The Hot Rats Sessions

Rolling. Rolling, take 7.

 

. . . up two?
FZ: Yeah.
One, two . . . ta-da-da . . .

We're rolling. This would This'll be Tune #1, take 1

One, two . . .

We're rolling. Take 2.

One, two . . .

We're rolling. 3.

One, two . . .

We're rolling. 4. 4?

We're rolling, take 4. 4.

One, two . . .

We're rolling, take 6. Take—

One, two . . .

We're rolling. Take 7.

We're rolling. "Peaches En Regalia," Take 1, Take 1— Section 1.

One, two . . .

FZ: No. Faster, faster.

We're rolling. 2. 2.

One, two . . .

FZ: Again.

Still rolling. Take 3. Take 3.

Rolling. Take 5.

FZ: Why don't you feel fill like crazy all the way through that introduction? You know. Answer those bass figures.

Take 5.

One, two . . .

6.

One, two . . .

FZ: Again. Listen, instead of doing those rolls on the beginning coming in round, why don't you do like uh, a pass. On the last two beats of the bar. Just like, one, two, tiddle-diddle-diddle tiddle-diddle-diddle bomp, and they come in like that.

Take 7.

One, two . . .

Hold it, hold it, phew!

We're rolling, "Peaches En Regalia," Take 8. 8.

Rolling. Take 8.

One, two, three . . .

Still rolling. Take 9. 9.

FZ: Much better. More feelfills! Get loose! Okay?

Rolling. Take 9. 9.

One, two, three . . .

FZ: Do another start. Do another, fancier start.

Take 10.

One, two, three . . .

FZ: Another one, please.

11. 11.

We're rolling, 11. 11.

One, two, three . . .

FZ: Get that part, Shuggie.

We're rolling. This would be take 12. 12.

One, two, three . . .

12 1/2. We're rolling.

One, two, three . . .

FZ: Now that was a good start. Do it again.

We're rolling. 14.

We're rolling. 14.

Two, three . . .

FZ: Marvelous!

15. 15.

One, two, three . . .

FZ: Another one, please.

We're rolling, 16.

One, two, three . . .

One . . .

We're rolling. This would be 18. 18.

FZ: Get that groove going!

One, two, three . . .

 

 

 

We're rolling. "Peaches," Part 3, Take 1. Take 1.

Rolling.

One, two, three, four . . .

FZ: Again. Ron, you gotta play that fill in there, so— Gotta play that fill in there so there's a big difference between that fill section and when where the vamp starts again . . . As craze crazed as you can make it.

Rolling. Take 3.

One, two, three . . .

We're rolling. 4.

One, two, three, four . . .

5. Take 5.

One, two, three . . .

FZ: Again.

We're rolling. Take 6. 6.

FZ: That rhythm is ta-da-da-dah ta-dah ta-dah . . . It's okay, do it the third time, so it's got a build for the fade.

Rolling. Take 6.

FZ: Yeah.

Take 6.

One, two, three . . .

FZ: Again, please. Again, please.

This would This'll be take 7.

FZ: A There's a little clink on the piano there.

Take 7.

FZ: Ron, please, when you— after that fill bring the volume down just a little bit for when the piano comes back in.

7.

One, two, three . . .

Take 8.

One, two, three . . .

FZ: Okay. That's enough on this one.

We're rolling. Take 9. Take 9.

One, two, three . . .

FZ: One more, please.

Still rolling. 10. 10.

One, two, three . . .

FZ: Okay. That— That's the one. Thank you. I'll show you the next—

FZ: Hold now. Hello?

We're rolling. This is the "Arabesque." Take 1. Take 1.

Rolling. Take 1.

One, two, three, two . . .

FZ: Okay. One more. Hello . . . No, don't worry, I'll count for I cancelled the march . . . [...] If you can take it just a shade brighter. Keep And keep the time real tight.

Rolling. Take 2. Right.

One, two, three, two . . .

FZ: Hello.

We're rolling. Take 3.

Rolling. Take 8.

One . . . One . . . two . . .

FZ: Okay. Hold it. Hold it. We're it for just—

Rolling.
We're in 9. 9.

One . . . two . . .

We're rolling. 10. 10. Take 10.

One . . . two . . .

FZ: Come on. Get vicious.

Take 11.

FZ: Special medal tip metal teeth on this one.

Still rolling. This would This'll be take 12.

FZ: And Ian, watch that chord at the cadence on second [...]ending.

One . . . two . . .

 

This is "Dame Margret's . . ."
FZ: Son.
"Son To Be A Bride." Take 1. Take 1.

FZ: Again, please.

We're rolling. Take 2. 2.

One, two, three, four . . .

FZ: Again, please. Keep— Come on, keep it bright.

We're rolling. Take 3.

FZ: Get It gets disinterested in [f...]spots.

[...]

One, two, three . . .

Stand by. We're rolling.

"It Must Be A Camel." Take 1. Take 1.

We're Okay, rolling. 2.

One, two, three, one, two . . .

One . . .

Take 3.

Three, one, two . . .

FZ: Another one, please . . . Hello! One more, please.

Still rolling, this would this'll be 4. 4.

You know, [...] the dotted quarters before we go into the 4/4.?
FZ: Yes.
You want me to fill it between those?
FZ: Hit 'em and them then fill.
Right.
FZ: And also, you can fill more during the melody. And I can could dig some passpasses— in the eight A section all the way around. Withing Within the first eight bars especially.

We're rolling. Take 4.

Oh, wait, there's one more thing, uh, before the—

Still 4. 4.

One, two, three, two, three two . . .

FZ: Again, please. Hello. John?
John: Yeah.
FZ: Passes. You know, should be like, uh, 32nd note raging monstrosity, you know, like, uh, destroy the mood completely.
John: Right.
FZ: Okay?
John: Yeah.

Rolling. 5. Take 5.

One, two, three, four, five . . .

FZ: Hello?

Rolling. Take 6. Take 6.

FZ: Those, those fills are good. You can go even more so.
John: Okay.

Three . . .
Rolling. Take 6.
. . . four, five . . .

FZ: Again. Hello? Just make sure when you come off of 'em you get right down tight to onto the beat.
John: Oh, you— Okay.

Take 7. Good old 7.

One, two, three, four, five . . .

FZ: Another start.

Take 8.

Two, three, four, five . . .

FZ: Ah . . .

Rolling. This would This'll be take 9. 9.

FZ: What? This is the atmospheric glidelighting. You want— You want it removed?
Yeah . . .

Rolling. Take 9. 9.

FZ: On the Top 40 of in Saudi Arabia, "It Must Be A Camel."

Take 9.

One, two, three, four, five . . .

FZ: Hold it. Hello. It sounds marvelousSo marvelous up—

FZ: Intercut. Five bars before the bridge.

FZ: One more, please. Hello. Hello! Another one, please. Ah, do it— Play a different kind of beat during that— Same place. Do something on the ride cymbal, please.

Intercut. 4.

One, two, three . . .

FZ: Are you kidding me? Hmh hmh hmh . . .

Intercut. 5. 5.

FZ: You're on.

Two, three . . .

 

We're rolling. This is "Natasha." Take 1. Take 1.

One, two, one, two, three . . .

This is Take 2. 2.

One, two, one, two, three . . .

Rolling. 3. 3.

One, two, one, two, three . . .

FZ: Again. Ian, a little bit less stiff on the, on the chords. Try to and listen to John a little bit more and make it groove along.

Rolling. Take 4. 4.

One, two, one, two, three . . .

 

One, two, three, four . . .

Tune 2. Take 1.

Tune 2. Take 1.

Tune 2. Take 1.

Tune 2. Take 1.

FZ: Good work.

 

 

 

We're rolling. "Transition." Take 1. Take 1.

Yeah [...]

One, two, three, two, three two . . .

FZ: Another one.

We're Still rolling. Take 2. 2.

Yeah, when we get through that, we do the whole thing again. We're just gettin'—

Rolling. Take 2.

One . . . two . . .

FZ: Marvelous introduction.

We're rolling. Take 3. 3.

One, two, three, two, three . . .

We're Okay, rolling. 4.

FZ: Ian, might why don't you play the other [...].variant of that . . .l—

[...] Stand by, we're rolling. the This is a the continuation from the old reel 6. "Transition." Take 6.

One, two, three, two, two . . .

FZ: Again, please.

We're Still rolling. Take 7. 7.

Three beats.

One, two.

Take 8.

Attention The tension [...]mounts.

FZ: Girl writes Girdle rides up, girl writes girdle rides down.

Rolling. Take 8.

[...]Six beats.

One, two, three, two, two . . .

Nah.

I got [...] I think [...]

Yeah, that sounds— sounded good too. All right.

John Guerin: We got it, Frank.
FZ: Good. I like that roll thing that you do you're doing at the end of the intro. It sounds good,; don't destroy it.
John Guerin: Okay.

Take 10.

John Guerin: Oh, I just killed— It's the first time I I've ever killed a fly with my brushes, man.
You don't didn't kill it,; it's he's moving, man.
John Guerin: Oh. Got it.
Right.No, he's—
John Guerin: Okay.
FZ: Only one?
John Guerin: Right.

We're rolling. Take 10.

One, two, three, two, two . . .

FZ: Again.

This would This'll be take 11. 11.

One, two . . .

This would This'll be 12 1/2.

One, two, three, two, two . . .

FZ: Could you start again, please. The juncture between the introduction and the first downbeat of the melody was just a little lumpy, you know.
John Guerin: Gravy.
FZ: Let— Yeah. Let the introduction taper off so it's there's a— there's a slight separation. In case anything goes wrong, it gives me a chance to cut on one of the other introductions.

We're rolling. Take 14.

One, two, three, two, two . . .

FZ: Hold it. Hold it. We now we'll will do an inter—

Stand by, gentlemen. This would This'll be Intercut, to Take 14.

Now where're we starting from?

How many bars before—?
Four bars.

Before the rod. Okay.

Two, three, two, two . . .

Intercut 2.

One, two, three, two, two . . .

FZ: Do another one, please, and when you get to that "dah-dah-dah-dah-daah" make the left hand really— a little fatter . . . A Get a little darker . . . No, wrong chord. "Dah-dah-dah" . . . You had got that weird thing dangling down the chord that that chord. That sounded good . . .

This would This'll be Intercut 3.

One, two, three, two, two . . .

Ian: Hey, Frank, that should be a little could be lighter.

We're rolling. Intercut 4.

One, two, three, two, two . . .

We've [...] in [...] should have been into the bolero.
Yeah, that was quite good.

FZ: Watch those chords, Ian. Some of them 'em are a little bit weird.

Greenies.

Ian: I'd say they were wrong.

This would This'll be . . .

FZ: I want it to be tackled since I've tactful, seeing as how you've been playing for seven hours, but . . .

We're rolling. Intercut 4.

That's—

A little more greenie.

One, two, three, two, two . . .

We're Still rolling. 5. 5.

One . . . One, two, three, two, two . . .

We'll relax a little bit. One . . . I think we came up on [...]

Yeah.

One, two, three, two, two . . .

FZ: This tempo was [...] out to playing under what you've been doing. It's a shade of the shade— The t—

Rolling. This would will be Intercut 7.

One, two, three, two, two, three . . .

Good John Guerin: It's a good ending.

FZ: Dah-dah-dah-dah-dah.

Intercut 8.

One, two, three, two, two . . .

 

 

FZ: Start that pattern right after the violin solo.
?: All right.

Engineer: We're rolling. "Directly From My Heart To You." Take 1.

Two . . .

Take 1.

One, two, three . . .

Engineer: We're rolling. "Another Not A Waltz." Take 1.

FZ: OhHey, you want 'em all off?

Yeah.

FZ: Okay. Turn the lights all off, please.

FZ: Okay.

Engineer: Take 1.

FZ: One, two, three, one, two, three . . .

Don Preston: I think it ran out.

Rolling. 4. 4.

We're rolling. This is "Mr. Green . . . Genes." Take 1.

One, two, three, four . . .

Take 2.

Rolling. Take 3.

One, two, three . . .

Engineer: Stand by. We're rolling.
FZ: This is called "Big LegsLeg."
?: "And Little Socks."
Engineer: Take 1.
"Big Legs." Take 1.
FZ: Big legs and little socks.
Take 1 and rolling.
Here we go.
FZ: Oh. Hold the tape.
Rolling. Take 1.
FZ: Don't worry about it. Here we go.
Rolling. Take 1.

FZ: It's gonna start off like that.

FZ: Do another one.

And that sure was a lot of "Big Legs."

 

 

 

 

 

 

 

 

FZ: That's where I got the idea for the Hot Rats album—the title for the Hot Rats album. There is a recording that I picked up in Europe that had—I think it was "The Shadow Of Your Smile," with Archie Shepp playing on it. And he played this solo—it just sounded to me immediately like there was this fucking army of preheated rats screaming out of his saxophone. That's what it sounded like.

David Ossman:

Hi there, kids. The name of this song is called "Peaches En Regalia." It tells the story of a bowl of peaches that lives in the Royal Garden Hotel, across the street from the Kensington Market in London.

"Peaches En Regalia." That's one of six amazing rock & roll concertos from an album called Hot Rats. Hot Rats is a new album on Bizarre/Reprise. The music is written and performed by Frank Zappa. In spite of that fact, we think you should obtain it.

 

David Ossman:

Hi there, kids. The name of this song is "Little Umbrellas." Well, it tells the story of a bowl of umbrellas that lives in the Royal Garden Hotel, across the street from the Kensington Market in London.

"Little Umbrellas." One of six amazing rock & roll concertos from an album called Hot Rats. Hot Rats is a new album on Bizarre/Reprise. The music on Hot Rats is written and performed by Frank Zappa. Now please don't be put off by this fact. Try to be objective. Buy the record anyway.

 

 

 

FZ: "[...] Miniscule Umbrellas," #1.

FZ: Are you rolling? "This Must Be A Camel."

FZ: "Son Of Mr. Green Genes."

FZ: I want you to go into intimate detail about Willie The Pimp.

Annie: Willie The Pimp. The famed person who first said, "Son-of-a-bitch! Oh, excuse me, there's a lady in the car. [...], son-of-a-bitch stupid bastard!" Wearing the clothes.

FZ: Quickly—

Cynthia: Loony socks, white shorts, skinny dumpy legs, and a big fat stomach, and a big cigar hanging out of his mouth, straw hat, and sitting down, and he says, "Son-of-a-bitch!"

Annie: Willie, who sits on in his ch— in front of the TV set all day and night, day, at night goes down to 42nd St. and pimps around there unknown to his wife and grateful children—

Cynthia: Tell him about the Lido Hotel.

Annie: The Lido Hotel, where he sometimes hangs out with some prostitutes, and, when heuh, when it's—

Cynthia: No, we were gonna call, we were gonna call uh, a lady—no, we were gonna call Willie and tell him we're a beautiful lady, measure— measurements 36-24-36, tell us him to meet— meet us at uh, in front of the Lido Hotel, and then—

Annie: A well known prostitute house.

Cynthia: And then he will he'll be expecting this beautiful blonde to come by, and he'll be standing in front of the Lido Hotel—

Annie: When his wife walks by.

Cynthia: And we walk by, and then he just won't know what to do, and, he, "Son-of-a-bitch, get away from here!"

Hot meat
Hot rats
Hot cats
Hot ritz
Hot roots
Hot soots/Hot ritz
Hot soots
Hot zitz

Hot meat
Hot rats
Hot cats
Hot zitz/Hot ritz
Hot roots
Hot soots

 

 

David Ossman: Frank Zappa took a heavy trip recently. Got into some new things. Turned into his own good vibes. Got heavy behind his own mind. Went deep into inner space and found . . . Hot Rats. An album almost too psychedelic, almost too spiffy to listen to. On Reprise/Bizarre, where the other Mothers are also heavy on your head.

FZ: We'll see you later.

 

FZ: Can you still hear me? Can the machine hear me? Bingo bungo bango bongo?

FZ: "Green Genes" rhythm track.

FZ: Watch me now! Hah!

 

FZ: Another one!

David Ossman: Hot Rats is a new album on Bizarre/Reprise. Now we're not gonna tell you who made it yet because most people think that his music is ugly and too weird and wish they to have nothing whatever to do with him and the craze crazed minority he represents, okay? You can see if we tell you who made this Hot Rats album right off you'd push the button to another station [...]and that'd blow it. Okay. Nevertheless Hot Rats is really a good album—it has a lot of pictures all over it, and if you hold the outside cover, which is a pink infrared closeup of Miss Christine of the GTO's under a yellow light it turns black & white mysteriously right there in your hand. Now in spite of this fact, we feel that it's it is imperative that you obtain Hot Rats. We hope that you will discover the work of this exciting composer, this, this daring arranger, this, this reasonably competent guitar player—who must unfortunately remain anonymous during this commercial.