ONE SHOT DEAL - HALLOWEEN: LIVE COMPILATIONS #1 AND XENOCHRONY

ONE SHOT DEAL

During the European winter tour of 1978 Zappa recorded most of the live tracks for "Sheik Yerbouti" during the five concerts he held at the Odeon Hammersmith in London. Touring continued on the continent. At least two concerts in Germany got filmed for TV, so you might here have a possibility for a DVD, for instance combined with the bands appearance at the Saturday Night Live show (see also the Live recordings section of the left menu). To the right: FZ and Arthur Barrow during the Ulm open air concert, summer 1978 (German TV registration). More teasing is what Zappa says about the "Heidelberg" solo, namely that it's not the best of its kind, but that he liked this one because of the crowd noises responding to the solo. Another pro of this solo is the interaction with the keyboard player. "Heidelberg" premiered on the 1987 promotional cassette "The guitar world according to Frank Zappa" and got included in the "One shot deal" CD by the ZFT. It's a smaller cross through selection from the live archive, one of the by now ten releases by the ZFT that are made up of live recordings. The ZFT succeeds rather well in filling up gaps that were left by Zappa himself. The kind of solo Zappa is referring to is a solo in E Mixolydian, starting over a hold E pedal note without drumming. The "Mo' mama" and "Yo' mama" solos from the previous section are two other examples. "Why Johnny can't read" from February 1979 is a fourth example, recorded several months later, so there could very well exist a whole series of solos of this type in the archives. Other than "Why Johnny can't read", "Heidelberg" resembles "Yo' mama" in some of its phrases. Its set up is different however in the sense that it doesn't evolve into a chord alternation, but into strict 4/4 over a bass playing just the E on beat. First Zappa sets the meter to 4/4 himself with his guitar rhythm. Next the drummer joins in, followed by the bass. The section below from 2:13 to 3:04 includes this transition from playing without meter to everybody playing in 4/4. The solo at the end returns to the hold E pedal note without drumming. Zappa himself started listening systematically to the tapes for guitar solos from 1979 onwards for the three guitar collections on CD. It's a tempting thought what could have been done if he would have had the time going back in time picking out the best solos by himself, or maybe by Steve Vai or Dweezil Zappa.

Heidelberg, 2:13-3:04 (midi file)

Heidelberg, 2:13-3:04 (transcription)

Hiring studios for finishing the album had become expensive and studios had to be booked months in advance. So Zappa decided that it was more economical to build a studio of his own at his house in L.A. It was completed during the fall of 1978, when he had set up his own record company Zappa Records (later Barking Pumpkin Records). He also had made a deal with the Indian born violist "L." (Lakshmirnarayna) Shankar. He produced Shankar's album "Touch me there" for his new company and co-wrote four songs with him for the album (see the next section for more about this record). Shankar made a guest appearance during the concerts around Halloween of October 1978 (See the "You can't..." section for "Thirteen"). By that time the two lead singers next to Zappa on "Sheik Yerbouti", Terry Bozzio and Adrian Belew, had left the band. Terry had now worked with Zappa for four years and needed a change, his name forever being associated with beating "The black page". Adrian accepted an offer by David Bowie, but later considered changing this fast a juvenile mistake. Zappa normally accepted band members leaving without ill feelings and didn't try to convince them to stay. Terry was replaced by Vince Colaiuta and Adrian by Denny Walley.
The Zappa Family Trust compiled an audio DVD from the concerts as "Halloween 1978", released in 2005. The touring program by now included various unreleased material under development that would appear on record over the period 1979-1982.

HALLOWEEN, 1978

One instance of where the ZFT jumped in effectively in filling in gaps is the "Halloween" audio DVD: Zappa himself used relatively little from his 1978 fall tour for his albums. Three titles from the Halloween concert appeared on YCDTOSA Vol. IV and VI (see the YCDTOSA section #1 for "Thirteen"). For this DVD the Zappa Family Trust chose the part of the program that was basically the same as the year before plus two individual solos: the concert opener "Ancient armaments" with Zappa on guitar and "Zeets" featuring Vince Colaiuta. Instead of doing an early and a late show on Halloween night, this year he chose for an exceptionally long concert of four hours. He introduces this now legendary concert as "All right this is the big one, [...]. Since this is the big one, we're gonna do an extra long show. I hope you don't have to leave early". The ZFT DVD represents 70 minutes taken from this gig. The concert opener was a guitar solo in A Dorian in 3/4, called "Ancient armaments". It's an example of Zappa playing a solo independently, instead of forming part of a song. The concert ended with another big solo, played separately, namely a mix of "Black napkins" and "The deathless horsie" with Shankar on violin. The other two solos on "Halloween" are played during "Easy meat" and "Stinkfoot". "Ancient armaments" has been released before as the b-side of the 1980 "I don't wanna get drafted" single. The crowd is much enthusiastic and Zappa waits for about three minutes to let things settle down and accelerate his soloing. The accompaniment first plays solo for a couple of bars, next Zappa joins in with some held notes.

Ancient armanents, opening (midi file)

Ancient armanents, opening (transcription)

"Stinkfoot" exists in two variants. One is the original studio recording for "Apostrophe (')", the other is a live variant, today available in four versions. The live variant follows the thematic architecture of the studio version, but has a much different main vamp. Both bass lines of the vamp are in 12/8 and follow the C Mixolydian scale. As for their notes and chords, they have about nothing in common. The live version has a C and F chord alternating. For the studio variant you have various people playing freely through the C Dorian scale (that has an Eb compared to the E natural of the bass). All versions contain a solo, making each one of them worthwhile. There can be stage happenings as well. The 1988 track has an intro about Jimmy Swaggart being caught with a prostitute. During the 1978 performance Zappa recognizes an old acquaintance in the audience from the Garrick theatre concerts a decade before, a guy who then came on stage every night.

Stinkfoot (1978 live), opening bars (midi file)
Stinkfoot (1974 studio version), opening bars (midi file)

Stinkfoot, opening bars (transcription)

ON THE BUS AND OCCAM'S RAZOR: XENOCHRONY

Via interviews with Zappa it has been known for long that the solos for "Joe's garage" (1979, next section) were recorded live. He separated the guitar parts from the tracks and added new accompaniments to them via a method that he called xenochrony. The term stands for combining two tracks, that were recorded separately, in such a manner that they respond to each other. The earliest example on record, "Friendly little finger", has already been dealt with in the "Zoot allures" section. In order to achieve this you need a velocity control regulator (VCR), a device that can change the tempo without affecting the pitch. This way you can manage that both tracks can be both on beat at several instances, so that it looks as if they were recorded at the same time. In fact, if Zappa hadn't informed us about when he applied xenochrony, we would never know.
With the ZFT release "One shot deal" however, we get to hear the original "Occam's razor" solo, parts of which became "On the bus" from "Joe's garage" via xenochrony. I never understood why Zappa chose for this labour intensive method on "Joe's garage". He adapted the sound of the guitar to be in line with the sound of the other tracks from this album, so probably that would have been possible with the live accompaniment as well. Secondly, if he wanted a different accompaniment nevertheless, then why not overdub it (you could have someone conducting listening to the old accompaniment on a headphone and let the band do a new accompaniment, exactly in pace). Comparing "Occam's razor" with "On the bus" gives an inside the kitchen opportunity to look at the process. It explains in my opinion why Zappa chose for xenochrony: it is not so much he wanted to manipulate the accompaniment, he wanted to be able to manipulate the solo itself completely at will as shown below via two corresponding sections. "On the bus" starts with the guitar line from the "Occam's razor" solo at 0:17 on the "One shot deal" CD.

Occam's razor, 0:17 till 0:55 (midi file)
On the bus, 0:00 till 0:33 (midi file)

Occam's razor, 0:17 till 0:55 (transcription)
On the bus, 0:00 till 0:33 (transcription)

For the next section I'm taking "Occam's razor" as the basis and I'll comment upon the main differences that can be found in "On the bus".
- Most obvious to notice is the different accompaniment. "Occam's razor" belongs to the series of C Lydian solos Zappa played during the 1979 tour of which four of them landed on "Shut up 'n play yer guitar" (see the corresponding section). Here you actually get to hear the transition to one of the written themes of "Inca roads". "On the bus" has a one bar vamp like bass pattern with A as a pedal note, so this one is in A Dorian.
- The tempo of the accompaniment from "On the bus" is slightly slower. Just for that you'd need some speed adaptation for the solo.
- During bars 1-5 there are minor tempo differences. The figure starting with G in bar 2 starts about a 16th note later and ends earlier with the high F# in bar 3, so here Zappa accelerated "On the bus" a little. By the way, transcriptions like this or in the Guitar book aren't done with a mathematical precision that you could get by measuring the pitch lengths physically. They are good approximations of what a human ear can distinguish. There's no point in notating rhythms with more precision than you can hear.
- At beat 1 of bar 6 you get at a more serious tempo difference. "On the bus" gets almost an 8th note ahead.
- At the end of bar 6 you can see that Zappa started editing the "Occam's razor" solo. The whole block A is missing and it's not exactly one bar's length. So this is the sort of manipulating the solo at will.
- At bar 8, starting with the chord, "On the bus" is on beat, just as "Occam's razor", that is now one bar behind. So here Zappa used xenochrony to get "On the bus" parallel again.
- In bar 11 the whole block B gets skipped. Next the solos are about parallel for a bar and a half.
- In bar 13 block C is removed. "On the bus" is now up to three bars ahead. Both solos return to the opening lick, now with the A held for some bars.
Remains the question why Zappa picked those three blocks from "Occam's razor" to skip from "On the bus". "Occam's razor" has movements with rapid sequences, held notes and movements in between. The three blocks are in between. I think Zappa wanted "On the bus" to be a more articulated solo regarding changes, whereas "Occam's razor" is more relaxed. It must also have been that he enjoyed this type of work, sitting for hours in a studio editing tapes. On "Friendly little finger" and "Rubber shirt" you could call xenochrony an experiment exploring the possibilities of this technique. On "Joe's garage" it's done extensively and systematically. Any "normal" producer would have settled for "Joe's garage" as a double album instead of a three-record set.