M- 1969 MOTHERS Zappa UNCLE MEAT psych 2xLP + BOOKLET

$

158

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CLEAN 1969 Original + BOOKLET + STICKER & TWO RECORDS ~ COLLECTIBILITY RESIDES WITHIN!

    T h e   M O T H E R S   o f   I N V E N T I O N

             UNCLE MEAT 

                                  USA - BIZARRE RECORDS - 2024

minty CLEAN original 1969 first pressing vinyl 2xLP (two lp's) in a thick gatefold jacket PLUS the original '69 Zappa-esque inner sleeves PLUS the large photo (etc) BOOKLET that makes this a complete item as released in ...1969.

The (rare) rather large 'Mothers Of Invention" sticker on the front cover ...first pressings adorned this sticker on the outside of the shrink wrap cellophane and once most folks tore the outer wrap open -- there went the sticker -- now adorned to this copy's front cover...nice. collectible. And the contents within, well, they're not for the casual minded 'Mr Green Genes' of your town...

Striking from every sonic angle, the mega- (or magna depending on who you ask) opus Uncle Meat is the casual music listener’s most horrid experience. tHen again, for those in-the-know it's a revelation of thematic melodic complexities that are worthy of spins over and over in hearing something new every time....but, for the fun of it, back to the listen for the 'casual' personality: ...Over the course of four sides of recorded wax we find quick thematic interludes, improvised woodwinds, derranged orchestration, demented doo-wop, tape trick effects, hedonistic guitar rock, and dialog clips from the belated film of the same name. In other words, it’s an aural trash heap for 'the casual listener' who approaches this record wanting to discover a few cool tunes.

Take “Dog Breath in the Year of the Plague,” for example. It’s here, five ‘grooves’ into the record that we encounter our first pop moments. It begins with wailing horns and a pleasant guitar strum, then a catchy, climbing vocal melody line, then the chorus hits and a female faux-opera singer joins the mix. As the mantra-like verses progress, the vocals turn to groaning men and helium clowns. At the conclusion of the song, vexing slurs of horns unravel. And with that our culture of song-downloading, album-dissectors roll their cursors away from the ‘Buy’ button and call Zappa and The Mothers a wash. What may or may not be heard following this is Frank’s indifferent chuckle rising or descending onto us. “Fantastic,” he says.

The genius that dwells amid Uncle Meat’s multiple personalities is its cohesion. The skill at capturing this trait unsurprisingly goes to Zappa’s production and editing abilities, which masterfully corral the collection of renegade musicians, sounds, improvisations and characters in this fevered film score. The cohesive devices themselves are both found in the thematic and instrumental portions of the record. Its theme, intended to be the score for a film that wouldn’t come into fruition for another two decades, revolves around the life of a talented collection of visionaries who reside in the sunny abundance of suburban LA. The songs and pieces of Uncle Meat document the mini-sagas of these people as they examine groupie life, the quest to create transcendent music and the all-American tradition of “Cruising for Burgers.” We meet the disenchanted Suzy Creamcheese and the budding Ian Underwood who Zappa urges to “whip it out” unto his alto saxophone that explodes. Without question the Mothers’ signature commentary-laden absurdity thrives on Uncle Meat.

Musically, the glue of this record resides in the unhinging, and original, woodwind and organ playing. The quick movements of clarinets and saxophones create an urgent pulse that frames the music and fosters the miscellany in between. This design builds momentum toward the magnificently titled “King Kong,” which occupies an entire album side using these exact devices. Within this cocoon of tweets and organ haze, we find everything else. “Nine Types of Industrial Pollution” showcases hypnotic acoustic guitar soloing with a gentle, building organ in the background. There are irreverent renditions of “Louie, Louie” and “God Bless America” that make use of the Royal Albert Hall pipe organ and a kazoo respectively. “Mr. Green Genes” uses a proclaiming alto sax and twittering vocal harmony and “Ian Underwood Whips it Out” exposes us to some mean slabs of Coltrane-esque improvisation amid a maniacally groovy rhythm section. “Electric Aunt Jemima,” “The Air,” and “Cruising for Burgers” are off-kilter sunshine pop songs that would later find tremendous translation in Zappa’s live shows. “Uncle Meat Variations” and “Project X” both begin as pretty jazz pieces before evolving into avant-mayhem. And yet for all of its diversity we’re left with a record that has flawless fluidity.

If there ever were, records like this aren’t made anymore. Uncle Meat, purveyed by a master composer/producer/guitarist/editor, is a zany vision, carried out by a large collection of musicians who diverge and improvise to such an extent that it all makes sense. Music critics tend to laud works that influence — ones that are used a foundation upon which other works or even whole genres are built. The prize in Uncle Meat is in fact the opposite. It represents a sonic exploration so keen, unifying, and rousing that, aside from Zappa himself, no has dared to follow in kind.

Record 2
01. Mr. Green Genes - 3?10
02. We Can Shoot You - 1?48
03. “If We’d All Been Living in California…” - 1?29
04. The Air - 2?57
05. Project X - 4?47
06. Cruising For Burgers - 2?19
07. King Kong Itself (As Played By The Mothers In A Studio) - 0?53
08. King Kong (It’s Magnificence As Interpreted By Dom DeWild) - 1?15
09. King Kong (As Motörhead Explains It) - 1?44
10. King Kong (The Gardner Varieties) - 6?17
11. King Kong (As Played By 3 Deranged Good Humor Trucks) - 0?29
12. King Kong (Live On A Flat Bed Diesel In The Middle Of A Race Track At A Miami Festival… The Underwood Ramifications) -7?22     

Frank Zappa - voz/guitarras e percussão
Ray Collins - voz
Roy Estrada - baixo e vocais
Don Preston - piano elétrico
Jimmy Carl Black - bateria e vocais
Ian Underwood - órgão elétrico, piano, harpsichord, celeste, flauta, clarinete e saxofones
Euclid James ‘Motörhead’ Sherwood - saxofone e percussão
Bunk Gardner - saxofones, flauta, clarinete e fagote
Billy (The Oozer) Mundi - bateria
Artie (With the Green Mustache) Tripp - bateria e percussão

CONDITION: The gatefold cover is VERY clean and spiffy sharp on all parts = M- with the rare 'Mothers' sticker on front....

The two vinyl records are, all 4 sides, clean, highly glossy, clean M-

The booklet is clean mint

      A cool addition to anyone's music library!

SEE: SELLERS OTher items for similar cool sounds for "head" people...

EFFICIENT/CAREFUL GRADING

All imperfections are noted both cover & record