Roxy & Elsewhere [LIVE] [ORIGINAL RECORDING REMASTERED]

Frank Zappa,the Mothers, Frank Zappa

Product Details

• Audio CD (May 2, 1995)
• Original Release Date: September 10, 1974
• Number of Discs: 1
• Format: Live, Original recording remastered
• Label: Zappa Records
• ASIN: B0000009SK
• Also Available in: Audio CD  |  Audio Cassette
• Average Customer Review: 4.8 out of 5 stars See all reviews (63 customer reviews)
• Amazon.com Sales Rank: #30,863 in Music (See Bestsellers in Music)

  Popular in these categories: (What's this?)

  #31 in	Music > Rock > Live Albums > Progressive Rock
  #86 in	Music > Indie Music > Rock > Progressive

Editorial Reviews

Amazon.com
This mostly live set features Zappa performing with the popular Mothers of Invention line-up of the early 70's--including jazz-funk meister George Duke, Napolean Murphy Brock on saxophone, and Ruth Underwood on percussion. Highlights include the souped-up funk of "Pygmy Twylyte," burning renditions of favorites "Penguin in Bondage" and "More Trouble Every Day," and the hilarious monster movie tribute "Cheepnis." Duke steals the show on several tracks, and Zappa's guitar work and "master of ceremonies" showmanship is in top form. --Andrew Boscardin

Product Description
IMPORTED FROM JAPAN BY RYKODISC

This collector’s dream set completes our 20-disc series of limited edition Frank Zappa Japanese imports. Packaged in deluxe mini-album jacket sleeves, these 10 classic albums are packaged to re-create the original vinyl packaging in miniaturized form! --This text refers to an out of print or unavailable edition of this title.

See all Editorial Reviews

Customer Reviews

Most Helpful Customer Reviews

31 of 31 people found the following review helpful:

5.0 out of 5 stars Probably FZ's best live album, December 6, 1999

By	John S. Ryan "Scott Ryan" (Silver Lake, OH) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

ROXY & ELSEWHERE is arguably Zappa's best live album. It features what was, for my tastes, the best lineup of musicians he ever shared a stage with: Napoleon Murphy Brock, Bruce and Tom Fowler, Ruth Underwood, the demon-fingered George Duke, and several others you can read about in the liner notes. (Anybody who enjoyed this cast of characters should also check out the studio album ONE SIZE FITS ALL.)

Zappa is comfortable and at ease with his audience on this album; he delivers a couple of relaxed monologues about, e.g., monster movies, and his guitar work is always both brilliant and accessible. His musical arrangements are funky and tasteful; his lyrical satire is in top form, has left behind the snide contemptuousness of some of his early stuff, and hasn't yet taken on the bitter, curmudgeonly edge that came to characterize some of his later work. In short, he comes across as what he was: a genius guitarist and composer who was enjoying himself onstage with both the audience and the band.

There are some serious Zappa classic on this album -- notably "Cheepnis," his hilarious but appreciative parody of low-budget monster movies (". . . the monster, which the peasants in this area call FRUNOBULAX . . . "); a redux version of FREAK OUT's "Trouble Every Day," rendered this time out as a slow and bluesy number with an achingly brilliant guitar solo; and the very, very long "Be-Bop Tango (Of The Old Jazzmen's Church)," which occupied an entire album side on the original LP and features both Zappa's signature "audience participation" and some terrific keyboard-and-vocal work from George Duke ("This is BEEEEEEEEEEEEE-bop, even though you think it doesn't sound like that . . . ") -- plus some others I won't list here.

Classic stuff. In short, Zappa at his finest, and a must for FZ fans and neophytes alike.

12 of 12 people found the following review helpful:

5.0 out of 5 stars ARRF!!, November 4, 2000

By	Solo Goodspeed (Granada Hills, CA United States) - See all my reviews

Many will disagree with me here, but honestly, right before this album came out, I was finding my devotion to my utmost musical hero severely tested. Overnite Sensation was fun, but not as amazing as what I was used to from FZ. Apostrophe' plain left me cold, despite how popular it was amongst new Zappa converts.

Roxy and Elsewhere restored much needed faith. I had seen some of this material played live in concert, heard something about a PBS special he was working on, forked out my hard-earned neo-teenage cash for a double live album, and was dancing on the ceiling from the first listening. I'd never heard such a great live recording, and the energy from the performance brought a much-needed element missing from the bottom-heavy, too-clean production of the two previous albums.

"Penguin in Bondage" is a hilarious view of sexual deviance, made somehow more so due to the restraints of having the performance recorded for television broadcasts; since he could not resort to outright raunch, the lyrics are peppered with strange, suggestive images (ie: kleenex on a coat-hang wire), and the song becomes a surrealistic goof on the whole 70s S&M phenomena. Zappa later pays homage to creature features of the 50s and 60s in "Cheepnis", a love letter to all those who ever sat out late night movies on TV just to look for costume zippers, 2x4s on fake cave sets, and visible nylon strings on giant insects.

A highlight of the album kicks off with an affectionate (yes, Frank COULD be affectionate) recollection of life in Palmdale, "Village of the Sun", famous for its turkey farms. Without missing a beat the band segues into a phenomenal instrumental of shifting rhythms, textures, keys, sounding by turns jazzy and cartoonish, even quite beautiful (Bruce Fowler's tromboning can ellicit chills), and through it all Zappa maintains the theatrical aspect as well ("ladies and gentlemen .... WATCH RUTH!"). Not only are his musicians expected to play complex, very difficult music ..... they also had to make it look fun.

This is exemplified in the final piece, "Be-Bop Tango", whose live performance borders on the athletic. In between the two tightly-structured sections his musical crew is given license to improvise, free-form, around a series of secret hand signals before coming back together to bring the piece to an abrupt finish. At one point during the proceedings, Zappa explains "Jazz isn't dead; it just smells funny."

In the five or so years that were to follow this album's release, Frank Zappa would go on to create the most extraordinary music of that decade, some of which was not to be heard until nearly twenty years later (see Laether). Apostrophe' snagged him a gold album, but it was this later release which really clues the listener in to the direction he was going. He was not finished pushing the limits yet. ... .

10 of 10 people found the following review helpful:

5.0 out of 5 stars best live recording of nixon era outside of nixon tapes, May 14, 1998

By A Customer

This is simply the best-sounding live recording I have ever heard. Most of the disc was recorded using 16-track equipment, a rarity for 1973. It sounds like you're in a small-club, in the third-row, center. Not only is the listener hit with a jazz/funk/blues small-big band-big bang (11 members: 3 guitars, 2 keyboards, 3 percussion, 3 brass) fronted by the free world's most underrated guitarist (see solo on "More Trouble Every Day") but Mr. Zappa's spoken and compositional humor is at a peak. (see "Cheepnis") Mostly songs with words, this disc features two inconceivable-for-stage instrumentals which are effectively nailed. This album is virtual Zappa and, although no substitute for the real thing, offers a slight return to perhaps Zappa's most astute combo. A 10? This one goes to 11. Get it, folks, even if you have to hide it from the spouse.