Composer Reacts to Frank Zappa - Big Swifty (REACTION & ANALYSIS)

Bryan reacts to and talks about his thoughts on Frank Zappa - Big Swifty
ORIGINAL VIDEO // • Frank Zappa - Big Swifty
SPECIAL SELECTION REQUEST // www.paypal.com/paypalme/criti...
OR // ko-fi.com/criticalreactions
LINKTREE // linktr.ee/criticalreactions
Contains links for Special Selection submissions, the CR Patreon, access to the CR Discord Server, the CR Twitter profile, and more.
0:00 Intro
0:55 Reaction
13:57 Initial Thoughts
15:27 Analysis - Introductory Idea
22:06 Analysis - Rhythm Section Roles
26:06 Analysis - Keyboard Soloist
30:24 Analysis - Violin (?) Soloist
34:24 Analysis - Finishing Out the Song
37:36 Analysis - Frank's Solo
47:54 Outro

[@stevedotwood]

I have to say this though. There are already two occasions where I noticed in posthumous releases that the Zappa Family Trust, Ahmet (Zappa's son) put out anything without thinking about the quality of Frank's solo contributions. On one occasion, it's a cover of Little Richard's "Directly From My Heart To You". Zappa decided to discard his own solo on the track when he was still alive, since it wasn't up to his standards and released it in 1970. Ahmet not realising his dad was very critical of his own work, releases everything that's in the vault without thinking, which is not a good thing. And this is such a case as well. I wonder how many other tracks he released posthumously with bad solos or compositional mistakes, since I rarely buy Zappa albums released by the ZFT.

[@enggopah]

The ZFT has been so frustrating. Though they've put out a few great things. I wonder what will come out now that they sold it all to Universal.

[@stevedotwood]

@@enggopah Roxy Movie and Performances are really great. Can't do wrong with that.

[@CriticalReactions]

Interesting to hear. But it gives me a new appreciation for this song. I often see fans hold up Zappa as this unflinching, chaotic person who would do anything musically regardless of how it would be received. And instead it appears that Zappa was very keen on controlling his image, especially if he discarded musical ideas that didn't meet his standards. To find that this is a night where Frank just wasn't feeling it paints a very human picture of him and I absolutely adore that. He was, after all, just a mere human like the rest of us and it's always nice to get a chance to hear the less than perfect performances or ideas from him. I think it does a lot to ground him as a person as well as a creative and showcase a bit of his creative process. I initially wrote this solo off as pretentious but now I see it as a humbling experience that, quite possibly, he never intended for others to see.

[@Peter-K]

@@CriticalReactions these live recordings that come out of the vault are raw Zappa, not refined the way he liked when HE put his music into a permanent format. They are however, pieces of musical history now, and should be shared the way they are, I like them, despite who released it. Consider this, in his own words, Zappa said every night his bands would go and give a two hour kick ass show, no matter what. When he was choosing what he considered best, he was doing it like a diamond buyer choosing which gems are the best, doesn't mean that which was left behind is not a jewel in its own right. New box set just came out called Erie, the song 'Well' caught me by surprise (Sung by John Lennon with Yoko during her scream phase), might want to check it out. It's available on YT

[@MrRemcoLamberts]

@@Peter-K Totally agree with that. From both fan and music historical perspective the vault is of great significance and value, and this cannot be compared to work released by FZ himself. For instance the full Halloween show releases.

[@alldayadventures5418]

Put in perspective, this was done in 1973. No one else was doing this and surviving to do more. No corporations supported him, he would not let them. He did his own thing. Today many folks would just quit cause it's too hard to be different. Zappa has over 100 albums in his short time on earth... many have come since his passing... many folks Love it, many folks just don't get... But there is something for everyone....

[@tixximmi1]

And Buckethead has over 300. Saw Frank some 25+ times. Never saw Buckethead.

[@peeper879]

Love your analysis of Zappa's stuff. I think you were distracted by the 4 4 time change. It took me AGES to appreciate all Zappa's gifts as an improviser. He often seems ' wayward ' but familiarity with his language brings me greater appreciation of his gifts. This solo appears to rely a lot on playing against the rhythm section and playing cross rhythms. He can seem to be sloppy but really isn't at all. Zappa took risks in his solos which few jazz or rock improvisers did: yes this may not be one of his best but it is a valuable document none the less. Regarding the switch to 4 4 for the solo, I think it is instructive to consider that GREAT jazz improvisers like Charlie Parker would often choose to improvise over a limited number of chord changes - this obviously, in my opinion, meant that they could relax and be more creative in a context which was less complex rhythmically and or harmonically. I agree that the improvised solos can often not work in the context of the compositional whole. I also feel that the listener try to be tolerant of the apparent weak sections in improvised solos - years of listening to lots of jazz and rock soloists has given me a less critical perspective on this art, as it is clear to me that very few can produce solos which consistently show some signs of originality and creativity - Zappa is one of the most creative in my opinion. Too many improvisers think more notes = better. Studying improvised solos may not be the most instructive of pastimes but it certainly has given me a broadened appreciation of a musicians interpretive gifts.

[@Valerio352]

electric violin it is, from jean-luc ponty

[@chrisogburn8240]

+phase shifter

[@b.l.fisher8230]

Enigmatic Oceans is 🔥

[@SpaceCattttt]

This wasn't one of the better performances of this piece, but even so, it's a decent example of the structure of Zappa's progressive jazz in a live setting at this time. As for Frank's solo, well, some people get it and others don't. There's no right or wrong there. Did he play sloppily here? Yes, indeed. But he did so by choice. And it was also his choice to solo over a 4/4 beat. And why did he do that? I'm not sure, but I know he never did anything without reason. I've heard him solo over far more elaborate time signatures than 11/8, and at great tempos, so it's not as if he couldn't do that this time, either, if he wanted to. But clearly he didn't. Perhaps he thought his particular style of playing would sound better in 4/4? Or perhaps his Gibson SG didn't lend itself very well to playing similar solos to what the other musicians were playing? No idea. But in terms of what he actually played, the key to "getting" Frank's style is to think of the notes as a person or persons having a conversation. He himself pointed out that he often wrote melodies and improvised solos that emulated the sounds of people talking. If you remove the words from an average conversation and only keep the notes they produce, you end up with wildly complex and often jarring patterns and rhythms, etc. I personally find that stimulating to listen to. Many others don't.

[@thewaldfe9763]

Actually you can hear that on many recordings (except the ones in blues form): in the middle of the song there's a section, often with a different key signature and chord progression (often just alternating between two chords) which Zappa is improvising a guitar solo over and then it goes back to the actual song afterwards.

[@SimonRHoule]

Never mind the "Road Tapes" recordings. They were released in the 2000's and are of far inferior quality than most releases. My favorite Big Swifty is on You Can't Do That On Stage Anymore Vol. 1.

[@progperljungman8218]

Ouch! Love your honesty even though it sometimes hurts... Think you might enjoy the Waka/Yawaka version better. Lots of brass and a long joint soloing with guitar and trumpet. Perhaps a more jazzy version as well. Recorded for the album live in studio I'd guess. Anyways, although FZ is one of my absolute guitar gods this version's solo isn't one of his stronger moments imo. Great song though! You're right about the electric violin (by Jean-Luc Ponty) btw. Ruth Underwood usually played xylophon, marimba and vibraphone. I'm pretty sure this wasn't a "glockenspiel exception" 😊

[@erikahlander3489]

Agree! In the concert in Stockholm a few days before, this song was not recorded. Maybe they played it after the cameras was quit. I don't remember today and I didn't stay to the very end. I think they played at least for 20-30 min more. Would had been interesting to compare. Did you see that Stockholm concert? (...but I remember that Ponty's violin was bright blue, and when I see the TV recording it shows it was obviously not!)

[@CriticalReactions]

Wait, that was a xylophone? I swear that sounded metallic to me, not wooden. I'm gonna have to give it another listen, maybe the Waka/Yawaka version this time around.

[@progperljungman8218]

@@CriticalReactions 1. She also plays the vibraphone which is metallic as you know. I believe that might have been it here (for the most at least - she often did frequent alternations) 2. In the Waka/Jawaka version there's less prominent percussion I think.

[@pablovandyck]

One Shot Deal and Waka/Jawaka form side 2 of that album. Listen to them together.

[@carlharvey6461]

An astounding, if criminally underrated, guitar solo by Frank is to be found on the trio instrumental, "The Ocean is the Ultimate Solution". More than just an awesome title, it is the final track on the contractual obligation album (to free him of his servitude to Warner Bros.) released as 'Sleep Dirt' in 1979.

[@avantprog6902]

I haven't looked at the credits, but I know Jean Luc Ponty played with Frank.

[@plopcoen6222]

Thank you for the insightful and very absorbing dissection of this performance of Big Swifty. Your epic takedown of Zappa's solo was fascinating and thought-provoking. Personally, I really enjoy this solo [a dozen or so idiosyncratic ideas, interesting phrasing, interspersed with bits that are searching or even sloppy, over a clattering groove, couldn't ask for more!], so your doesn't-suffer-fools-gladly perspective is very enlightening to me: it'll help me understand why some friends are alienated by such performances on the guitar while clearly not being as able as you are to articulate [and perceive] what they feel is amiss or unengaging. This is certainly of more value to me than someone extolling its virtues merely because it is Frank. As I say, I like this solo/rendition [your review of it made me go and relisten to it] but I found your rejection of it enthralling. It seems to have made some commentators here defensive enough to dismiss the entire release, which I also find interesting. For me, Road Tapes Vol.2 is a superb document of an exquisite band playing some highly-cherished parts of Zappa's songbook. It's also a brilliant recording considering its origin and ancient purpose. I've now listened to a few more of your reviews/reactions. Great stuff. Keep on keeping on!

[@CriticalReactions]

Thanks! I'm glad to hear from someone who enjoyed this performance of Big Swifty. As you noticed, most of the convo has been dismissing my reaction or dismissing this release -- neither of which I think contribute to good musical discourse. Also thanks for being such an open minded individual. Hope to see more comments from ya on other videos.

[@sonicart1808]

Awesome analysis sir! I would be overjoyed if you could react to a piece from Franks album " The Yellow Shark" performed by the "Ensemble Modern" called "Dog Breath Variations + Uncle Meat" which is actually 2 pieces blended together.... these are beautiful orchestral compositions from Frank performed to his specifications... also "Outrage at Valdez" is stunning from the same album too... I have never seen anyone react these on KZbin so it would be great to see someone with professional musical knowledge do this....I really enjoyed this reaction BTW. Oh as far as i know the Glock on this is played by Ruth Underwood.

[@tuizimtozzi]

I love your Zappa reactions! By the way, welcome to Zappa's extravagant and delicious world

[@tuizimtozzi]

By the way, those 2 notes Zappa plays in the middle of the solo is the closest part of the solo that reference to the main theme. If you listen again you'll easely recognize the note's interval and duration.

[@marcvanderiet5592]

It''s Jean Luc Ponty on electric violin indeed

[@PaulPadoan]

You are right, and there are good reasons that Zappa didn´t release it during his lifetime. Most releases now are for the completist collectors, too many warts. Check out the original big band release. I still wouldn mind to be there at the concert.

[@zelamoon]

Zappa played with violinists Jean Luc Ponty, L Shankar, and Sugar Cane Harris. Maybe others I can't think of right now

[@reedcording]

My favorite version is from the Make a Jazz Noise album. But it’s all bad ass!

[@alocyn]

By the way the percussionist is Ruth Underwood, the violinist is obviously Jean Luc Ponty, and keyboard is George Duke...

[@jonathanhenderson9422]

Always fun hearing more Zappa, especially since I've heard far too little of his discography. One of these days I'm just going to devote a month (or three) to listening to everything I can get my hands on from him. Even when I haven't been in love with what I've heard it's always been utterly fascinating. Love how he liberally mixed rock, jazz, and modern classical. I always say King Crimson were the middle ground of those three genres, but Zappa very much was too. This particular track seems more in his jazz-fusion mode, though with the opening having more of a contemporary classical vibe. It does get a bit too noodly at times for my taste, but in the right mood I enjoy noodly jazz (love a lot of late Miles Davis, which was VERY noodly!).

[@lunamotionproductions9559]

IMO opinion his best albums were in the period from Hot Rats up to Joe's Garage. I like plenty of the stuff afterwards, but he delved into sophomoric lyrics too often and let that "I Am the Slime" social criticism behind. Mostly. His brought that vibe back with Heavenly Bank Account but often just fell upon potty/sexist "jokes." The music remained awesome, of course.

[@greggerypeccary]

The Zappa percussionist you were talking about is Ruth Underwood and she actually quit playing music, saying there is no-one worth playing with after working with Zappa! And, BTW, Zappa was originally a drummer, hence the very rhythmic aspect of his music and his attention to good drummers. And it's violin, Jean-Luc Ponty.

[@jfffjl]

I think Zappa tended to use musicians for his own purposes until he used them up (according to his standards) and then let them go. He did start as a drummer but I think he found that it limited his exposure as the star and picked up the guitar partly for this reason.

[@stevedotwood]

The original version on the Waka Jawaka album is so much better IMO. Frank ruined it for me with the solo. But the very slow render of the main theme at the end is almost as great as the Waka/Jawaka version. Always reminds me of Duke Ellington in a way.

[@progperljungman8218]

Agree to some extent. But I do love to get more of Underwood's work and also Ponty's violin in this version.

[@progperljungman8218]

Also agree on your added props to the ending section. I think there's lots of cool stuff here overall.

[@articircle]

I'm usually not too big on solos in general, so to have the guitar solo go on that long was not my cup of tea either. To add to your list of things that keep me coming back: the way you break down all the pieces that contribute to why something works or doesn't work for you :)

[@user-vn1zb9ov8d]

Funnily enough I never thought Zappa's guitar solos were the most important things in his work - they could easily degenerate into total self-indulgent noodleness (I wouldn't touch Shut Up and Play Yer Guitar with a barge pole). It's the extreme variety and intensity of his work with just some of the funniest lyrics ever that gets me. Genius yes, best guitar soloist ever? Meh.

[@todd8155]

What is interesting is that there are so many arrangements of many Zappa songs, often times with different arrangements, instruments, solos, singers, and musicians over the years. Some are better than others. For this song, the Waka Jawaka version is much better IMO, but this was the first time that I heard this version. The alternative would be to always play the song the same way through the years; I personally like the variety.

[@adfresh2266]

For the life of me I do not understand the Zappa suggestions people make. Nothing against this song, but there are so many more fun songs for reactions to. Understand it's basically a Zappa does Zappa album but anything from The Yellow Shark just seems too obvious for this channel. Thanks Brian and fellow Zappa lovers, no disrespect meant

[@alocyn]

The only FZ approved version is from LP Waka/Yawaka, there are some average versions live but the studio recording is a fine masterwork, great solos, good recording and a lot of horns...

[@withoutdestination7840]

I agree that the studio version is the gold standard, but I also think that the versions on 'You Can't Do That On Stage Anymore vol 1 and 2, by eventually the same band, are far superior to this live version.

[@alocyn]

@@withoutdestination7840 Yes, i agree.

[@pablovandyck]

Jean-Luc Ponty played with Zappa for a couple of years. Don "Sugarcane" Harris played violin on Hot Rats. Not sure who is playing on this version.

[@progrockplaylists]

i love experimental music but nobody whos influenced by zappa is as good as zappa himself

[@lunamotionproductions9559]

Frank was a stellar composer and guitar player. However he did most of his composing on a standup piano, picking at the keys one by one. Apparently he never took the time to learn how to really play the piano. After the composition was transcribed (he knew how to write music expertly) he'd bring in band member Ian Underwood to flesh out the chords, etc. Ian's wife Ruth was on vibraphone/percussion. At the time of this recording Zappa was using a guest electric violin player, Jean-Luc Ponty. Zappa also produced a solo Ponty album, King Kong which was based entirely on Zappa's original composition. IMO the Underwoods and George Duke (keyboardist) and drummer (Chester Thompson) wre with Zappa they complimented his pieces best. But subsequent bands were also great. I just missed Ruth's contributions. IMO Big Swifty is one of his better pieces but all the solos should have been shorter by 50%. Try listening to his other instrumental work, like Orchestral Favorites (with the band) or The London Symphony Orchestra. He paid out of pocket to "rent" them. It was very expensive so he couldn't afford more than a day or two of rehearsals. It's a very deep composition. BTW I believe that all band solos were written and rehearsed often, while Frank preferred to play his solos off the cuff. He was very keen on rehearsing for months before every tour. "Jazz isn't dead.... it just smells funny." -- FZ

[@thecool9]

One of Frank's motto's was "Anything Anytime Anyplace For No Reason At All". With all your talk about "purpose" and whatever, this may explain your lack of understanding.

[@thomasvieth578]

I think that’s Jean-Luc Ponty on violin. The famous Frenchman was a regular in Frank’s bands in the 70’s

[@CGMiller]

Lol watching your facial reactions is my favorite part of videos. You can really tell when you enjoying something and when you aren't lol you look so sad at 11:36... like you really wish you could enjoy it hahaha

[@CriticalReactions]

Yeah, underwhelming might be a poor description for my feeling during that solo 😄. Especially given what I've heard from Zappa previously.

[@robmongar1414]

I know that Jean Luc Ponty played violin with F.Z. for a while

[@charleslehner6083]

The electric violin is played by Jean Luc Ponty... He is pretty good...

[@jay-remedy-plz]

Interesting. I tried to like Zappa many times over. The one time I came close was hearing a guitar jam in a song where the Mothers of Invention was named. From my youth, Hendrix live Star-Spangled Banner, distortion and imperfections are usually big win for me. For a similar reason I suppose, I can’t thoroughly enjoy Robin Trower or most bluesy stuff. I began subscribing to your channel as a way to train my ear so to speak. I often hear mentioned how Jazz impacted so many 60’s 70’s drummers and I’m still trying to “hear it”

[@stereoreservoir]

Thanks Bryan! This was a great critical analysis. I should have found a better recording/performance for the request but your reaction to Frank's solo in real time cracked me up to be honest. Admittedly not his best showing but its classic Frank . its just that kind of spastic sound that he uses so often as well as the chaotically improvisational nature of his approach to the "guitar solo" that gives that sort of sloppy impression often times. I believe frank is a great guitar player, he himself has said before that he doesnt feel all that virtuosic for lack of a better word he said something like "i cant sing and play, i cant look out at the crowd and play difficult lines" he has come up with some outstanding solos this is not one of them lol and he often did make jokes like "this next song is really difficult, thats why im not going to play on this one" But for me, overall as a piece of composed music this is packed with memorable ideas and I totally understand your criticisms about this track and the solo especially. 👍

[@tixximmi1]

Ponty was the violin player. Also Sugarcane Harris plays violin.

[@Heathsmusic1]

I think that your analysis of Frank’s solo is a good one. There are a couple of things going on here. There was a tuning issue plus the brash fuzz tone wasn’t a good choice for many of the lines which he would normally use a more subtle distortion. Also, one important thing to note in defense of Franks less than great performance is that I believe this concert was performed outdoors with temps in the low 40s and playing guitar specifically, is torture on steel strings plus it effects the wood causing real time tuning and harmonic imperfections. He could have just been having a bad playing day on top of it all. My take on why Frank’s solo sections most often switch to 4 from odd time sections is stylistic one. When the other sections are rooted in classical or Just complex arrangements using jazz elements. His solos always brings it to a straight rock blues element, so I think he just follows the format in a way. I’ve heard him play in odd times as well plus in many of his pieces with the complex composed Glock lines , he plays in lock with Ruth in some cases, so the skills are there. After all, he wrote the notes.

[@danalawrence4473]

Bryan, the regular album release of Big Swifty is much better than this particular version, but it's all good. But, please forgive me, I am going to change the topic. Just 2 nights ago, Magma played the Montreux Jazz Festival (the last time they did so was 1973, with the Brecker Brothers playing!). They livestreamed the concert and it was astonishing. The latest iteration of the band has 7 (!) singers, comprising a choir, as well as drums, 2 keyboardists (one of whom sings), guitar and bass (who is the son of a former legendary bass played in the band). The opening song was a new composition, actually written by keyboardist Thierry Eliaz, called Walomendëm Warreï. Here it is, in this clip, beginning at 2.06. Listen to the vocals! Holy cow! Listen to the counterpoints in what appears to be fairly static music, but is driven forward with such power. It is hugely influenced by Orff's Carmina Burana, as you will hear: : kzbin.info/www/bejne/gmfTko2bepprgqc

[@danalawrence4473]

Oops, they played Newport with the Breckers, but Montreux a year or 2 later.

[@HakanTunaMuzik]

why did this person send this badly recorded version I don't know, I won't even bother watching this reaction as this is a sub standard version. The Road tapes series that this is from is a series of vault shows released from tours that where not recorded profesionally and never intended for release as they were not good enough, 3 volumes of this series was released and Frank would have never released such badly recorded music. I am gratfull for the series as we did hear some good music but really they are not good enough recordings for a reaction of this type. This was a missed oppurtunity as the real version of this from Waka/ Jawaka is simple amazing, maybe you may want to check it out and see what you missed. it's a completly different beast kzbin.info/www/bejne/oKGnoH2ioqeWiKs

[@ganazby]

Agreed. Frank would be furious!

[@laynesanders738]

fz: dirty love do eeit!

[@MisterWondrous]

Here, let Frank explain it to you. kzbin.info/www/bejne/bYrSoYtmh6ergtk

[@HellenKillerProject]

My favorite is the "Sheik Yerbouti" .... great album ....

[@bassjock9404]

The 11/8 section is easy to feel as 4/4 3/8 - 1 & 2 & 3 & 4 & 123

[@metalcedy]

true, never noticed that it was the same feel as in "Keep it greasy"

[@MrWaterpumpkin]

I also do NOT like some of his solos, this one in particular, but DO think he is one of the best guitaris of our time. Beacause his soloing is based on the moment, meaning the state of mind, the linkage of the mind to the situ around. So, you (not personally you) can't blame a man being in such and such state of mind. You take it or leave it. But i IS himself!

[@wowwhywow]

why aren't you listening to the ORIGINAL version?

[@progperljungman8218]

Because this one was requested by the special selector as explained in the beginning of the video.

[@wowwhywow]

@@progperljungman8218 ok... but a real critique of THE COMPOSITION should be evaluated with the desired final product of the compser, not a live version that was released posthumously. However, I understand your position, give the guy what he wanted. But may I gracefully suggest that you check out the original version BEFORE you make your final decision on the compostion?

[@gramps6334]

His bands were incredibly good. This is so tight and very difficult.

[@natepepin09]

I'd agree with the guitar solo, weakest part and went on too long. I liked the style and roughness it had, gave it some character, but the length and repetition made it sound less stylistic and instead more sloppy. Like if someone speaks in a unique way, it can be entertaining to figure out what they are saying, but if you start to realize it's just garbled incomprehensible speech, then it loses its initial charm. Wonder if he was having health issues at that time.

[@MrWaterpumpkin]

You have a Dissertation on music? It must weigh tons... :)

[@steveM1341]

Probably has been answered below, but if not, it's Ruth Underwood you are thinking about.

[@woodyoffmark7944]

Jean Luc Ponty on violin

[@withoutdestination7840]

There are many different live versions of this one out there, you just happened to pick a stinker. I don't believe that Frank would have released this one of he had been alive.

[@SimonRHoule]

The whole "Road Tapes" collection is far inferior that other releases. It's as if the series was created to be filled with stinkers. None of those shows have the prestige to be called what they were like London Hammersmith or Philly '76.

[@progperljungman8218]

I don't think this is a stinker at all! It does have a waker sound production and Frank's solo is kinda "meh" at times. But there's lots of cool stuff overall and I actually don't think he and with any of his bands were able to do a real stinking performance. More or less satisfying though.

[@jandenbrok9574]

If you go Zappa, please stick to what Frank released himself.

[@bokkiegerber4628]

kzbin.info/www/bejne/oKGnoH2ioqeWiKs The original version that counts

[@josephlewis8148]

I like the fact that you don’t like everything. Music is and should be subjective. One thing about Frank Zappa, he was away tinkering with his own compositions. There are Zappa songs that after multiple listening I just didn’t like, only to hear a different version decades later that grab me. This also leads me back to the original version (the one that I didn’t like) and reliable that Frank was either hampered my musicians who couldn’t play the parts has he heard it In His head and/or he has finally realized what he wanted to hear. The one mistake that you keep making is that you attempt to think of Zappa’s music in a genre (Jazz, jazz fusion, rock, etc), think of it more as a composition, which can and has be adapted to any genre and has been, without losing the strength of the composition.

[@thewaldfe9763]

Good point. He played some songs over several decades with completely different bands and changed the styles a lot - sometimes even DURING live performances...

[@parrytonneath]

Boo, Isssss, Booo, issss. I'm Not going to vote this review down, But it's not fair. (stamps feet and cries). The Grand Wazoo version of this piece of music will tell you everything you need to know. Still. I think the guitar solo on this track is a belter. But I could listen to Zappa playing, Three Blind Mice, and it would sound shit hot to me. Total Zappa freak. isd

[@RalphGregoryJohnson]

There are about 400 hours of recordings FZ released himself. I'm sorry you were rec'd this one. Analyzing this was a waste of your time, when perfection was within your grasp. The original Waka version is sublime. I'm crying.

[@CriticalReactions]

I'm actually happy I got to check this one out. I've heard a ton of FZ stuff that is perfectly performed and it was neat to hear something that wasn't that. Perfection is nice sometimes but not something that I'd prefer to solely listen to.

[@petertrotman7708]

Underwood.

[@blahblah2556]

Check out Captain Beefhearts Owed T'Alex, just for a laff....or not

[@greggerypeccary]

Regarding Frank's solo: not a very successful one. Just a bad night? Whatever. You need to keep in mind this is a posthumous, archival release. This means Frank was probably not satisfied with this solo, either. This is something people need to remember about most posthumous releases: they were not approved by Zappa. (Had he thought this was a great solo, he would have included it in one of his guitar solo albums...)

[@charleslehner6083]

Notice similarities to Mahavishnu Orchestra

[@bigjohntexas0013]

I am a huge Zappa fan as well as a fan of his soloing. This one isn’t great. Since all of his solos are improvised, some miss. Some are transcendent.

[@jabu003]

I don´t like the choice of this live version it doesn´t make ANY sense .....studio is much richer intense , better sounding and Zappa would have never approved this release ! This is for fans only . Studio version even has a different instrumentation . Ponty and the drummer were not even there......thumbs down for the choice not the reaction . ( Zappa would never aprove the release of this version)