THE MOTHERS OF INVENTION "WE'RE ONLY IN IT FOR THE MONEY" 1968 VERVE EX/VG+ INSR

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CLEANING OUT MORE LP'S. SOME FROM THRIFT STORES, SOME FROM MY MUSIC LIBRARY, AND SOME FROM MY RADIO FRIENDS SOLD OR GIVEN TO ME, SOME FROM THE NETWORK I WAS AT.

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I HAD A SMALL HEART ATTACK A COUPLE OF YEARS AGO AND AM SLOWLY LETTING GO OF MY ALBUM COLLECTION, THIS COMES FROM OVER 40 YEARS OF COLLECTING AND ALSO WORKING IN RADIO WHEN STATIONS WERE TRANSITIONING FROM LP's TO CD's.

ARTIST: THE MOTHERS OF INVENTION

TITLE: “WE'RE ONLY IN IT FOR THE MONEY”

TRACK LISTING-SEE PHOTOS/BELOW:

A1

Are You Hung Up

1:23

A2

Who Needs The Peace Corps

2:34

A3

Concentration Moon

2:32

A4

Mom & Dad

2:16

A5

Bow Tie Daddy

1:22

A6

Harry, You're A Beast

1:22

A7

What's The Ugliest Part Of Your Body?

1:03

A8

Absolutely Free

3:26

A9

Flower Punk

3:57

A10

Hot Poop

0:16

B1

Nasal Retentive Caliope Music

2:00

B2

Let's Make The Water Turn Black

1:54

B3

The Idiot Bastard Son

3:27

B4

Lonely Little Girl

1:10

B5

Take Your Clothes Off When You Dance

1:33

B6

What's The Ugliest Part Of Your Body? (Reprise)

1:03

B7

Mother People

2:30

B8

The Chrome Plated Megaphone Of Destiny

6:30

NOTES:On blue Verve label. No track separation.

Label: V6-5045 (MGS 1250)
Cover rear: V6 5045X STEREO
Cover front: V/V6-5045 (under "THE MOTHERS" on sticker.)
Cover inside:V/V6 5045X
Spine: V6 5045X

"Heavily censored" version with "THE MOTHERS" sticker above Jimmy Carl Black's head.

Censorship: Beyond Zappa's control, MGM censored several tracks on early issues. "Absolutely Free" was edited to remove the word "balling", changing the context. On "Let's Make The Water Turn Black", the line "...I still remember Mama, with her apron and her pad..." was removed as it was thought "pad" referred to a sanitary napkin, rather than 'order pad'. A Lenny Bruce reference in "Harry, You're A Beast" and a spoken segment of "Concentration Moon" referring to The Velvet Underground was also deleted. Zappa later declined to accept an award for the album, stating "I prefer the award be presented to the guy who modified this record, because what you're hearing is more reflective of his work than mine."

Pressed by MGM Record Manufacturing Division as indicated by MGS and BLOCK S logo (see image) in runouts.

On label, B4 is titled "Lonely Little Girl" but in sleeve is titled "It's His Voice on the Radio."

On B label, Track 8 number is in alignment with the other track numbers.

V6-5045 SIDE-1 MGS-1250-REV

YEAR OF RELEASE- 1968

RECORD LABLE: VERVE RECORDS

CAT.#: V6-5045

RECORD CONDITION: THE RECORD IS IN EX/EX- CONDITION. NICE CLEAN SHINEY LUSTER TO THE BLACK VINYL. BOTH LABELS IN EXCELLENT/NM CONDITION, THERE'S SOME VERY LIGHT BACKGROUND SOUND ON THE LEAD IN GROOVES, THIS LOOKS VERY CLEAN, NO SMUDGES, FINGERPRINTS, OR LINES.

JACKET CONDITION: THE GATEFOLD JACKET IS IN VG/VG+ CONDITION, . THERE'S A SMALL APPROX. 2” SEAM SPLIT ON THE TOP RIGHT CORNER ON THE JACKET THAT HOLDS THE RECORD. THERE'S A SMALL “DING” ON THE MIDDLE OF THE INSIDE JACKET SEAM (SEE PHOTO) THERE'S VERY VERY LIGHT VISIBLE WEAR. NICE CLEAN STRAIGHT EDGES.

MORE INFO : COMES WITH ORIGINAL INSERT THE SGT. PEPPER PARODY IN EXCELLENT CONDITIONB, THERE'S SOME LIGHT AGING VISIBLE ON THE BACK.. I JUST CHECKED AND THIS IS AN EARLY “CENSORED” VERSION MY OTHER ORIGINAL COPY HAS THE WORD “BALLIN'” IN IT, THIS VERSION DOES NOT, SORRY KIDS.

NOTE: I DO NOT ACCEPT BEST OFFERS, I LIKE EVERYONE TO HAVE A FAIR SHOT AT MY LISTINGS.

ARTIST INFO:

Frank Vincent Zappa, 21 December 1940, Baltimore, Maryland, USA, d. 4 December 1993, Los Angeles, California, USA. Zappa’s parents were second-generation Sicilian Greeks; his father played ‘strolling crooner’ guitar. At the age of 12 Frank, who had relocated to California with his family, became interested in drums, learning orchestral percussion at summer school in Monterey. He played drums in a local R&B band called the Ramblers, and after moving to Lancaster formed the racially-integrated Black-Outs. Early exposure to a record of Ionisation by avant garde classical composer Edgard Varèse instilled an interest in advanced rhythmic experimentation that never left him. The electric guitar also became a fascination, and he began collecting R&B records that featured guitar solos: Howlin’ Wolf with Hubert Sumlin, Muddy Waters, Johnny ‘Guitar’ Watson and Clarence ‘Gatemouth’ Brown were special favourites. A school friend, Don Vliet (later to become Captain Beefheart), shared his interest.

In 1964 Zappa, who had been working in a local studio, recording spoof doo-wop singles and composing scores for b-movies, joined a local R&B outfit called the Soul Giants, whose line-up included vocalist Ray Collins (b. 19 November 1937, USA), bass player Roy Estrada (b. 17 April 1943, USA), and drummer Jimmy Carl Black (b. 1 February 1938, El Paso, Texas, USA). Zappa changed their name to the Mothers, but ‘Of Invention’ was later added at the insistence of their label, Verve Records. A string of guitarists came and went, including Alice Stuart and Henry Vestine, before Elliott Ingber was added to the line-up. Produced by Tom Wilson in 1966, the late black producer whose credits included Cecil Taylor, John Coltrane and Bob Dylan, the Mothers Of Invention’s Freak Out! was a stunning debut, a two-record set complete with a whole side of wild percussion, a vitriolic protest song, ‘Trouble Every Day’, and the kind of minute detail (sleeve-notes, in-jokes, parodies) that generate instant cult appeal. They made great play of their hair and ugliness, becoming the perfect counter-cultural icons. Unlike the east coast band the Fugs, the Mothers were also musically skilled, a refined instrument for Zappa’s eclectic and imaginative ideas. Ingber left to form the Fraternity Of Man before the recording of the band’s second album, Absolutely Free. He was replaced for a short period by Jim Fielder, before Zappa chose to expand the Mothers Of Invention with the addition of second drummer Billy Mundi, keyboard player Don Preston (b. Donald Ward Preston, 21 September 1932, Flint, Michigan, USA), and horn players Bunk Gardner and Jim ‘Motorhead’ Sherwood.

Tours and releases followed, including Absolutely Free, the solo Lumpy Gravy and We’re Only In It For The Money, (with its brilliant parody of the Beatles’ Sgt. Peppers Lonely Hearts Club Band record cover) a scathing satire on hippiedom and the reactions to it in the USA, and a notable appearance at the Royal Albert Hall in London (documented on the compulsive Uncle Meat). In stark contrast, Cruising With Ruben & The Jets paid excellent homage to the doo-wop era. British fans were particularly impressed with Hot Rats, a solo Zappa record that ditched the sociological commentary for barnstorming jazz rock, blistering guitar solos, the extravagant ‘Peaches En Regalia’ and a cameo appearance by Captain Beefheart on ‘Willie The Pimp’.

Collins had quit in April 1968, and the Mothers Of Invention would eventually disintegrate the following August. Both Uncle Meat and Hot Rats appeared on Zappa’s own Bizarre Records label which, together with his other outlet Straight Records, released a number of highly regarded albums that were nevertheless commercial flops. Artists to benefit from Zappa’s patronage included the GTOs, Larry ‘Wild Man’ Fischer, Alice Cooper, Tim Buckley. Captain Beefheart’s indispensable Zappa-produced classic, Trout Mask Replica, was also released on Straight. Eager to gain a ‘heavier’ image than the band that had brought them fame, the Turtles’ singers Mark Volman (b. 19 April 1947, Los Angeles, California, USA) and Howard Kaylan (b. Howard Kaplan, 22 June 1947, the Bronx, New York City, New York, USA), aka Flo And Eddie, joined up with Zappa for the movie 200 Motels and three further albums. The newly re-christened Mothers now included George Duke (b. 12 January 1946, San Rafael, California, USA; keyboards/trombone), Ian Underwood (keyboards/saxophone), Aynsley Dunbar (b. 10 January 1946, Liverpool, England; drums), and Jeff Simmons (bass/vocals), although the latter was quickly replaced by Jim Pons (b. 14 March 1943, Santa Monica, California, USA). Live At The Fillmore East, June 1971 included some intentionally outrageous subject matter prompting inevitable criticism from conservative observers.

1971 was not a happy year for Zappa: on 4 December fire destroyed the band’s equipment while they were playing at the Montreux Casino in Switzerland (an event commemorated in Deep Purple’s ‘Smoke On The Water’) and six days later Zappa was pushed off-stage at London’s Rainbow theatre, crushing his larynx (lowering his voice a third), damaging his spine and keeping him wheelchair-bound for the best part of a year. He spent 1972 developing an extraordinary new species of big band fusion (Waka/Jawaka and The Grand Wazoo), working with top west coast session musicians. However, he found these excellent players dull touring companions, and decided to dump the ‘jazztette’ for an electric band. Over-Nite Sensation announced fusion-chops, salacious lyrics and driving rhythms. The live band featured an extraordinary combination of jazz-based swing and a rich, sonorous rock that probably only Zappa (with his interest in modern classical music) could achieve. Percussion virtuoso Ruth Underwood, violinist Jean-Luc Ponty, featured in the King Kong project, and keyboard player Duke shone in this context. Apostrophe (‘) showcased Zappa’s talents as a story-teller in the Lord Buckley tradition, and also (in the title-track) featured a jam with bass player Jack Bruce: it reached number 10 in the Billboard chart in June 1974. Roxy & Elsewhere caught the band live, negotiating diabolically hard musical notation - ‘Echidna’s Arf (Of You)’ and ‘Be-Bop Tango (Of The Old Jazzmen’s Church)’ - with infectious good humour. One Size Fits All, an under-acknowledged masterpiece, built up extraordinary multi-tracked textures. ‘Andy’ was a song about b-movie cowboys, while ‘Florentine Pogen’ and ‘Inca Roads’ were complex extended pieces.

In 1975, Captain Beefheart joined Zappa for a tour and despite an earlier rift, sang on Bongo Fury, both reuniting in disgust over the USA’s bicentennial complacency. Zoot Allures in 1976 was principally a collaboration between Zappa and drummer Terry Bozzio, with Zappa overdubbing most of the instruments himself. He was experimenting with what he termed ‘xenochronicity’ (combining unrelated tracks to create a piece of non-synchronous music) and produced intriguing results on ‘Friendly Little Finger’. The title track took the concept of sleaze guitar onto a new level (as did the orgasmic moaning of ‘The Torture Never Stops’), while ‘Black Napkins’ was an incomparable vehicle for Zappa’s guitar work. If Zoot Allures now reads like a response to punk, Zappa was not to forsake large-scale rock showbiz. A series of concerts in New York in late 1976 had a wildly excited crowd applauding tales of singles bars, devil encounters and stunning Brecker Brothers virtuosity (recorded as Live In New York). This album was part of the fall-out from Zappa’s break-up with Warner Brothers Records, who put out three excellent instrumental albums with ‘non-authorized covers’ (adopted, strangely enough, by Zappa for his CD re-releases): Studio Tan, Sleep Dirt and Orchestral Favourites. The punk-obsessed rock press did not know what to make of music that parodied Miklos Rozsa, crossed jazz with cartoon scores, guyed rock ‘n’ roll hysteria and stretched fusion into the twenty-first century. Undaunted by still being perceived as a hippie, which he clearly was not (We’re Only In It For The Money had said the last word on the Summer Of Love while it was happening!), Zappa continued to tour.

His guitar-playing seemed to expand into a new dimension: ‘Yo’ Mama’ on 1979’s Sheik Yerbouti was a taste of the extravaganzas to come. In Ike Willis, Zappa found a vocalist who understood his required combination of emotional detachment and intimacy, and featured him extensively on the three volumes of Joe’s Garage. After the mid-70s interest in philosophical concepts and band in-jokes, the music became more political. Tinseltown Rebellion and You Are What You Is commented on the growth of the fundamentalist Right. Zappa had a hit in 1982 with ‘Valley Girl’, which featured his daughter Moon Unit satirizing the accents of young moneyed Hollywood people. That same year saw him produce and introduce a New York concert of music by Varèse. The title track of Ship Arriving Too Late To Save A Drowning Witch indicated that Zappa’s interest in extended composition was not waning; this was confirmed by the release of a serious orchestral album recorded with the London Symphony Orchestra in 1983. Zappa was quite outrageously prolific in 1984: renowned French composer Pierre Boulez conducted Zappa’s work on The Perfect Stranger; he released a rock album Them Or Us, which widened still further the impact of his scurrilously inventive guitar; Thing-Fish was a ‘Broadway musical’ about AIDS, homophobia and racism; and he unearthed an eighteenth-century composer named Francesco Zappa and recorded his work on a synclavier. The following year’s Does Humor Belong In Music? and Meets The Mothers Of Prevention were effective responses to the rise of powerful censor groups in America. Jazz From Hell presented wordless compositions for synclavier that drew inspiration from the expatriate American experimentalist composer Conlon Nancarrow.

Zappa’s next big project materialized in 1988: a 12-piece band playing covers, instrumentals and a brace of new political songs (collected respectively as Broadway The Hard Way, The Best Band You Never Heard In Your Life, and Make A Jazz Noise Here). After rehearsing for three months the power and precision of the band were breathtaking, but they broke up during their first tour. As well as the retrospective series You Can’t Do That On Stage Anymore, Zappa released his most popular bootlegs in two instalments as part of his ‘Beat The Boots’ campaign. In Czechoslovakia, where he had long been a hero of the cultural underground, he was appointed as the country’s Cultural Liaison Officer with the West. In 1991 he announced he would be standing as an independent candidate in the 1992 US presidential election (almost immediately he received several death threats!), but in November his daughter confirmed reports that he was suffering from cancer of the prostate. In May 1993 Zappa, clearly weak from intensive chemotherapy, announced that he was fast losing the battle as it had spread into his bones. He succumbed to the disease seven months later.

In 1995, a remarkable reissue programme was undertaken by Rykodisc Records in conjunction with Gail Zappa. The entire catalogue of over 50 albums was remastered and re-packaged with loving care. Rykodisc deserve the highest praise for this bold move. In 2003 Dweezil Zappa promised more unreleased material from the vaults of his father as he took over as the family archivist. Viewed in perspective, Zappa’s career reveals a perfectionist using only the highest standards of musicianship and the finest recording methods. The reissued CDs highlight the extraordinary quality of the original master tapes and Zappa’s idealism. Additionally, he is now rightly seen as one of the great guitar players of our time. Although much of his oeuvre can easily be dismissed as flippant, history will certainly recognize Zappa as a sophisticated, serious composer and a highly accomplished master of music. This musical genius never ceased to astonish, both as a musician and composer: on the way, he produced a towering body of work that is probably rock music’s closest equivalent to the legacy of Duke Ellington. The additional fact that he did it all with an amazing sense of humour should be regarded as a positive bonus.

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