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After spending most of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta). While some lyrics still raised controversy among critics, in the sense that some found them sexist, the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitar virtuoso Steve Vai, who joined Zappa's touring band in the fall of 1980.
The same year the double album You Are What You Is was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, thereby giving him complete freedom to work.[151] The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but focused mainly on rock songs with Zappa's sardonic social commentary—satirical lyrics targeted at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the US administration as well as their use of religion as a means of raising money. Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reaganite era and its "obscene pursuit of wealth and happiness".
In 1981, Zappa also released three instrumental albums, Shut Up 'N Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through the CBS label due to popular demand. The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979–1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well".[155] Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006.
From hit single to classical performances
In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song, "Valley Girl" (topping out at #32 on the Billboard charts). In her improvised lyrics to the song, Zappa's daughter Moon Unit satirized the vapid speech of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon" and "barf out". Most Americans who only knew Zappa from his few singles successes, now thought of him as a person writing "novelty songs", even though the rest of the album contained highly challenging music. Zappa was irritated by this, and never played the song live.
In 1983, two different projects were released, beginning with The Man From Utopia, a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on Tinseltown Rebellion. The second album, London Symphony Orchestra, Vol. 1 contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra. A second record of these sessions, London Symphony Orchestra, Vol. 2 was released in 1987. The material was recorded under a tight schedule, and with Zappa providing all funding, helped by the commercial success of "Valley Girl" This was after Zappa had experienced unsuccessful and financially costly attempts to have orchestral works performed. Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break. The track took 40 edits to hide out-of-tune notes. Conductor Nagano, who was pleased with the experience, noted that in "fairness to the orchestra, the music is humanly very, very difficult". Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far.
For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier as a compositional and performance tool. Even considering the complexity of the music he wrote, the Synclavier could realize anything he could dream up. The Synclavier could be programmed to play almost anything conceivable, to perfection: "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time".[162] Even though it essentially did away with the need for musicians,[163] Zappa viewed the Synclavier and real-life musicians as separate.[162] In 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger, contains orchestral works commissioned and conducted by world-renowned conductor Pierre Boulez (who was listed as an influence on Freak Out!) and performed by his Ensemble InterContemporain, juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works as he found them under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled.
The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". Finally, in 1984, Zappa released Francesco Zappa, a Synclavier rendition of works by 18th century composer Francesco Zappa (no known relation), and Them or Us, a two-record set of heavily edited live and session pieces.
On September 19, 1985, Zappa testified before the US Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization, co-founded by then-Senator Al Gore's wife Tipper Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. Zappa saw their activities as on a path towards censorship, and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry.[169] In his prepared statement, he said:
The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?
Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention. Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton, Al Gore (who admitted to being a Zappa fan), and in an exchange with Florida Senator Paula Hawkins over what toys Zappa's children played with. Zappa went on to argue with PMRC representatives on CNN's Crossfire in 1986 and 1987.[171] Zappa's passion for American politics was becoming a bigger part of his life. He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts. He even considered running for President of the United States.
Zappa later expanded on his television appearances in a non-musical role. He was actor or voice artist in episodes of Shelley Duvall's Faerie Tale Theatre, Miami Vice and The Ren and Stimpy Show. A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment.
Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings. He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital compact disc medium. Certain aspects of these re-issues were, however, criticized by some fans as being unfaithful to the original recordings. Before CDs came onto the market, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software).[180] In 1989, Zappa considered his idea a "miserable flop".
The album Jazz From Hell, released in 1986, earned Zappa his first Grammy Award in 1987 for Best Rock Instrumental Performance. Except for one live guitar solo, the album exclusively featured compositions brought to life by the Synclavier. Although an instrumental album, Meyer Music Markets sold Jazz from Hell featuring an "explicit lyrics" sticker—a warning label introduced by the Recording Industry Association of America in an agreement with the PMRC.
Zappa's last tour in a rock band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis), The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's "Stairway to Heaven"), and Make a Jazz Noise Here (mostly instrumental and avant-garde music). Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6.
Frank Zappa
17-May 1988, Barcelona, Spain
132 mins 45 secs, A+
CD 1:
01.Preamble
02.The Black Page #2
03.Packard Goose Medley
04.Sharleena
05.Bamboozled By Love
06.Black Napkins
07.When The Lie´s So Big
08.Planet of The Baritone Woman
09.Any Kind of Pain
10.Jesus Think You´re A Jerk
11.Sofa
12.Find Her Finer
13.Big Swifty
CD 2:
01.I Ain´t Got No Heart
02.Love of My Life
03.The Torture Never Stops Medley
04.Bolero
05.Watermelon In Easter Hay
06.Whipping Post
07.I Am The Walrus
08.The Illinois Enema Bandit
09.Strictly Geentel
http://fp.io/45b7mm41/
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