THE MOTHERS OF INVENTION "UNCLE MEAT" 1969 2MS 2024 NM/NM- W/BOOKLET RARE OOP

$

42

TWO YEARS AGO I LOST ONE OF MY BEST FRIENDS TO CANCER, HE WAS A COOL MUSICIAN A DRUMMER BY TRADE, ORIGINALLY FROM SEATTLE, BUT RELOCATED TO L.A. IN 1985, HE AMASSED A VERY LARGE MUSIC COLLECTION, AND HAD KILLER TASTE FOR ROCK & ROLL, SADLY I AM SELLING OFF A LOT OF HIS COLLECTION ON BEHALF OF HIS WIDOW TO HELP PAY OFF DEBTS INCLUDING HOSPITAL BILLS, TAXES AND STORAGE UNIT FEES. I AM NOT TAKING ANYTHING FOR THIS SERVICE, DOING IT FOR MY FRIEND (MISS YOU DAVE!). THIS ITEM IS FROM HIS COLLECTION.

THE PHOTO'S MAY BE A LITTLE BLURRY, HAVE A LITTLE GLARE, SOME REFLECTIONS OR IN SOME CASES YOU MAY SEE SPECKS OF DUST. BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON. I DO COMBINE SHIPPING.

THESE ARE VISUALLY & PLAY GRADED.

ARTISTS: THE MOTHERS OF INVENTION

TITLE: “UNCLE MEAT” 2 LPs

TRACK LISTING: SEE BELOW

A1 Uncle Meat: Main Title Theme 1:54 A2 The Voice Of Cheese 0:27 A3 400 Days Of The Year 5:56 A4 Zolar Czakl 0:57 A5 Dog Breath, In The Year Of The Plague 5:51 A6 The Legend Of The Golden Arches 1:24 A7 The Mothers Play Louie Louie (At The Royal Albert Hall In London) 2:28 A8 The Dog Breath Variations 1:36 B1 Sleeping In A Jar 0:49 B2 Our Bizarre Relationship 1:05 B3 The Uncle Meat Variations 4:40 B4 Electric Aunt Jemima 1:53 B5 Prelude To King Kong 3:24 B6 God Bless America (Live At The Whisky A Go Go) 1:22 B7 A Pound For A Brown On The Bus 1:29 B8 Ian Underwood Whips It Out (Live On Stage In Copenhagen) 5:08 C1 Mr. Green Genes 3:10 C2 We Can Shoot You 1:48 C3 "If We'd All Been Living In California . . . " 1:29 C4 The Air 2:57 C5 Project X 4:47 C6 Cruising For Burgers 2:19 D1 King Kong Itself (As Played By The Mothers In A Studio) 0:53 D2 King Kong (Its Magnificence As Interpreted By Dom DeWild) 1:15 D3 King Kong (As Motorhead Explains It) 1:44 D4 King Kong (The Gardner Varieties) 6:17 D5 King Kong (As Played By 3 Deranged Good Humor Trucks) 0:29 D6 King Kong (Live On A Flat Bed Diesel In The Middle Of A Race Track At A Miami Pop Festival . . . The Underwood Zappa Ramifications) 7:22

Companies, etc.

• Copyright (c) – Frank Zappa Music
• Distributed By – Warner Bros. - Seven Arts Records, Inc.

Credits

• Design [Package Designed By] – Cal Schenkel
• Drums – Jimmy Carl Black
• Drums [Some Tracks] – Billy (The Oozer) Mundi*
• Drums, Timpani, Vibraphone, Marimba, Xylophone, Wood Block, Bells, Chimes [Small] – Art Tripp
• Electric Bass, Soprano Vocals [Pachuco Falsetto], Other [Cheeseburgers] – Roy Estrada
• Electric Piano, Other [Tarot Cards, Brown Rice] – Don (Dom De Wild) Preston*
• Engineer – Richard Kunc (Dynamite Dick)*
• Engineer [Sunset Sound] – Jerry Hansen
• Guitar, Vocals [Low Grade], Percussion, Written-By, Producer – Frank Zappa
• Marimba, Vibraphone [Many Tracks, Special Thanks] – Ruth Komanoff
• Organ [Electric], Piano, Harpsichord, Celesta [Celeste], Flute, Clarinet, Alto Saxophone, Baritone Saxophone, Copyist, Other [Special Assistance, Industrial Relations, Teen Appeal] – Ian Underwood
• Piccolo Flute, Clarinet, Flute, Bass Clarinet, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Bassoon – Bunk (Sweetpants) Gardner*
• Soprano Vocals, Harmony Vocals – Nelcy Walker (tracks: A5, B3)
• Technician – Lou Lindauer
• Tenor Saxophone, Tambourine – Euclid James (Motorhead/Motorishi) Sherwood*
• Vocals – Ray Collins
• Voice [Uncredited, Voice Of Cheese, Suzy Creamcheese] – Pamela Zarubica
• Written-By [Uncredited] – Irving Berlin (tracks: B6), Richard Berry (tracks: A7)

Notes

Auto-coupled US first issue: Over-sticker on cover, with "The Mothers Of Invention" band name & "Two LPs And A Nifty 12-Page Book" text. Full-color paper-pasted gatefold (no internal glue tabs), with only "Bizarre" on spine. Warner '7Arts/Reprise' roundel logo on cover & 2024 cat#.
"Printed in U.S.A." on back cover.
"Made in U.S.A." inside cover.

Contains 12-page 30x30cm full-color book with photo-montages, illustrations & text.

2 auto-coupled vinyls (I/IV & II/III) cat# 2MS 2024 on blue/green Bizarre labels. Disc I, A3 is "400 Days Of The Year" (the later credit, "Nine Types Of Industrial Pollution" on sleeve inner spread). No visible track separation (no banding). Vinyls in dark brown Bizarre (Zappa/Cohen imaged) liners with white text.

Distributed by; "Warner Bros. - Seven Arts Records, Inc." on labels.
"Reprise Records, A Division of Warner Bros. - Seven Arts Records, Inc., 4000 Warner Boulevard, Burbank, California; 321 W. 44th Street, New York, New York." on r/h inner gatefold spread.

Recorded Oct 1967 through to Feb 1968.
Many overdubs. Clarinets fed through 'Maestro' device, set at 'Oboe D'Amour' with variable speed oscillator [V.S.O.]. Two Pultec Filters, two Lang Equalizers & three Melchor Compressors built into console at Apostolic Studio, N.Y.C.
Recorded on prototype Scully 12-track at 30 ips. Percussion overdubs at Sunset Sound.

Other variations on track credits: Sleeve reads;
A7 - "Louie Louie At The Royal Albert Hall In London"
D6 - "King Kong (Live On A Flat Bed Diesel In The Middle Of A Race Track At A Miami Pop Festival . . . The Underwood Ramifications).

[The 2-disc tracklisting here gives what is printed on the labels. Later issues/CDs had title corrections]

"All lyrics & music copyrighted for the world by Frank Zappa Music, a Division of Third Story Music - BMI"

Barcode and Other Identifiers

• Matrix / Runout (Disc 1, A-Side (I) label matrix): 30,871
• Matrix / Runout (Disc 2, B-Side (II) label matrix): 30,872
• Matrix / Runout (Disc 2, C-Side (III) label matrix): 30,873
• Matrix / Runout (Disc 1, D-Side (IV) label matrix): 30,874
• Matrix / Runout (Disc 1, A-Side (I) run-out, hand-etched): S 1 30871 MS 2024 A - 1B    A4
• Matrix / Runout (Disc 1, D-Side (IV) run-out, hand-etched): ? 1 30874 MS 2024 D - 1B    A3
• Matrix / Runout (Disc 2, B-Side (II) run-out, hand-etched): S 1 30872 MS 2024 B - 1B    A1
• Matrix / Runout (Disc 2, C-Side (III) run-out, hand-etched): S 1 30873 MS 2024 C - 1B    A2
• Matrix / Runout (Disc 1, A-Side (I) run-out, hand-etched [variant 1]): ? 1 30871 MS 2024A-1B A2
• Matrix / Runout (Disc 1, D-Side (IV) run-out, hand-etched [variant 1]): S 1 30874 MS 2024D-1B Aµ
• Matrix / Runout (Disc 2, B-Side (II) run-out, hand-etched [variant 1]): ? 1 30872 MS 2024B-1B A6
• Matrix / Runout (Disc 2, C-Side (III) run-out, hand-etched [variant 1]): ? 1 30873 MS 2024C-1E DJ A3
• Matrix / Runout (Machine stamped in runout of ALL sides [variant 1]): O
• Rights Society: BMI
  

LABEL: BIZZARE/REPRISE

CAT.#: 2MS 2024

YEAR: 1969

RECORD CONDITION: THE RECORD (VISUALLY & PLAY GRADED). THE RECORD IS IN EX/NM CONDITION.NO VISIBLE WEAR, SCRATCHES, LINES ETC. NICE SHINEY LUSTER TO THE VINYL. BOTH LABELS IN EXCELLENT CONDITION. SOUNDS GREAT!

SLEEVE CONDITION: THE JACKET IS IN EX/NM- CONDITION, NO SEAMS SPLITS, WRITING ON THE JACKET ETC. WILL MAIL OUT IN PROTECTIVE PLASTIC SLEEVE. THE GATEFOLD JACKET IS IN EXCELLENT NM CONDITION

MORE INFO: THIS LP IS CURRENTLY OUT OF PRINT. THIS INCLUDES THE 12 PAGE FULL COLOR BOOKLET IN EXCELLENT CONDITION. THE RECORDS COME IN THEIR ORIGINAL BIZZARE INNER SLEEVES WITH ADS FOR THE "ZAPPED" COMPILATION.

DAVE HAD A FEW MORE MOTHERS LPs I AM LISTING SO CHECK THEM OUT ALSO, I DO COMBINE SHIPPING!

ARTIST INFO:

The Mothers of Invention were an American rock band from California. Formed in 1964, their work is marked by the use of sonic experimentation, innovative album art, and elaborate live shows.

Originally an R&B band called the Soul Giants, the band's first lineup included Ray Collins, David Coronado, Ray Hunt, Roy Estrada and Jimmy Carl Black. Frank Zappa was asked to take over as the guitarist following a fight between Collins and Coronado, the band's original saxophonist/leader. Zappa insisted that they perform his original material, and on Mother's Day in 1964, changed their name to the Mothers. Record executives demanded that the name be changed, and so "out of necessity," Zappa later said, "we became the Mothers of Invention."

After early struggles, the Mothers earned substantial popular commercial success. The band first became popular playing in California's underground music scene in the late 1960s. Under Zappa's helm, it was signed to jazz label Verve Records as part of the label's diversification plans. Verve released the Mothers of Invention's début double album Freak Out! in 1966, featuring a lineup including Zappa, Collins, Black, Estrada and Elliot Ingber. Don Preston joined the band soon after.

Under Zappa's leadership and a changing lineup, the band released a series of critically acclaimed albums, including Absolutely Free, We're Only in It for the Money and Uncle Meat, before being disbanded by Zappa in 1969. In 1970, he formed a new version of the Mothers that included Ian Underwood, Jeff Simmons, George Duke, Aynsley Dunbar and singers Mark Volman and Howard Kaylan (formerly of the Turtles, but who for contractual reasons were credited in this band as the Phlorescent Leech & Eddie). Later adding another ex-Turtle, bassist Jim Pons, this lineup endured through 1971, when Zappa was injured by an audience member during a concert appearance.

Zappa focused on big-band and orchestral music while recovering from his injuries, and in 1973 formed the Mothers' final lineup, which included drummer Ralph Humphrey, trumpeter Sal Marquez, keyboardist/vocalist George Duke, trombonist Bruce Fowler, bassist Tom Fowler, percussionist Ruth Underwood and keyboardist/saxophonist Ian Underwood. The final album using the Mothers as a backing band, Bongo Fury (1975), featured guitarist Denny Walley and drummer Terry Bozzio, who continued to play for Zappa on non-Mothers releases. 

Uncle Meat is the fifth studio album by The Mothers of Invention, released as a double album in 1969. Uncle Meat was originally developed as a part of No Commercial Potential, a project which spawned three other albums sharing a conceptual connection: We're Only in It for the Money, Lumpy Gravy and Cruising with Ruben & the Jets.

The album also served as a soundtrack album to a proposed science fiction film which would not be completed, though a direct-to-video film containing test footage from the project was released by Frank Zappa in 1987. The music is diverse in style, drawing from orchestral, jazz, blues and rock music. Uncle Meat was a commercial success upon release, and has been highly acclaimed for its innovative recording and editing techniques, including experiments in manipulation of tape speed and overdubbing, and its diverse sound.

Background[edit]

Frank Zappa, who had been interested in film since high school, decided to develop a film vehicle for the Mothers of Invention, entitled Uncle Meat. The proposed film would combine elements of science fiction and road stories inspired by the band's sexual escapades.[1] Subsequently, Zappa began working on a project called No Commercial Potential, which eventually became the albums We're Only in It for the Money, Lumpy Gravy, Cruising with Ruben & the Jets and Uncle Meat. Zappa stated, "It's all one album. All the material in the albums is organically related and if I had all the master tapes and I could take a razor blade and cut them apart and put it together again in a different order it still would make one piece of music you can listen to. Then I could take that razor blade and cut it apart and reassemble it a different way, and it still would make sense. I could do this twenty ways. The material is definitely related."[

According to artist Cal Schenkel, "I started working on the story of Ruben and the Jets that is connected with the Uncle Meat story, which is this old guy turns this teenage band into these dog snout people ... We started that before it actually became Ruben and the Jets. That came out of my love for comics and that style, the anthropomorphic animals, but also it was part of a running story line."

Recording[edit]

For the recording sessions, Zappa utilized 12 track recording technology, as well as a variety of techniques which realized his vision, including a large number of overdubs, playing unconventional instruments through studio effects, and speeding up or slowing down recordings for artistic effect.[1] Zappa wanted to make an album that would challenge the complacency of contemporary music fans, as he felt that his fanbase was "accustomed to accepting everything that was handed to them ... politically, musically, socially – everything. Somebody would just hand it to them and they wouldn't question it. It was my campaign in those days to do things that would shake people out of that complacency, or that ignorance and make them question things."

Music and lyrics[edit]

Uncle Meat featured a variety of music styles, including orchestral symphonies, free jazz, blues, doo wop and rock and roll. The album also contains spoken word segments featuring Suzy Creamcheese, and features a stronger focus on percussion instrumentation than previous works by Zappa, as well as emphasizing his strengths as a composer and arranger. 

"Nine Types of Industrial Pollution" is melodically formless rooted in percussion instrumentation, and features a guitar solo that was sped up in post production. "Dog Breath, in the Year of the Plague" is delivered as a rock and roll song, with the same theme being repeated as an instrumental later in the album, performed by keyboards, percussion and acoustic guitar. The rock and roll version features three verses with the first chorus being delivered by opera singer Nelcy Walker, and the second chorus featuring sped up vocals. After the third verse, the song becomes an avant garde orchestral piece performed by percussion, keyboards and instruments that, according to the album liner notes "sound like trumpets (but) are actually clarinets played through an electric device made by Maestro with a setting labeled Oboe D'Amore and sped up a minor third with a V.S.O. (variable speed oscillator)". 

In addition to the studio recordings, Uncle Meat featured live recordings made at the Royal Albert Hall, including a recording of Don Preston playing "Louie Louie" on the Albert Hall pipe organ, at the end of which Zappa announces it as having been performed by the "London Philharmonic Orchestra". The doo wop-influenced "Electric Aunt Jemima" refers to Zappa's guitar amplifier, equating it with the advertising character Aunt Jemima] Zappa explained, "I get kind of a laugh out of the fact that other people are going to try to interpret that stuff and come up with some grotesque interpretations of it. It gives me a certain amount of satisfaction."[1]

The album concludes with "King Kong", a piece in 3/8,[3] although the instrumental's prelude, a free jazz improvisation over a rhythm section playing in a 5/8 time signature, occurs much earlier in the album. Six variations of the melody appear as the album's finale, with the first establishing its simple melody, the second being a Fender Rhodes Electric Piano solo by Preston, the third showcasing a saxophone solo by Motorhead Sherwood, and the fourth featuring Bunk Gardner playing a soprano saxophone through various electronic effects that emulate the sound of a contrabassoon doubling his solo lines. Two more variations conclude the piece, which include a live recorded performance featuring a saxophone solo by Ian Underwood and then finally ending with a version with sped up gongs, overblown saxophones and other instruments.

I DO COMBINE SHIPPING! THE $4 FLAT RATE ALSO INCLUDES THE MAILER WHICH COST OVER $1 EACH. THANKS!

ALL 12” RECORDS WILL BE MAILED OUT IN CARDBOARD MAILERS DESIGNED FOR SHIPPING WITH ADDITIONAL CARDBOARD SUPPORT. I DO COMBINE SHIPPING WITH OTHER LIKE SIZED ITEMS. ADDITIONAL LPs $1 EA. IN THE U.S. VIA MEDIA MAIL OR OTHER USPS SERVICES. INTERNATIONAL SHIPPING IS BASED ON WEIGHT AND COUNTRY. FOR THE U.S. THE $4 COST OF THE MEDIA MAIL INCLUDES MY COST OF THE MAILER, PACKING MATERIALS & TIME. THANKS! BOB

INTERNATIONAL BIDDERS TAKE NOTE !!!

IF YOU OPT TO NOT PAY FOR THE EXTRA INTERNATIONAL REGISTERED MAIL, AND OPT FOR THE REGULAR INTERNATIONAL FIRST CLASS WHICH HAS NO TRACKING AT ALL, I WILL NOT BE RESPONSIBLE FOR YOUR PACKAGE, AND I WILL TAKE PICTURES OF MY POST OFFICE RECEIPTS AND MY U.S. CUSTOMS FORMS AND SEND THEM TO YOU AS PROOF OF MY MAILING YOUR ITEM OUT, I AM NOT RESPONSIBLE FOR THE FAILINGS OF YOUR COUNTRIES POSTAL SERVICE, KNOW THIS BEFORE YOU BID ON ANY OF MY ITEMS!!! IF YOUR ITEM DOES NOT ARRIVE DO NOT BLAME ME!

DUE TO THE RECENT INCREASE IN THE INTERNATIONAL MAILING RATES THAT WENT UP ON JUNE. 1, 2015, I WILL NOT DO A FLAT RATE FOR ANY ITEMS, FROM NOW ON YOU WILL HAVE TO CALCULATE THE RATE BASED UPON YOUR COUNTRY. ALSO ADDITIONAL COMBINED ITEMS WILL MEAN A HIGHER SHIPPING CHARGED BASED ON EACH ITEM. SORRY ABOUT THIS, BUT THERE’S NOTHING I CAN DO ABOUT THAT.REGISTERED INTERNATIONAL MAIL WHICH ALLOWS FOR DOOR TO DOOR TRACKING IS AN ADDITIONAL $15.00.

I DO COMBINE SHIPPING……….

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Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying.

PLEASE PAY FOR ALL ITEMS WITHIN 5 DAYS, OR MESSAGE ME TO EXPLAIN WHY YOU CAN’T,(IF YOU ARE BIDDING OR PLAN TO BID ON OTHER ITEMS) I WILL DO A ONE WEEK WAIT FROM THE DATE OF THE END OF THE FIRST AUCTION WIN, TO COMBINE SHIPPING ON ITEMS, AFTER THAT I NEED PAYMENT IN FULL AND WILL MAIL OUT THE ITEMS , EVEN IF YOU ARE BIDDING ON OTHERS, THUS BEGINS A NEW BILLING/SHIPPING CYCLE. THIS CASH FLOW IS MY SOURCE OF INCOME FOR PAYING RENT/BILLS, ETC. IF YOU HAVE WON AN ITEM AND I DO NOT HEAR FROM YOU ONE WAY OR THE OTHER WITHIN 7 DAYS I WILL OPEN AN “UNPAID ITEM CASE”, IN ORDER TO FREE UP THE ITEM FOR A POSSIBLE RE-LISTING OR A “SECOND CHANCE OFFER”. PLEASE WHEN YOU WIN AN ITEM TRY AND PAY FOR IT IN A TIMELY FASHION OR LET ME KNOW YOU ARE LOOKING AT OTHER ITEMS I HAVE LISTED, I MAIL ITEMS OUT WITHIN TWO WORKING DAYS ONCE PAYMENT IS RECEIVED. DO NOT ASK FOR ITEM TO ME MARKED “GIFT” ON CUSTOMS FORMS, INTERNATIONAL BUYERS ARE RESPONSIBLE FOR ALL DUTIES AND CUSTOMS FEE’S! CHECK WITH YOUR POST OFFICE, I WILL NOT PAY THEM.

NEW NOTE TO ALL POTENTIAL BIDDERS PLEASE! DO NOT BID IF YOU HAVE NO INTENTION OF PAYING FOR AN ITEM YOU MIGHT WIN, ALSO IF YOU ARE AN INTERNATIONAL BIDDER, PLEASE! BE AWARE OF THE COST OF INTERNATIONAL SHIPPING. I DO NOT LIKE OPENING UNPAID ITEM CASES BUT I WILL IF YOU NEGLECT TO PAY.