E eis que surgem mais álbuns. Graças ao grande Peter Hammil, colaborador incansável, explorador do underground musical, o Valvulado apresenta mais três obras lançadas ou "achadas" em 2016...
Coupled with more than 40 posthumous releases since his death in 1993 at 52, figuring out where to start in Zappa’s vast, genre-leaping catalog can be daunting. ZAPPAtite – Frank Zappa’s Tastiest Tracks, out now on Zappa Records/UMe, collects some of Zappa’s best known and beloved compositions, from his early psychedelic rock beginnings to his avant-garde experimentation, jazz-rock explorations, symphonic suites and satirical send-ups, compiling them into one easily digestible collection and offering key entryways into the many musical worlds of the visionary musician. Available on CD and digitally, with vinyl to come at a later date, the album is divided into three courses – Appetizers, Entrees and Desserts – and the food-centric theme oozes throughout the album art, which features Zappa in a diner on the cover, a track list that resembles a menu and some of Zappa’s favorite eats. The 18 compositions that make up ZAPPAtite were compiled by Zappa’s son Ahmet Zappa and encyclopedic Zappa archivist, “Vaultmeister” Joe Travers. “This isn’t a greatest hits album as Frank didn’t really have ‘hits,’ per se, nor is it a ‘best of’ since that would be an impossibility to fit so much awesome onto one disc,” says Ahmet Zappa. “It’s a veritable smorgasbord of musicality for the curious and a buffet of favorites for the fans, ZAPPAtite collects a cross section of my favorite songs composed by my dad, that lean more towards the rock side of his expansive repertoire. I hope you're hungry because this meal for your ears rocks!”
Kicking off with the one-two punch of “I’m The Slime” and “Dirty Love” from Zappa’s 1973 watershed Gold album, Over-Nite Sensation, the collection quickly introduces Zappa’s eclecticism and salacious tongue as the songs meld polyrhythmic psychedelic rock and heavy funk with his trademark innuendo-filled lyrics. From there, the album travels through Zappa’s sprawling musical universe, highlighting vital songs and important eras of his career. The Appetizers portion also includes the GRAMMY® -nominated disco satire "Dancin' Fool” and the controversial European smash “Bobby Brown Goes Down” from Zappa’s popular 1979 album, Sheik Yerbouti; and “Trouble Every Day” from Zappa’s embryonic rock band the Mothers of Invention’s groundbreaking 1966 debut, Freak Out!. Entrees includes one of Zappa’s best known works, the universally loved instrumental “Peaches En Regalia from his classic 1969 solo sophomore record, Hot Rats; ubiquitous Top 40 hit “Valley Girl,” featuring his then 14-year-old daughter Moon Unit affecting a valley girl “gag-me-with-a-spoon” patois, from 1982’s Ship Arriving Too Late to Save a Drowning Witch; to the possible autobiographical track from a parallel dimension “Joe’s Garage” of 1979’s LP of the same name; and the waggish blues rocker “Cosmik Debris” and the humorous “Don’t Eat The Yellow Snow,” two standouts from one of Zappa’s most commercial and accessible albums, 1974’s Apostrophe (').
Desserts explores Zappa’s musical virtuosity and singular live performances and includes the comedic “Titties & Beer” from the 1978 live album, Zappa In New York; the frenetic Synclavier-fueled “G-Spot Tornado” from 1986’s Jazz From Hell; the anti-drug screed, “Cocaine Decisions” from 1983’s The Man From Utopia; and “Zoot Allures,” the heady instrumental featuring some of Zappa’s electrifying guitar playing, from 1976’s Zoot Allures. The album culminates with a performance of “Strictly Genteel” with the London Symphony Orchestra. The epic, orchestral-rock piece originally served as the grand finale to Zappa’s surrealist 1971 film, “200 Motels.”
"...A full plate of Frank Zappa s tastiest music. Spanning three decades and 18 tracks, this compilation is a sampler platter for the curious and a buffet of favorites for the fans. From 'Trouble Every Day' off the 1966 Freak Out! album to 1987s 'Strictly Genteel' featuring the London Symphony Orchestra, Zappatite cooks up a feast of Frank Zappa s expansive work. Get a big helping of Frank Zappa on Zappatite."
Disc 1 Highlights From Saturday Night Live 1976 and the Palladium 1977.
1. Peaches En Regalia
2. Dancin Fool
3. St Alphonso’s Pancake Breakfast
4. Intro (Flakes)
5. Sanber dino
6. Tryin To Grow A Chin
7. City Of Tiny Lites
8. The Squirm
9. Big Leg Emma
10. Audience Participation
11. The Black Page #2
12. Jones Crusher
13. Camarillo Brillo
14. Black Napkins
Disc 2 Highlights From the Ritz Theatre 1981.
1. Treacherous Cretins
2. Montana
3. Easy Meat
4. You Are What You Is
5. Mudd Club
6. The Meek Shall Inherit Nothing
7. Drowning Witch
8. Stevie’s Spanking
9. Tryin To Grow A Chin
10. Zoot Allures
11. Whipping Post
12. Watermelon In Easter Hay
This amazing two disc set chronicles the genius of Frank Zappa as a world class writer and performer. This is the classic line up featuring the band which recorded the legendary Live In New York album, performing an array of the eclectic hits which made Zappa a cult superstar. This powerful collection of rare and previously unreleased broadcasts by Zappa includes numbers from the famous Saturday Night Live slot in December 1976 and the highlights of two separate concerts in 1977 and 1981, as performed live for FM radio from the New York Palladium and the Ritz theatre.
All performances were live to air without a safety net and form essential listening for every Zappa fan.
Originally from http://zappanalata.blogspot.com.br/
Triple record set containing all three volumes of the "Toxic Shock" trilogy, which were also made available unofficially as separate single LPs (as "The Drowning Witch," "Standing Room Only...Arf!," and "Clownz On Velvet").
Assault on New York - The Toxic Shock Trilogy (3-LP box)
Drowning Witch (Toxic Shock Part I) (LP)
Standing Room Only ... Arf! (Toxic Shock Part II) (LP)
Clownz on Velvet (Toxic Shock Part III) (LP)
* The Palladium, New York, 31-Oct-1981 (late show)
* The Ritz, New York, 17-Nov-1981
Musicians: Frank Zappa, Ray White, Steve Vai, Tommy Mars, Bobby Martin, Ed Mann, Scott Thunes, Chad Wackerman and special guest Al DiMeola
1. Bamboozled by Love
2. Stevie's Spanking [DUB ROOM SPECIAL version]
3. Cocaine Decisions [different edit of the DUB ROOM SPECIAL version]
4. Nig Biz [DUB ROOM SPECIAL version]
5. Drowning Witch [listed as "The Drowning Witch"]
6. What's New in Baltimore? [not listed]
7. Moggio [not listed]
8. Easy Meat
9. The Mudd Club
10. The Meek Shall Inherit Nothing
11. Dumb All Over [part 1, not listed]
12. Dumb All Over [part 2, not listed]
13. Heavenly Bank Account
14. Suicide Chump
15. Jumbo, Go Away
16. "While I Tune My Guitar"
17. Zoot Allures
18. Clownz on Velvet [with Al DiMeola]
19 Strictly Genteel
20. This is My Story [Forrest/Levy]
21. Whipping Post [Allman] [reggae version]
22. Watermelon in Easter Hay
According to the cover, side 1 is from the Palladium, and sides 2-6 are from the Ritz. (When Guitar Player Magazine conducted a poll in the early 1990s, the Ritz concert was voted "BEST CONCERT BY ANYONE, ANYWHERE, EVER".) A more comprehensive Ritz concert issue was Zappa in New York 81.
* Tracks 2-4 have been officially released on the DUB ROOM SPECIAL video, with track 3 slightly edited. Between tracks 1-2 on this album you can hear the beginning and end of the second movement of "Sinister Footwear", which was played but edited out, and after track 4 you can hear the start of "Doreen".
* The entire first guitar solo in "Drowning Witch" on Ship Arriving Too Late to Save a Drowning Witch is taken from this recording, but this is a different, edited version.
* Tracks 11 and 12 are not listed on the album cover, which instead lists track 10 as being split over the side break, but the listing above is correct.
* Track 20 was originally recorded by Gene & Eunice, with Johnny's Combo (Johnny was Johnny Otis, inspiration for Zappa's moustache) on the Alladin label (3282) on 17-Feb-1955, and peaked at #8 on the R&B chart on 21-May-1955.
* Tracks 20-21 also appear on Apocrypha.
* Track 16 is a short solo by Tommy Mars, while Zappa tunes his guitar.
* Special guest Al DiMeola plays a solo on "Clownz on Velvet". (Zappa didn't play with him, because they couldn't hook up enough guitars.) Some people refuse to believe that it's the real Al DiMeola, but it is.
Drowning Witch (Toxic Shock Part I) has a yellow xerox paper glued to a white cardboard cover. It is simply a pretty ugly drawing of Zappa, backed by the letters ZAPPA, plus title, track list, venues and dates. The record labels say "Magpie Records & Ozz-Good Productions present: THE RAMBLERS".
Many of the boxes included a bonus 7" single containing:
Side 1. Envelopes [17-Nov-1981]
Side 2. Black Napkins [31-Oct-1981]
Also, the 3 LPs have been issued in one single sleeve with a xerox insert. The insert has pictures of the three album covers and an overview of the set (written by a non-bootlegger).
Para finalizar, mais um bootleg do DARIUS:
Original POST: http://dariuschrisgoes.blogspot.com.br/2016/10/frank-zappa-armadillo-world-austin.html
This has got to be one of the finest sounding shows ever to circulate and this version delivers an astonishing upgrade to all known previous versions of this excellent show. All thanks to the tape contribution provided by fzmoi69, which was diligently transferred via NAK DR-1 by doctorzap then made available in the Shoebox. If you have heard this show from any other known source, then be prepared to experience an absolute jaw dropping experience. It captures FZ & The Mothers Of Invention during their final North American Tour in 1973 with superb clarity and amazingly detailed stereo separation. Speed correction advice by flambay."
Armadillo World Headquarters Music Hall: The Armadillo World Headquarters (usually called simply The 'Dillo) was a music hall and entertainment center in Austin, Texas, United States from 1970 to 1980.
In 1970, Austin's flagship rock music venue, the Vulcan Gas Company, closed, leaving the city's nascent live music scene without an incubator. One night, Eddie Wilson, manager of the local group Shiva's Headband, stepped outside a nightclub where the band was playing and noticed an old, abandoned National Guard armory. Wilson found an unlocked garage door on the building and was able to view the cavernous interior using the headlights of his automobile. He had a desire to continue the legacy of the Vulcan Gas Company, and was inspired by what he saw in the armory to create a new music hall in the derelict structure. The armory was estimated to have been built in 1948, but no records of its construction could be located. The building was ugly, uncomfortable, and had poor acoustics, but offered cheap rent and a central location. Posters for the venue usually noted the address as 525½ Barton Springs Road (Rear), behind the Skating Palace (approximate coordinates 30.258 -97.750).
The name for the Armadillo was inspired by the use of armadillos as a symbol in the artwork of Jim Franklin, a local poster artist, and from the building itself. In choosing the mascot for the new venture, Wilson and his partners wanted an "armored" animal since the building was an old armory. The nine-banded armadillo (Dasypus novemcinctus) was chosen because of its hard shell that looks like armor, its history as a survivor (virtually unchanged for 50 million years), and its near-ubiquity in central Texas. Wilson also believed the building looked like it had been some type of headquarters at one time. He initially proposed "International Headquarters" but in the end it became "World Headquarters."
In founding the Armadillo, Wilson was assisted by Franklin, Mike Tolleson, an entertainment attorney, Bobby Hedderman from the Vulcan Gas Company and Hank Alrich. Funding for the venture was initially provided by Shiva's Headband founder, Spencer Perskin, and Mad Dog, Inc. an Austin literati group.
The Armadillo World Headquarters officially opened on August 7, 1970 with Shiva's Headband, the Hub City Movers, and Whistler performing. The hall held about 1,500 patrons, but chairs were limited, so most patrons sat on the floor on sections of carpet that had been pieced together.
The Armadillo caught on quickly with the hippie culture of Austin because admission was inexpensive and the hall tolerated marijuana use. Even though illicit drug use was flagrant, the Armadillo was never raided. Anecdotes suggest the police were worried about having to bust their fellow officers as well as local and state politicians.
Soon, the Armadillo started receiving publicity in national magazines such as Rolling Stone. Time magazine wrote that the Armadillo was to the Austin music scene what The Fillmore had been to the emergence of rock music in the 1960s. The clientele became a mixture of hippies, cowboys, and businessmen who stopped by to have lunch and a beer and listen to live music. At its peak, the amount of Lone Star draft beer sold by the Armadillo was second only to the Houston Astrodome. The Neiman-Marcus department store even offered a line of Armadillo-branded products.
The unique blend of country and rock music performed at the hall became known by the terms "The Austin Sound," "Redneck Rock," progressive country or "Cosmic Cowboy." Artists that almost single handedly defined this particular genre and sound were Michael Martin Murphy, Jerry Jeff Walker and The Lost Gonzo Band. Many upcoming and established acts such as Willie Nelson, Ray Charles, Stevie Ray Vaughan, and ZZ Top played the Armadillo. Freddie King, Frank Zappa, and Commander Cody all recorded live albums there. Bruce Springsteen played five shows during 1974. The Australian band AC/DC played their first American show at the Armadillo with Canadian band Moxy in July 1977.
The Clash played live at The Armadillo with Joe Ely on October 4, 1979 (a photo from that show appears on the band's London Calling album). The show was so successful that Joe Ely and The Clash teamed up for a 1980 U.S. tour.
Despite its successes, the Armadillo always struggled financially. The addition of the Armadillo Beer Garden in 1972 and the subsequent establishment of food service were both bids to generate positive cash flow. However, the financial difficulties continued. In an interview for the 2010 book Weird City, Eddie Wilson remarked:
"People don’t remember this part: the months and months of drudgery. People talk about the Armadillo like it was a huge success, but there were months where hardly anyone showed up. After the first night when no one really came I ended up crying myself to sleep up on stage."
With the success of the Armadillo and Austin's burgeoning music scene, KLRN (now KLRU), the local PBS television affiliate, created Austin City Limits, a program showcasing popular local, regional, and national music acts.
The Armadillo Christmas Bazaar began in 1976 at the Armadillo, and is still held annually during the Christmas season. The Bazaar was another attempt to improve cash flow for the hall. When the Armadillo closed, the Bazaar first moved to Cherry Creek Plaza (1981–1983), and then on to the Austin Opry House (1984–1994). In 1995, the Bazaar settled at the Austin Music Hall for twelve years. Due to remodeling of the Austin Music Hall, the Bazaar had to move its 2007 show to the Austin Convention Center. The Bazaar has become one of the top-ranked arts and crafts shows in the nation with a long waiting list of artisans who wish to show their work.
On August 19, 2006, the City of Austin dedicated a commemorative plaque at the site where the Armadillo once stood. Co-founder Eddie Wilson was on hand and stated:
"It is still on the lips and minds of a lot of people 26 years after it closed. This is noteworthy for me because of the zero-tolerance mentality, and now the city erected a memorial that glorifies the things of the past that are not accepted today."
Frank Zappa & The Mothers Of Invention
Armadillo World Headquarters
Austin, TX 1973 10 26
THE BAND:
✪ Frank Zappa
✪ Napoleon Murphy Brock
✪ Tom Fowler
✪ George Duke
✪ Ruth Underwood
✪ Bruce Fowler
✪ Ralph Humphrey Chester Thompson
THE SHOW:
01. Cosmik Debris (06:59)
02. Inca Roads (10:29)
03. Pygmy Twylyte (4:56)
04. The Idiot Bastard Son (2:15)
05. Cheepnis (3:38)
06. Big Swifty (9:25)
07. San Clemente Magnetic Deviation Preamble (1:26)
08. Dickie’s Such An Asshole (world premiere) (8:41)
09. Farther Oblivion (14:41)
10. Encore Tune Up (1:41)
11. Mr Green Genes Medley (16:07)
Medley includes: Son Of Mr. Green Genes, King Kong, Chunga’s Revenge, Mr. Green Genes & Dickie’s Such An Asshole reprise
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E DEVE TER MAIS VINDO POR AÍ!!!!!!!!!!
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Muito bom. Obrigadi!
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