Blessed Relief 7:59
Bass – Erroneous
Brass – Sal Marquez
Drums – Aynsley Dunbar
Keyboards – George Duke
Lead Guitar – Frank Zappa
Rhythm Guitar – Tony Duran
Woodwind – Joel Peskin, Mike Altschul

FRANK ZAPPA — Over-Nite Sensation (1973-1995) RM | FLAC (tracks+.cue), lossless

Love it or hate it, Over-Nite Sensation was a watershed album for Frank Zappa, the point where his post-'60s aesthetic was truly established; it became his second gold album, and most of these songs became staples of his live shows for years to come. Whereas the Flo and Eddie years were dominated by rambling, off-color comedy routines, Over-Nite Sensation tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa's growling new post-accident voice takes over the storytelling. While the music is some of Zappa's most accessible, the apparent callousness and/or stunning sexual explicitness of "Camarillo Brillo," "Dirty Love," and especially "Dinah-Moe Humm" leave him on shaky aesthetic ground. Zappa often protested that the charges of misogyny leveled at such material missed out on the implicit satire of male stupidity, and also confirmed intellectuals' self-conscious reticence about indulging in dumb fun; however, the glee in his voice as he spins his adolescent fantasies can undermine his point. Indeed, that enjoyment, also evident in the silly wordplay, suggests that Zappa is throwing his juvenile crassness in the face of critical expectation, asserting his right to follow his muse even if it leads him into blatant stupidity (ironic or otherwise). One can read this motif into the absurd shaggy-dog story of a dental floss rancher in "Montana," the album's indisputable highlight, which features amazing, uncredited vocal backing from Tina Turner and the Ikettes. As with much of Zappa's best '70s and '80s material, Over-Nite Sensation could be perceived as ideologically problematic (if you haven't got the constitution for FZ's humor), but musically, it's terrific. Steve Huey  
Tracklist :
1.        Camarillo Brillo 3:59
Vocals – Frank Zappa
2.        I'm The Slime 3:34
Vocals – Frank Zappa
Vocals [Announcer] – Kin Vassy
3.        Dirty Love 2:58
Vocals – Frank Zappa
4.        Fifty-Fifty 6:09
Vocals – Ricky Lancelotti
5.        Zombie Woof 5:10
Vocals – Frank Zappa, Ricky Lancelotti
6.        Dinah-Moe Humm 6:01
Vocals – Frank Zappa
Vocals [With] – Kin Vassy, Sal Marquez
7.        Montana 6:34
Vocals – Frank Zappa
Vocals [With] – Kin Vassy
Credits :
Artwork [Inside] – Cal Schenkel
Bass – Tom Fowler
Drums – Ralph Humphrey
Flute, Clarinet, Alto Saxophone, Tenor Saxophone – Ian Underwood
Guitar – Frank Zappa
Illustration [Cover] – David B. McMacken
Keyboards, Synthesizer – George Duke
Marimba, Vibraphone, Percussion – Ruth Underwood
Producer, Arranged By, Conductor – Frank Zappa
Trombone – Bruce Fowler 
Trumpet – Sal Marquez
Violin, Violin [Baritone] – Jean-Luc Ponty

FRANK ZAPPA — Roxy & Elsewhere (1974-1995) RM | FLAC (tracks+.cue), lossless

After his affair with jazz fusion (Waka/Jawaka and The Grand Wazoo, both released in 1972), Frank Zappa came back in late 1973 with an album of simple rock songs, Over-Nite Sensation. But the temptation for more challenging material was not long to resurface and, after a transitional LP (Apostrophe, early 1974), he unleashed a double LP (reissued on one CD) of his most complex music, creating a bridge between his comedy rock stylings and Canterbury-style progressive rock. Three-quarters of the album was recorded live at the Roxy in Hollywood and extensively overdubbed in the studio later. Only three tracks ("Dummy Up," "Son of Orange County," and "More Trouble Every Day"), taken from other concerts, are 100 percent live. The band is comprised of George Duke (keyboards), Tom Fowler (bass), Ruth Underwood (percussion), Bruce Fowler (trombone), Walt Fowler (trumpet), Napoleon Murphy Brock (vocals), and Chester Thompson (drums) -- drummer Ralph Humphrey, keyboardist Don Preston, and guitarist Jeff Simmons appear on the non-Roxy material. The sequence "Echidna's Arf (Of You)"/"Don't You Ever Wash That Thing?" stands as Zappa's most difficult rock music and provides quite a showcase for Underwood. Other highlights include "Penguin in Bondage" and "Cheepnis," a horror movie tribute. All the pieces were premiere recordings, except for "More Trouble Every Day" and "Son of Orange County," a revamped, slowed down "Orange County Lumber Truck"/"Oh No." Compared to the man's previous live recordings (Fillmore East: June 1971, Just Another Band from L.A.), this one sounds fantastic, finally providing an accurate image of the musicians' virtuosity. For fans of Zappa's intricate material like "RDNZL," "The Black Page," or "Inca Roads," this album is a must-have. François Couture  
Tracklist :
1.        Penguin In Bondage    6:47
2.        Pygmy Twylyte    2:13
3.        Dummy Up    6:03
4.        Village Of The Sun    4:17
5.        Echidna's Arf (Of You)    3:53
6.        Don't You Ever Wash That Thing?    9:40
7.        Cheepnis 6:33
Backing Vocals – Debbie, George, Lynn, Froggy, Ruben
8.        Son Of Orange County    5:53
9.        More Trouble Every Day    6:00
10.        Be-Bop Tango (Of The Old Jazzmen's Church)    16:40
Credits :
Bass – Tom Fowler
Design [Original Package Design 1974] – Cal Schenkel
Drums – Chester Thompson, Ralph Humphrey
Keyboards, Synthesizer, Vocals – George Duke
Lead Guitar, Producer, Vocals, Liner Notes, Written-By – Frank Zappa
Percussion – Ruth Underwood
Rhythm Guitar, Vocals – Jeff Simmons
Synthesizer – Don Preston
Tenor Saxophone, Flute, Lead Vocals – Napoleon Murphy Brock
Trombone, Other [Dancing (?)] – Bruce Fowler 
Trumpet – Walt Fowler
Written-By – Zappa (tracks: 3), Simmons (tracks: 3), Brock (tracks: 3)

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

FRANK ZAPPA — Sheik Yerbouti (1979-1995) RM | FLAC (tracks+.cue), lossless

In order to finance his artier excursions, which increasingly required more expensive technology, Frank Zappa recorded several collections of guitar- and song-oriented material in the late '70s and early '80s, which generally concentrated on the bawdy lyrical themes many fans had come to expect and enjoy in concert. Sheik Yerbouti (two LPs, one CD) was one of the first and most successful of these albums, garnering attention for such tracks as the Grammy-nominated disco satire "Dancin' Fool," the controversial "Jewish Princess," and the equally controversial "Bobby Brown Goes Down," a song about gay S&M that became a substantial hit in European clubs. While Zappa's attitude on the latter two tracks was even more politically incorrect than usual for him, it didn't stop the album from becoming his second-highest charting ever. Social satire, leering sexual preoccupations, and tight, melodic songs dominated the rest of the record as well, as Zappa stuck to what had been commercially successful for him in the past. The "dumb entertainment" (as Zappa liked to describe this style) on Sheik Yerbouti was some of his dumbest, for better or worse, and the music was undeniably good -- easily some of his best since Apostrophe, and certainly the most accessible. Even if it sometimes drifts a bit, fans of Zappa's '70s work will find Sheik Yerbouti on nearly an equal level with Apostrophe and Over-Nite Sensation, both in terms of humor and musical quality. Steve Huey  
Tracklist :
1.        I Have Been In You 3:33
Lead Vocals – Zappa
2.        Flakes 6:41
Lead Vocals – Belew, Zappa
3.        Broken Hearts Are For Assholes 3:42
Lead Vocals – Zappa, O'Hearn, Bozzio
4.        I'm So Cute 3:09
Lead Vocals – Bozzio
5.        Jones Crusher 2:49
Lead Vocals – Belew
6.        What Ever Happened To All The Fun In The World 0:33
Vocals – Moire, O'Hearn, Bozzio
7.        Rat Tomago    5:17
8.        Wait A Minute 0:31
Vocals – Moire, O'Hearn, Bozzio
9.        Bobby Brown Goes Down 2:49
Lead Vocals – Zappa
10.        Rubber Shirt 2:43
Composed By – Zappa, O'Hearn, Bozzio
11.        The Sheik Yerbouti Tango    3:58
12.        Baby Snakes 1:50
Lead Vocals – Zappa
13.        Tryin' To Grow A Chin 3:32
Lead Vocals – Bozzio
14.        City Of Tiny Lites 5:31
Lead Vocals – Belew
15.        Dancin' Fool 3:43
Lead Vocals – Zappa
16.        Jewish Princess 3:16
Lead Vocals – Zappa
17.        Wild Love 4:09
Clarinet [Clarinets] – David Ocker
Vocals – Zappa, Brock, Thornton, Bozzio, Mars
18.        Yo' Mama 12:36
Lead Vocals – Zappa
Credits :
Backing Vocals [Background Vocals] – Andre Lewis, Davey Moire, Napoleon M. Brock, Randy Thornton
Bass, Vocals – Patrick O'Hearn
Composed By – Frank Zappa (tracks: 1 to 9, 11 to 18)
Drums, Vocals – Terry Bozzio
Keyboards – Peter Wolf 
Keyboards, Vocals – Tommy Mars
Lead Guitar, Vocals – Frank Zappa
Percussion, Vocals – Ed Mann
Rhythm Guitar, Vocals – Adrian Belew