THE MOTHERS OF INVENTION "WE'RE ONLY IN IT FOR THE MONEY" NM-/EX BLUE LABEL OOP

$

25

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: “WE'RE ONLY IN IT FOR THE MONEY”

TRACK LISTING: SEE BELOW

Credits

• Bass, Vocals, Other [Asthma] – Roy Estrada
• Drums, Trumpet, Vocals, Other [Indian Of The Group] – Jimmy Carl Black
• Drums, Vocals, Other [Yak & Black Lace Underwear] – Billy Mundi
• Other [Cheerful Interruptions] – Dick Kunc
• Other [Has Graciously Consented To Speak To You In Several Critical Area] – Eric Clapton
• Other [Retired] – Don Preston
• Other [Wants You To Turn Your Radio Around] – Spider
• Piano, Woodwind, Other [Wholesome] – Ian Underwood
• Producer, Guitar, Piano, Vocals, Edited By, Other [Weirdness] – Frank Zappa
• Saxophone, Other [Weirdness & Teen Appeal] – Euclid James Motorhead Sherwood*
• Sounds [Snorks] – Dick Barber
• Voice [Creepy Whispering] – Gary Kellgren
• Voice [Telephone] – Suzy Creamcheese
• Woodwind, Voice [Mumbled Weirdness] – Bunk Gardner

Notes

Barcode and Other Identifiers

• Matrix / Runout (Run Out Side 1 [handwritten]): V6-5045 SIDE-1 MGS-1250-REV
• Matrix / Runout (Run Out Side 2 [handwritten]): V6-5045 SIDE-2 MGS-1251-REV

LABEL: VERVE RECORDS

CAT.#: V6-5045X ON EDGE OF JACKET

YEAR: 1968

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 CONDITION, NO SEAMS SPLITS, WRITING ON THE JACKET ETC. WILL MAIL OUT IN PROTECTIVE PLASTIC SLEEVE. THE GATEFOLD JACKET SHOWS VERY VERY LIGHT EDGE/CORNER WEAR (SEE PHOTOS)

OTHER INFO: THIS LP IS NOW OUT OF PRINT. THIS IS A “CENSORED” VERSION (SEE BELOW FOR MORE INFO. BLUE VERVE LABEL. THERE ARE NO INSERTS WITH THIS COPY, SORRY!

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. 

We're Only in It for the Money is the third studio album by the Mothers of Invention. Released on March 4, 1968, on Verve Records, it was subsequently remixed and re-recorded by Frank Zappa and reissued by Rykodisc in 1986.

As with the band's previous two albums, We're Only in It for the Money is a concept album, and satirizes left and right-wing politics, particularly the hippie subculture, as well as the Beatles' album Sgt. Pepper's Lonely Hearts Club Band. It was conceived as part of a project called No Commercial Potential, which produced three other albums: Lumpy Gravy, Cruising with Ruben & the Jets and Uncle Meat.

We're Only in It for the Money encompasses rock, experimental music and psychedelic rock, with orchestral segments deriving from the recording sessions for Lumpy Gravy, which was previously issued as a solo instrumental album by Capitol Records and was subsequently reedited by Zappa and released by Verve; the reedited Lumpy Gravy was produced simultaneously with We're Only in It for the Money and is the first part of a conceptual continuity, continued with the reedited Lumpy Gravy and concluded with Zappa's final album, Civilization Phaze III (1994).

Background[edit]

While filming Uncle Meat, Frank Zappa recorded in New York City for a project called No Commercial Potential, which ended up producing four albums: We're Only in It for the Money, a revised version of Zappa's solo album Lumpy Gravy, Cruising with Ruben & the Jets and Uncle Meat, which served as the soundtrack to the film of the same name, which was not completed until 1987.[1]

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." 

As the recording sessions continued, The Beatles released their acclaimed album Sgt. Pepper's Lonely Hearts Club Band. In response to the album's release, Zappa decided to change the album's concept to parody the Beatles album, because he felt that the Beatles were insincere and "only in it for the money". The Beatles were targeted as a symbol of Zappa's objections to the corporatization of youth culture, and the album served as a criticism of them and psychedelic rock as a whole.

Recording[edit]

Band member Ray Collins had left the Mothers before the New York recording sessions took place, but later rejoined when the band was recording the doo-wop songs that formed the album Cruisin' with Ruben & the Jets. Gary Kellgren was hired as an engineer for the project, and subsequently wound up delivering whispered pieces of dialogue that linked segments of We're Only in It for the Money. During the recording sessions, Verve requested that Zappa remove a verse from the song "Mother People". Zappa complied, but reversed the recording and included the backwards verse as part of the dialogue track "Hot Poop", concluding the album's first side, but this would be removed by Verve themselves on subsequent represses of their own. Also censored on all copies was the Lenny Bruce reference in "Harry, You're A Beast", and a spoken segment of "Concentration Moon" in which Kellgren called The Velvet Underground "as shitty a group as Frank Zappa's group".

While recording We're Only in It for the Money, Zappa discovered that the strings of Apostolic Studios' grand piano would resonate if a person spoke near those strings. The "piano people" experiment involved Zappa having various speakers improvise dialogue using topics offered by Zappa. Various people contributed to these sessions, including Eric Clapton, Rod Stewart and Tim Buckley. The "piano people" voices primarily consisted of Motorhead Sherwood, Roy Estrada, Spider Barbour, All-Night John (the manager of the studio) and Louis Cuneo, who was noted for his laugh, which sounded like a "psychotic turkey".

During the production, Zappa experimented with recording and editing techniques which produced unusual textures and musique concrète compositions; the album featured abbreviated songs interrupted by segments of dialogue and unrelated music which changed the continuity of the album.[8] Segments of orchestral music included on the album came from a solo orchestral album by Zappa previously released by Capitol Records under the title Lumpy Gravy in 1967.[3] MGM claimed that Zappa was under contractual obligation to record for them, and subsequently Zappa re-edited Lumpy Gravy, releasing a drastically different version on Verve Records, after the release of We're Only in It for the Money. The artwork of Lumpy Gravy identified it as "phase 2 of We're Only in It for the Money", while We're Only in It for the Money was identified in its artwork as "phase one of Lumpy Gravy", alluding to the conceptual continuity of the two albums. 

For some pressings of the album, MGM censored several tracks without Zappa's knowledge, involvement or permission. On the song "Absolutely Free", the line "I don't do publicity balling for you anymore" was edited by MGM to remove the word "balling", changing the meaning of the sentence. Additionally, on "Let's Make The Water Turn Black", the line "and I still remember Mama, with her apron and her pad, feeding all the boys at Ed's Cafe" was removed.[9] Zappa later learned that this line was censored because an MGM executive thought that the word "pad" referred to a sanitary napkin, rather than a waitress's order pad.[9] The Kellgren dialogue segment in "Concentration Moon" was also re-edited, making it seem that he was calling the Velvet Underground "Frank Zappa's group." Zappa later declined to accept an award for the album upon being made aware of the censorship, stating "I prefer that the award be presented to the guy who modified this record, because what you're hearing is more reflective of his work than mine."

Zappa's art director, Cal Schenkel photographed a collage for the album cover, which parodied The Beatles' Sgt. Pepper's Lonely Hearts Club Band. Zappa spent US$4,000 (equivalent to $28,100 in 2017) on the photo shoot, which he stated was "a direct negative" of the Sgt. Pepper album cover. "[Sgt. Pepper] had blue skies ... we had a thunderstorm."[Jimi Hendrix, a friend of Zappa, took part in the photo shoot, standing where a wax sculpture of Sonny Liston had appeared on the Beatles album cover. 

Zappa phoned Paul McCartney, seeking permission for the parody. McCartney told him that it was an issue for business managers, but Zappa responded that the artists themselves were supposed to tell their business managers what to do. Nevertheless, Capitol objected, and the album's release was delayed for five months. Verve decided to package the album with inverted cover artwork, placing the parody cover as interior artwork (and the intended interior artwork as the main sleeve) out of fear of legal action. Zappa was angered over the decision; Schenkel felt that the Sgt. Pepper parody "was a stronger image" than the final released cover

Zappa intended to release this album with the 'Sgt. Pepper album' pastiche as the cover. This was vetoed and it became the inner spread, with the original inner concept becoming the cover (again a parody of said album, with band members on a yellow background, but a subtlety lost on the censors). By the time this was issued on CD Zappa had more control. His vision for the release was reinstated with the 'Sgt. Pepper' imagery on covers. This was the first Schenkel sleeve design for FZ. Ironically, the original US insert, according to the artist, was actually printed on the same press-run (at Queens Litho) as the Sgt.Pepper insert. Vinyl sleeves may also credit the track correctly labeled 'Lonely Little Girl' as 'It's His Voice On the Radio'.

The Verve cat# system was V=mono & V6=stereo. A '/' was introduced for cover print to indicate content was either mono or stereo (i.e. V/V6) and an 'X' to indicate a further change to content. (The year-earlier release of Zappa "Freak Out!" issues demonstrates this system more clearly). Blue labels indicate earlier pressings to black labels.

There are 'counterfeit' issues of 'WOIIFTM' in circulation. These usually have hand-written matrices (or none) - V6 5045X is one popular example of this, with no visible track separation & Sunset Blvd address (+audio less sharp). Note: Original US V&V65054 do have hand-written matrices.

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."

In the textballoon on the front cover Frank Zappa Says : "Is This Phase One Of Lumpy Gravy?" making a reference to the album Lumpy Gravy.

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……….

CHECK OUT MY OTHER AUCTIONS

International Buyers – Please Note:

Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility.

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.