ZAPPA We're Only In It For The Money UNPLAYED UK VERVE

	£		41
	$		54

ITEM RELISTED DUE TO YET ANOTHER NON PAYING 0.00% FEEDBACK WINNING BIDDER FROM RUSSIA......PLEASE PLEASE ONLY BID ON THIS L.P I YOU INTEND TO PAY, REGARDS JACK...........................................................POSTAGE IS NOT FREE..............SINGLE LP RATES ARE AS FOLLOWS.................UK £3.50................EUROPE £6.00......................ROW £7.50

SLEEVE ...some light edge wear, perfect spine ,1 inch start of seamsplit bottom seam.......overall very nive though , REVERSABLE COVER EX

VINYL.....completely unplayed . new mint shop condition    MINT

Artist or Band: THE MOTHERS OF INVENTION

Album Title: We’re Only In It For The Money.

Cat Number: SELECT 2317 034.

Producer: Frank Zappa.

Executive Producer: Tom Wilson.

TRACK LIST:

Side 1: Are You Hung Up?; Who Need the Peace Corps; Concentration Moon; Mom and Dad; Telephone Conversation; Bow Tie Daddy; Harry, Your a Beast; What’s the Ugliest Part of Your Body?; Absolutely Free; Flower Punk; Hot Poop.

Side 2: Nasal Retentive Calliope Music; Let’s Make the Water Turn Black; The Idiot Bastard Son; Lonely Little Girl; Take Your Clothes Off When You Dance; What’s the Ugliest Part of Your Body (reprise); Mother People; The Chrome Plated Megaphone of Destiny.

Label/Format: Verve – Silver and matt black finish with MGM credits. (Please see label scan).

Label Conditions: Both immaculate with barely any spindle marks.

What’s on Offer and Rarity: At first glance, this may appear to be a regular Select 70s pressing, but the difference is the cover. When originally conceived, this controversial cover was to be the perfect ‘Sgt Pepper’ parody, in other words, the female dressed Mothers were to appear inside the gatefold as per The Beatles on their famous album. This was objected too and the cover was reversed. But this one has been manufactured so it naturally folds with the ‘Pepper’ front appearing as Zappa wanted it to e.g. on the outside. These ‘incorrect’ folding covers are far harder to find than the standard ones. This cover CANNOT be forced to do this without severe damage to the spine fold and I have seen very few of these covers that will actually do this. It NATURALLY opens this way, and although it does open the other way too with almost a ‘double folded spine’, the cover does bend a little more than proving the folds were made this way, possibly in error. This monumental album that over the years has actually gained in accolades for its importance (as has most this great man’s music). This was regarded by those, who cared to listen, as a classic from the outset and its reputation, importance and stark messages are as revelant today as they were back in the 60s. I have included with the groundbreaking set the insert which was taken from the Barking Pumpkin issue to make this album kind of ‘complete’. UK examples of this insert are near impossible to find as again they were objected too and withdrawn, even US versions are highly elusive. This insert is rarely seen in the full size format anywhere. The record is regarded as the ‘definitive’ version too with much of the censoring back in place that was deleted from the first pressing (details on this further down). These 70s pressings with the incorrect cover folds are elusive and I have seen very few over the years.

Original Year of Release: September 1968. This copy was repressed in 1972 and is radically different to the 60s pressing.

Matrix Nos: 2317034 A1 420 1 2 / 2317034 B1 420 1 2

Mode / Speed: Stereo / 33.3 rpm.

Weight of this Record: 121 grams.

Musicians: From left to right: Frank Zappa – Guitar, piano, vocals; Billy Mundi - drums, vocal; Bunk Gardner – All woodwinds, mumbled vocal; Roy Estrada – Electric bass, vocal; Don Preston - keyboards; Jimmy Carl Black (The Indian of the Group) – drums, trumpet, vocals; Ian Underwood - piano, saxophones. Motorhead Sherwood (not pictured on the front, he is seen face-on, on the red inside left) - soprano and baritone saxophones. Guest: Eric Clapton contributes some vocals.

Brief Artist & Album Info: ‘Are you hung up’? - the famous opening line opening this psychedelic masterpiece, spoken by Clapton. A priceless album and for me the greatest ever made. These early Zappa albums were treasured by the few and totally misunderstood by the majority – he put the sneer into underground rock. The brilliant satire of the Sgt Pepper cover should have guaranteed extra sales, but no. It failed to even chart in the UK, it only made 30 in his native States. Zappa’s scathing wit homed in on modern middle-class America and the West Coast hippies and his fears of what was to later emerge. Nineteen amazing songs of avant garde rock, doo-wop, some almost routine pop and hilarious dialogue, which was so hip it has never dated. Zappa made us confront the obvious, and the results were alarming. This album reconstructs music and then turns it inside out - it was so far ahead of its time, as was the man himself, few but the open-minded could accept it. A surreal collage, a psychedelic masterwork that blends together to form the perfect ‘alternative’ album for that crazy time. Treated voices, strange sounds, a needle being scratched over a record, sections recorded backwards, phasing, short classical interludes, surf sounds and finally the band going off their heads on ‘The Chrome Plated Megaphone of Destiny’ which was Zappa’s answer to ‘A Day in the Life’ from the more famous album. It’s almost incredible how so much entertainment and sound can be compressed onto an album that lasts less than 40 minutes. Among all the weirdness (Zappa describes this as a ‘monstrosity’ on the cover’s inner) there are stark messages too: ‘Who Needs the Peace Corps’ ran through a list of Frisco cliches, Augustus Stanley Owsley III, the scene’s acid-maker; the ‘psychedelic dungeons’ that were the hippie clubs; Bill Graham’s celebrated venue, the Fillmore. Zappa’s criticism of the hippies wasn’t just grouchy; it was urgent, political and frightening. ‘Concentration Moon’ made warnings about the internment camps Richard Nixon was readying for non-conformists, while ‘Mom and Dad’ was a chilling premonition of how establishment forces would respond to the anti-war movement (in 1971, when the National Guard University, Zappa’s lyric became a prophecy and a bloody reality). ‘Absolutely Free’ mocked flower Power. The album concludes with ‘The Chrome Plated Megaphone of Destiny’, an outrageous sonic-montage designed to outdo George Martin’s ‘mind blowing’ orchestration at the end of Sgt Pepper. This band were not pretty but special, very special indeed and the originality of this album and all Zappa’s early works is undeniable. Now what makes owning the Select repress so important? Well it is very different to the UK first pressing. There are several versions of this album, a highly controversial record that has varying degrees of cuts, edits and censoring. This reissue is considered THE definitive version for most, with many parts back in place as the censorship relaxed. This copy has less editing and a totally different mix. For those who have the CD version of this album (excluding that dreadful remixed overdubbed effort way back, only of interest as it it totally uncensored) these were based on this Select reissue version. This original mix has never made it to the silver format and is never likely to. The original 4-track master tapes, when Frank acquired them back, were badly damaged, hence new bass and drum parts were mixed on to the first CD issues – this was scorned upon and loathed by Zappa fans. The the later CD issues were mixed from the 2-track masters. That makes a vinyl record the only format to truly hear what this album should really sound like and believe me, there is NO comparison. The stereo mix is very different to the mono version too and is unique to vinyl. I will mention the major differences in this stereo repressing compared to the 60s first press. The line in ‘Who Needs the Peace Corps’ police kicking the s**t out is included. The line about working with The Velvet Underground is EXCLUDED (I don’t know why). The line ‘Flower Power SUCKS’! is included from ‘Absolutely Free’. The track ‘Hot Poop’ is now a short speeded up backwards track of the censored part of ‘Mother People’, the original was just a short shork. In fact many of the snorks on this version are different too. The line on ‘Absolutely Free’ ‘I don’t do publicity balling...’ now has the word ‘balling’ included. The line in ‘Let’s Make the Water Turn Black’ referring to ‘the apron and her pad’ is also now included. Apparently the censors thought the word ‘pad’ was referring to a sanitary towel but refers simply to moma, a waitress taking orders in ‘Ed’s Cafe’. Such was the paranoia from the record label about anything Zappa wrote, even it was innocent. Ironically, the lyrics to the censored songs were still included on the cover. It’s interesting how censorship and acceptability can develop and change with time and this version is almost complete as how Zappa wanted it. As most will know, Zappa was against any form of censorship. Money has several variations, I believe the US copies vary again, some even use bleep-outs in places. But for most the essential copies of this are the original Mono, as here, the original stereo versions and the Verve first reissue (the first CD reissue is interesting in some aspects, as it has ALL censoring taken out, including the, even now, controversial lines in ‘Harry You’re a Beast’ fully intact and unphased). This is a super copy with the record looking and sound  as new. With many rife with deep scratches, groove wear and terrible sound in accordance, this supreme copy is like a gateway into Zappa’s control room. A high percentage are total right-offs and just to see a copy with clean Verve black labels and very clean and shiny playing surfaces is a thing of real beauty. The famous Pepper spoof cover is superb and with the spine fold in reverse to most it makes it scarce and unusual.versions of this classic album, the genuine ‘error fold’ covers are very elusive and rarely show up.