Frank Zappa - Serious Music LP Sealed
$
106
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Description
Frank Zappa - Serious Music LP Sealed Frank Zappa - Serious Music. Sealed LP
Tracks: Side One The Worlds Greatest Sinner, 1961, 11:54 Revenge Of The Knick Knack People, 1978, 6:20 Rdnzl, 1972, 4:08 Inca Roads, 1972, 3:56 Side 2 Sinister Footwear, 26:54
From allmusic.com First is a nearly 12-minute excerpt of a 1961 Zappa soundtrack composed for a low-budget movie The World's Greatest Sinner, which includes veteran voice-over specialist Paul Frees (the original voice for the Pillsbury Doughboy) and various permutations and combinations of rock and orchestral music. The excerpts include a motif later used by Zappa for his piece "Holiday in Berlin, Full Blown" and a brief snatch of Gustav Holst's The Planets. It is a curious historical work, but not a prime example of Zappa's writing for an orchestra. The remaining tracks on the first side of the LP are studio experiments that were either abandoned or re-recorded later by Zappa. "Revenge of the Knick Knack People" falls into the former category, listed as a circa 1978 ballet for piano, percussion, and tape effects; it is mildly amusing, but that is all. "Rdnzl" is a small-group instrumental recorded in the studio; the presence of violinist Jean-Luc Ponty, keyboardist George Duke, and trombonist Bruce Fowler is rather obvious to any Zappa fan. "Inca Roads," minus its vocal, is heard in an early rehearsal version by the same band, with Napoleon Murphy Brock on flute. A better version was recorded a few years later with different personnel for inclusion in the box set Lather. By far the most interesting piece present is his nearly 27-minute suite "Sinister Footwear," which Zappa only released in abbreviated form in his lifetime, and that was featuring his band. This performance was recorded during a concert by the Berkeley Symphony Orchestra; no date is given but it is probably circa 1977-1982. Zappa's abilities as an orchestrator and composer had grown quite a bit since his early soundtrack, and this extended work is full of the sudden twists, unusual harmonies, and, at times, the heavy use of percussion that one expected from him. The music sounds as if it was recorded through the soundboard rather than from the audience; the balance among instruments is very good and audience noise is practically nonexistent.
307 (GS 5.3.6 (307))
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