===================== Cruising with YCDTOSA =====================

maintained by

Francesco Gentile <effeg@tiscali.it> ver 5.0 11 May 2003

* * *

"some of the edits are, as edits, they're works of art, I must say"

FZ to Goldmine, 1989

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Contents ========

Foreward Introduction The Actual Cruise Two different editions Sources & related information Acknoledgements History of the document

Foreward ========

First of all, I think this is the right place to consider how Frank Zappa explained the basic nature of the YCDTOSA series back in 1989, right after the issue of Volume 2. An old dream eventually turn out to became true, and the 1989 interview published by Goldmine [WR] is one of the few in which we can read a quite long and annotated description of the project. I remember myself back in 1988 reading back and forth the Volume 1 booklet, I needed more!

Also, considering how essential was remixing, I decided to quote a very interesting article by Chris Michie published by Mix in January 2003 [M2], in which the work of FZ is analysed from the sound engineer point of view. In the excerpt below Michie quotes some interesting insights on YCDTOSA by Bob Stone.

FZ quoted from 'Moving On To Phase Three', interview by William Rulhmann [WR]: The aesthetic goals of that series, "You Can't Do That Onstage Anymore", have more to do with the growth of the music and a celebration of the good parts of live performance. There are a lot of good things to be said about playing on the stage in terms of unique events that will happen one time only for that particular audience and if you've got a tape running and you've captured it, you've got a little miracle on your hands. And so, the things that are included in the series, I generally give the nod to that particular version of a tune that may have occurred on one of those nights when the performance was unique. Sometimes the recording quality is not as good as some other version of it, but I want to put as much of the unique stuff in there as possible. And I don't know whether it's because the frequency of recording has increased over the years or that the bands did more unique things, but it seems in listening to the material available that the more entertaining or unique events are not of the early Mothers of Invention period. In fact, there are very few that exist on tape from the early MOI period. The most unique things that that band ever did were all at the Garrick Theatre in 1967 and there's no tape of that. I have no tape of the Garrick Theatre. There's certain things I am interested in musically, and certain things I am limited to musically, simply because I have to hire human beings to do it. That's one of the reasons why I'm so enthusiastic about the Synclavier, because you can bypass all the human limitations. I already know how to run a band. I know how to do live music. Okay? I've done it. Now there are other things that are more interesting to me, and by the time the complete "You Can't Do That Onstage Anymore" collection comes out, and anybody who wants to take a scholarly approach to it and follow the stuff through and look at the continuity that you're talking about, the way in which things were done, I think that anything that has been written about me in a negative way in the past will certainly be put to rest by what the actual taped evidence is of what lives on the record. People who said there was nothing happening musically during the '70s certainly didn't listen to any of our stuff. There has been, consistently, from the minute that the band was formed, creative, exploratory, investigative, humorous, multi-dimensional stuff going on with this band, just because it has been like a little research laboratory going on in one way or another, to try things. Where other people wouldn't dare try it, because they would be afraid of what it might do to their career, we would try it, because they've already said every bad thing in the world about us. What the hell can they say? We're immune. We're totally Teflon to that stuff. They can say whatever they want. It turns out to be untrue. They can't do anything about it. And so, with that virtual license to explore, I've been happy to take advantage of that and to do all kinds of stuff that other people wouldn't try, for one reason or another. I want to try it, I want to find out what happens if you do this. Sometimes it works, sometimes it doesn't, but at least, if you want to find out what happens if you put this kind of a chord with that kind of note or this kind of a rhythm with that kind of a rhythm, or these kind of words in a certain kind of a setting, the evidence is there. It's almost like a textbook of odd techniques and things that would be useful for a musician or a composer to learn. The experiment is there for you to see. It's just like watching Mr. Wizard on television: when he pours the vinegar into the baking soda, it makes bubbles. Thanks a lot, Mr. Wizard, now we know. But there's a certain element of that in this collection. If you have a certain basic musical knowledge and want to find out what might happen on the fringes of musical experience, it's in there. There are some very strange things lurking in that album, and also some basic good musical performances. You have to consider what the average level of musical skill was during each of the years when those tapes were made, and if you have some knowledge of that, which unfortunately most people don't, then the level of expertise that is exhibited by these bands is amazing. People just didn't do stuff like that back then. The sequencing rules are determined by things like - I like to do shows seamless, non-stop. Used to be, we would stop after every song and then you would tune up. Then came the strobe tuner and roadies who could do it for you and so you wouldn't have to do that. And also, the idea of doing the shows seamless, the albums often edited with songs slammed up against each other, and when I first got the idea of making people play edits live onstage, it turned out to be pretty funny, and so that's another one of the impossible things that you wouldn't expect, the whole band being able to make that unbelievable tempo change at a certain point and just evolve from one musical texture into another and then come back and - that kind of continuity. So the source material for "You Can't Do That Onstage" would probably have one song blending into another song, and so my first choice would be, do I continue with the next tune from this year, or do I keep the same song title, which was the natural sequence, and jump to another year, or do I let the intro start from this year and then change to another thing, or whatever? That's number one. The other that you would decide is, how many slow songs have been in a row, how many fast songs in a row, what is the dynamic of the side? Then you also have to realize that each side is constructed hopefully with some sort of talking in the front, and then the side either goes to an apparent intermission or an apparent concert conclusion. I'm trying to avoid fading out the last tune on the side. So that you have the feeling that you're at a concert, but it's an impossible concert. There's no way you could ever see all those people onstage at the same time, but if you've got a fairly decent imagination, you could especially put the earphones on and be at a show that spans, what, 25 years, with some of the most amazing musicians that were ever put onto a record and there they are, just performing their little hearts out for you. And the digital medium is the perfect medium for that. First of all, it allows you enough time on one side that you can give the illusion of sitting in a concert and that happening to you. Oh, what's in 'em? That's hard, because there's so many titles. It's all about random sequencing. There may be one other volume (in addition to "Vol. 2, The Helsinki Concert") that has a complete concert from a complete band, and that would be something from the '88 band, but everything else is all mix and match and some of the edits are, as edits, they're works of art, I must say.

Excerpt from 'You Call That Music?', by Chris Michie [M2]: By 1988, Zappa was itching to perform again and put together an 11-piece band for a projected six-month tour, Broadway the Hard Way. The tour unexpectedly ground to a halt due to personnel differences, but Zappa was able to salvage three live albums -- two of them two-CD sets -- from the 48-track digital tapes. And, as the tour got under way, he introduced his biggest project to date: the career-spanning You Can't Do That on Stage Anymore series. Though superficially straightforward, being nothing more or less than a record of Zappa's various groups in performance captured over a 20-year period, the You Can't Do That on Stage Anymore series incorporates a slew of mind-boggling edits and demonstrates a total mastery of sequencing -- no trivial accomplishment in the context of 12 concert-length CDs. And, for the first few YCDTOSA volumes, matching ambiences from one track to the next required considerable skill. "Frank loved to edit things himself, like the multitracks," says Stone, who is credited with engineering supervision for the entire YCDTOSA Series. "So he'd take the road tape 24-track and do brute-force edits from one show to another. Now, you can imagine the acoustic and sonic differences from a small club to an open field, not to mention the difference in performances. His idea of editing was to edit for musical accuracy. So it was my job at that point to transform those edits into something that sounded like a natural EQ change. We had some programmable equalizers that I could preprogram for different EQs, and sometimes I'd make the EQ changes on-the-fly as the thing was going. Some of it was done in the mix; some of it was done in the mastering. I ultimately got him away from editing the multitrack and developed a system where I could mix and match to an EQ or a venue." By the time Zappa and Stone worked their way through to YCDTOSA Volumes 5 and 6 (released in 1992), they were able to use Sonic Solutions, which allowed for more or less seamless edits between performances recorded as long as 17 years apart. Zappa also made extensive use of Sonic Solutions' ambience-matching capabilities in his final Synclavier masterwork, Civilization Phaze III, which blended under-the-piano dialogs from the original Lumpy Gravy sessions with new characters and conversations recorded two decades later.

Introduction ============

This document is an attempt to gather what the world, the Internet and affz has been saying about YCDTOSA. Presumed errors in the liner notes, comments, notes on hidden edits etc. Due to various and unpredictable factors, I often miss many affz posts. So, if you affz-er have any comment please mail it to me as well. And of course, please correct my English!

All the lyrics to the YCDTOSA series are available through the Internet in the "FZ Lyrics" web site (maintained by Román García Albertos). This is the reason why I decided not to include lyrics unless they are relevant to specific comments. Also, in the same web pages all the musical quotes included in all FZ albums are mentioned, so here you will find information about musical quotes only if further comments are needed.

The Internet home of "Cruising with YCDTOSA" is the Italian FZ Appreciation Consortium web site:

<http://members.tripod.com/~mambojambo/>. The specific URL is:

<http://members.tripod.com/~mambojambo/cwy.htm>.

An alternative location is:

<http://web.tiscali.it/effeg/cwy/cwy.htm>.

And now, let's go ...

The Actual Cruise =================

+ You Can't Do That On Stage Anymore vol 1 (May 1988, 137:34 min.)

1. The Florida Airport Tape (1:04) 2. Once Upon A Time (4:38) 3. Sofa #1 (2:53) 4. The Mammy Anthem (5:41) 5. You Didn't Try To Call Me (3:39) 6. Diseases Of The Band (2:22) 7. Tryin' To Grow A Chin (3:44) 8. Let's Make The Water Turn Black/ Harry, You're A Beast/ The Orange County Lumber Truck (3:28) 9. The Groupie Routine (5:41) 10. Ruthie-Ruthie (Brock/Berry) (2:57) 11. Babbette (3:36) 12. I'm The Slime (3:13) 13. Big Swifty (8:47) 14. Don't Eat The Yellow Snow (20:16) 15. Plastic People (Zappa/Berry) (4:39) 16. The Torture Never Stops (15:48) 17. Fine Girl (2:55) 18. Zomby Woof (5:39) 19. Sweet Leilani (Owens) (2:39) 20. Oh No (4:34) 21. Be In My Video (3:30) 22. The Deathless Horsie (5:29) 23. The Dangerous Kitchen (1:50) 24. Dumb All Over (4:20) 25. Heavenly Bank Account (4:06) 26. Suicide Chump (4:56) 27. Tell Me You Love Me (2:09) 28. Sofa #2 (3:01)

1. The Florida Airport Tape Wrong date on the booklet and probably wrong correction on the YCDTOSA 2 booklet, which states April, 1970.

Pat Buzby wrote:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

The Florida Airport Tape couldn't have been recorded in April 1970. Flo & Eddie did not join Zappa until after his concert with Zubin Mehta in May '70. Probably recorded sometime in fall 1970. -----------------------------------------------------------------

Also, note that at 0:14 there's a reference to San Antonio and that "Diphteria Blues" from "Playground Psycothics" is about a spread of diphteria in San Antonio and it has been recorded in a Florida dressing room according to the FZ PP liner notes". Patrick Neve tries to shed some light on these facts:

----------------------------------------------------------------- From: Patrick Neve <splat@darkwing.uoregon.edu>

Can anyone else hear Aynsley Dunbar talking to someone about their tour? There seems to be some mystery as to when they were in Florida. According to naurin's tape list: ??-??? 1970, Unknown location 12-Jun 1970, San Antonio, Tx According to other sources, the Mothers were in Amsterdam by this time, which sounds more likely. 18-Jun 1970, Amsterdam, Holland, Live at VPRO, Dutch Television 24-Jun 1970, Fillmore West, San Francisco 23 (or 25?)-Aug 1970, Pepperland, San Rafael, Ca 6-Nov 1970, Fillmore West, San Francisco, Ca 13- or 14?-Nov 1970, Fillmore East, NYC 20-Nov 1970, Columbus Veteran's Memorial Stadium 27-Nov 1970, Manchester Free Trade Hall, Manchester, UK ...and then a bunch of European dates. In the Florida Airport tape, while Mark is talking about his puke, I hear the following simultaneous conversation; (whistling) Boy! MV: Yeah, uh, I'm just asking any-everybody here, Did anybody see me puke on stage? Unknown: What you doin', tourin' the country? AD: Yeah. HK: Didja? MV: I puked on stage. AD: We started in San Antonio HK: You puked on stage? AD: And then Palo Alto, Orlando, and then Jacksonville, and then we're doin' Europe. MV: I did, man. An' I was singin', right in the middle of singin' Easy Meat or somethin', an all of a sudden I started pukin' outta my mouth an' I just put my hand over my mouth, an' I had, (laugh) HK: Ohhhh, That would mean that the tour started in San Antonio show, putting the unknown dated tape at a later time. I would also bet that they didn't get to Am*Dam until a later date, as he doesn't mention having been to Europe yet. I think he mentions Palo Alto, so maybe that includes the California stuff in June, but then it gets a litle disjointed, skipping back and forth between the Pacific and the Atlantic. If one cuts some slack to the tapers who maybe got a date or two wrong, there was time for them to tour Florida conceivably in July, or June, as the YCDTOSA volume I booklet suggests. I see no doubt, though, as Pat Buzby pointed out, that it couldn't have been April as the "correction" in the Stage -----------------------------------------------------------------

The "second level" conversation catched by Patrick continues a little bit after "we're doin' Europe" but unfortunately it becames very difficoult to hear.

2. Once Upon A Time Here are some notes to the lyrics:

once upon a time way back a long time ago, when the universe consisted of nothing more elaborate than Mark Bolman oh, thank you Frank and don't misspell it, that's not Marc Bolan that's Mark Volman #### ##### ----------------------------------------------------------------- From: Charles Ulrich <culrich@pomona.edu> Date: 20 Apr 1995 18:56:54 GMT Bolan. Mark Bolan was the singer/guitarist of T. Rex. Mark Volman (and Howard Kaylan, of course) sang back-up on many T. Rex songs, including the hit "Bang a Gong (Get It On)". (That's why it sounded so authentic when Flo & Eddie did an excerpt from this song on one of their albums.) ----------------------------------------------------------------- [...] Okay, I got one clue number two: I am double knit ###### #### ----------------------------------------------------------------- From: MHB@mitvma.mit.edu Date: Mon, 24 Apr 95 14:37:50 EDT

I betcha that's "double knit," which was the technique used to weave the stretchable polyester fabrics that comprised leisure suits in the '70s, which was the subject under discussion in "Eddie Are You Kidding?" and, presumably, this song as well. -----------------------------------------------------------------

does that help? no, not much Whaddya mean? [...] However, I digress "What this sofa needs" said the Big 'G' ####### [...]

----------------------------------------------------------------- From: Brian Czako <czako@vnet.ibm.com> Date: 5 Dec 95

[...] really should be "The Big 'G'", you know, as in God.

Brian Czako ----------------------------------------------------------------- 2. Once Upon A Time 3. Sofa #1 These two songs were the first two parts of a big piece, that we may call "The Big Sofa", that The Mothers used to perform in the "Flo & Eddie Era". A good take of the whole thing can be heard in the Rhino officialized boot "Fire!". It consists of: "Once Upon A Time I", "Sofa #1" (the present ones), "Once Upon A Time II" (a quick reprise of OUAT I), "Stick It Out" and "Divan" (Zappa named the last part of "The Big Sofa" in "Playground Psychotics" (disc 1, track 13)). This version of "Stick It Out" is still officially unreleased.

4. The Mammy Anthem Wrong date on the booklet: it was performed on July 14, 1982. [BP (see sources)]: solo is shortened, original title was "Born To Suck".

5. You Didn't Try To Call Me Bootleg(s) in which this version has appeared: "Things Wayne Newton Never Told You" (Lp); "The Frank Zappa Famous X-mas Flower Hour" (Lp); "King Biscuit" (Lp); "Songs Einstein, Jr Never Heard" (Cd); "Erdbeben in Munchen" (Cd); "Cuccurullo Brillo Brullo" (2 Cds); "Bavarian Extravaganza" (Cd); "Welcome to the Mudd Club" (Cd).

6. Diseases Of The Band Wrong date on the booklet: it should have been performed on Febraury 19, 1979 (Odeon Hammersmith, London).

Pat Buzby wrote:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

Diseases Of The Band - February 19, 1979. (Based on FZ's comment: "This is our last show here in London.") -----------------------------------------------------------------

Here is the FZ rap bit relevant to the above Pat's comment:

[...] Howdy, folks. Alright, here's the deal: This is our last show here in London. Gee, it's gonna be tough. A few-a few of the boys are sick tonight (cough, cough) but they're still gonna... give you their all. [...]

7. Tryin' To Grow A Chin In the booklet FZ refers to the a WOOLY BULLY "inscrutable band tradition" which occurs in this rendition of TTGAC while Danny Walley was having some troubles with the lyrics. Here is part of the lyrics relevant to this fact:

[...] Now that I'm older Got a place in the town, babe Got a chin on my shoulder 'N' it keeps growing down 'n' down 'n' down I'm scared of the future (should be, I'm horny and lonely) 'N' I wish I was dead (Mattie told Hattie) I wanna be dead instead (shit) I wanna be dead instead [...]

And here is what Vladimir Sovetov and Patrick Neve wrote on this subject:

----------------------------------------------------------------- From: Vladimir Sovetov <sova@kpbank.ru>

'Mattie told Hattie' is a line from the 1965 hit song Wooly Bully by Sam The Sham And The Pharaohs. Here it is:

WOOLY BULLY (Domingo Samudio)

Uno, dos, one, two, tres, quatro Matty told Hatty about a thing she saw. Had two big horns and a wooly jaw. Wooly bully, wooly bully. Wooly bully, wooly bully, wooly bully. Hatty told Matty, "Let's don't take no chance. Let's not be L-seven, come and learn to dance." Wooly bully, wooly bully Wooly bully, wooly bully, wooly bully. Matty told Hatty, "That's the thing to do. Get you someone really to pull the wool with you." Wooly bully, wooly bully. Wooly bully, wooly bully, wooly bully. Interesting to note, that the album Wooly Bully was also on MGM label (MGM E/SE-4297).

For a detailed stuff sorta

"Wooly Bully makes Sam The Sham & The Pharaohs one of the hottest acts in the country and those wild Middle Eastern costumes they wear for all their in-person performances makes them the most colorful group in the land. The impact of the outfits is more than evident on the full-color cover of this album. In spite of the Middle Eastern ring to the name of the group, all of the members are from the southern half of the United States. Sam's real name is Domingo Samudio and he's from Dallas, Texas. He's a Navy veteran who attended Arlington State College in Texas and developed an interest in music and began to work semi-professionally while in school. He sang and played a rented organ with many groups in and around. his native Dallas, and finally purchased an organ of his own and went on the road." -----------------------------------------------------------------

----------------------------------------------------------------- From: Patrick Neve <splat@darkwing.uoregon.edu>

You might add, though, the Frank quote concerning the song. I forget where it is. He said something like it's every musicians dream that a song like Wooly Bully could be written on a paper lunch bag during recess. -----------------------------------------------------------------

6. Diseases Of The Band 7. Tryin' To Grow A Chin Wrong band on the booklet: Ike Willis must be added to the line-up listed (FZ presents IW in DOTB).

9. The Groupie Routine Wrong date on the booklet and probably wrong correction on the YCDTOSA 2 booklet, which states July 7, 1971. This number should have been performed on August 7, 1971, the Pauley Pavilion show where "200 Motels Finale" and parts of "Lonesome Cowboy Burt" (both on Volume 6) have been recorded.

10. Ruthie-Ruthie 11. Babbette Wrong date on the booklet: these songs have been performed on November 8, 1974 at the Capitol Theatre, Passaic, New Jersey (source: affz, Pat Buzby (his source: "Society Pages")).

10. Ruthie-Ruthie Bootleg(s) in which this version has appeared: "Myster Box (The Rondo Hatton Band)" (10 Lps); "Cuccurullo Brillo Brullo" (2 Cds). The "Freak me out Frank, Freak me out" bit at the beginning appears also on the "Remington Electric Razor" vinyl bootleg. This intro is not mentioned in the booklet.

Jon Naurin wrote:

----------------------------------------------------------------- From: "Jon Naurin" <mg20634@gaia.swipnet.se> Date: Wed, 5 Feb 1997

The "Freak me Out Frank" rap is from the very same concert, but it's the intro to Montana, not "Ruthie Ruthie" -----------------------------------------------------------------

11. Babbette Bootleg(s) in which this version has appeared: "Myster Box (The Rondo Hatton Band)" (10 Lps).

Tom Troccoli wrote: ----------------------------------------------------------------- From: Tom Troccoli (ttrocc7007@aol.com)

I actually wrote an article about this for the ol' US-Society Pages (ish 5). I used the complete full 200 Motels script for my resource, as well as pre-production interviews and notes. You may be surprised to learn that even Babette (YCDTOSA 1) was intended to be a 200 Motels tune. -----------------------------------------------------------------

This song deals with dogs and Marty, and a number of people had some comments on this subjects:

----------------------------------------------------------------- From: Vladimir Sovetov <sova@kpbank.ru>

[...] Y'know, (we could share a love) Babbette (we could share a love) I know I had to go on a tour with Zappa That's what Marty said, but Babbette, [...]

Marty is, of course, Marty Perellis the 70s Frank's road manager. And you can hear his very own voice doing intro on YCDTOSA 3. Dickie's Such An Asshole ----------------------------------------------------------------- From: Patrick Neve <splat@darkwing.uoregon.edu>

What DID actually happen with Marty and the dogs? Surely they were only referring to his human female companions. Or did he actually take his pets on tour? ----------------------------------------------------------------- From: "Peter de B. Harrington" <harring@helios.phy.ohiou.edu>

Every Holiday Inn has kennel in back of 'em. No Marty had his dogs (2 Great Danes if I remember), and the female companions were the boogers. Of course, I always wondered if Frank ever literally palmed a booger (not a girl but the snot ball) off on anyone. The dogs were the dogs. ----------------------------------------------------------------- From: Fred H. Banta <fhbanta@flash.net> I can't remember the exact story, but I recall from one of the San Carlos 74 tapes the story of two boogerbears with two dogs and Marty. I think there was also a story about Ruth getting herself off with a Sanyo vibrator. -----------------------------------------------------------------

14. Don't Eat The Yellow Snow Wrong band and incomplete date information on the booklet: Ike Willis must be added to the listed line-up, as for the date [BP] so speaks:

a) Don't eat the Yellow Snow: Feb 19, 1979, Odeon Hammersmith, London; b) Nanook Rubs it: Feb 18, 1979, Odeon Hammersmith, London, first show (poem parts), Feb 19 (religion rap), first part misses a poem recited by Warren; c) St Alphonzo's to Rollo: Feb 18, first show.

Some YCDTOSA poetry Conceptual Continuity/Statistical Density clues (see also "King Kong" from "YCDTOSA 3").

Concernig Poetry, TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 21 Aug 1995

Anyway, I've found another piece of information on YCDTOSA Vol.1. It's not my own finding, though. It's from Society Pages #7. I've read the lyrics of Vol.1, and this reading reminded me of an article which was in the 'DIDJA KNOW...' column of SP #7. It says: > DIDJA KNOW the origin of that twisted poem ("Alone in the > hissing laboratory of his wishes...etc.") that Frank recites > during the "Don't Eat The Yellow Snow" suite from YCDTOSA, > VOL.1? It comes from "Under Milk Wood", a poem by Dylan > Thomas. Since Frank misquotes the middle part of the poem, > dropping a few words, it would seem that he must have been > reciting it from memory. I tried to check it by going to my university's library. Then I did find the quoted paragragh. Here's the original: Alone in the hissing laboratory of his wishes, Mr Pugh minces among bad vats and jeroboams, tiptoes through spinneys of murdering herbs, agony dancing in his crucibles, and mixes especially for Mrs Pugh a venomous porridge unknown to toxicologists which will scald and viper through her until her ears fall off like figs, her toes grow big and black as balloons, and steam comes screaming out of her navel. Source: Society Pages #7, p.52. Dylan Thomas, "Under Milk Wood", J.M.Dent & Sons Ltd., London, 1954, p.63. It's interesting that while FZ himself said 'reading books makes me sleep', he did remember Dylan Thomas's poetry. The result of higher education? -----------------------------------------------------------------

Here are some other notes to the lyrics:

[...] Sounds like a bunch of kids to me) Oh, you want kindergarten. "Hah-ha..." (Denny strikes!) Not bad, not bad. What's the title of that? "Broadmoor" ######### [...]

----------------------------------------------------------------- From: shill@mojo.europe.dg.com

The guy who sounds deranged is rambling about a garden "I want a garden" (This later shows up on the King Kong medley on YCDTOSA vol 3) and makes reference to "Broadmoor". This is an institution for the criminally insane/psychotic - a prison hospital in the UK. -----------------------------------------------------------------

[...] "Broadmoor", alright. Warren, do you know one called Lefrak City? ###### ##### [...]

----------------------------------------------------------------- From: lantz@primenet.com (Bill Lantz) Date: 15 Jun 1996 10:30:03 -0700

scialli@primenet.com (John V. Scialli) wrote:

> Lefrak City (built by a Mr. Lefrak [sic?]) is in Flushing > (Queens) New York (or close by [I'm from Jersey so cut me > some cheese]). It was the first and "model" comglomeration > of apartment buildings, fairly low rent with self-contained > and close by amenities, markets and such. > kinda now, kinda charley, very uglie.

Right and during the 2/18/79 Hammy Odeon show while all the poetry reading was going on during Yellow Snow, a part that didn't make YCDTOSA was Warren reciting his little Lefrak City "poem" at Frank's request. Maybe that's where you heard it Tony.

Bill -----------------------------------------------------------------

More comments about bass licks and keyboards:

----------------------------------------------------------------- From: ekbergb@mindspring.com (Brian Ekberg)

Does the bass play the crazy lick during the instrumental section of "St. Alphonso's Pancake Breakfast?" on YCDTOSA Vol. 1? ----------------------------------------------------------------- From: boilthat@aol.com (Boil That) Arthur plays counterpoint during the first bit, then switches to unison with the melody for the last part. It's astonishing. I seem to recall it was one of his audition pieces - is that correct, Arthur? ----------------------------------------------------------------- From: "Arthur W. Barrow" <bigear@netcom.com>

That's right, you heard right. The original Apostrophe version had the bass playing the counterpoint throughout. I had learned the melody by ear for my audition, and Frank had me play the melody in the second half of that section for our live version. I'm glad somebody noticed! That instrumental section is called "Rollo", by the way. I believe that the YCDTOSA version was from the night we were all victims of "Diseases of the Band". It was a 3 hour show. I played the show sitting on a stool next to a bucket, which I used a few times.) ----------------------------------------------------------------- From: boilthat@aol.com (Boil That)

(in answer to what keyboard gear was being used) "Yellow Snow" has Tommy and Peter using a zillion things. (Although I suspect you're thinking of Tommy's Yamaha CS-80 in conjunction with his EMU Poly-key thing plus the Vocoder - he manned them as if they were one unit, and this was pre-MIDI. -----------------------------------------------------------------

Finally, some notes about "Rollo", the final part of this suite, from The Zappa Patio web pages (<http://globalia.net/donlope/fz/songs/Rollo.html>):

----------------------------------------------------------------- From: Charles Ulrich, <culrich@pomona.edu>

This first part of "Rollo" was not incorporated into the "Yellow Snow" suite. The rest of "Rollo" (following "baroque magnolia") was instrumental in the Petit Wazoo version, and that's what was incorporated into the "Yellow Snow" suite (with new lyrics added). ----------------------------------------------------------------- From: Johan Wikberg <wikberg@mbox301.swipnet.se>

A song called "Rollo" was played on the Petit Wazoo tour in 1972, and was quite different from the "Rollo" segment in the "Don't Eat the Yellow Snow" suite. ----------------------------------------------------------------- From: christopher john smith (smithcj@copper.ucs.indiana.edu)

OK, I tried to resist, because Conceptual Continuity is not my strong suit, but I had to share this little tid-bit in/ "redefining Rollo:" Charles Ives, in the Memos and in the Essays before a Sonata (self-published at the same time as the Concord Sonata and the 114 Songs), uses "Rollo" as the catch-name for the generic mainstream music critic. eg, those who wanted music that "let the ears lie back in an easy chair." Apparently there was a fairly well-known New York Times critic in the 1870s-80s (Ives' childhood) whose first name was Rollo, and whose opinions CEI and his mentor-father despised. -----------------------------------------------------------------

16. The Torture Never Stops Wrong date on the booklet and probably wrong correction on the YCDTOSA 2 booklet, which states February 25, 1978, a quite famous concert (also bootlegged as "Wanna Buy Some Acid?") at the Hemmerleinhalle in Neunkirchen am Brand, the little town outside of Nurnberg that FZ talks about in the "Yo' Mama" liner notes. In the YCDTOSA 1 booklet FZ surely talks about this very concert but the Torture version included in the bootleg tape is not the same.

Jon Naurin wrote:

----------------------------------------------------------------- From: "Jon Naurin" <mg20634@gaia.swipnet.se> Date: Wed, 5 Feb 1997

I'm pretty sure this is wrong. The head is not from Feb 25 (unless my copy is mislabelled), and I've compared the solo too - pretty sure they're not the same either. -----------------------------------------------------------------

Anyway, it should be somewhere else in the same period, the arrangement includes a quote of "Chattanooga Choo Choo" (3:24) that was used by FZ in "Torture" from the beginning of 1978 onward.

17. Fine Girl 18. Zomby Woof Wrong date on the booklet: it should have been performed on July 7, 1982, Parco Redecesio, Milan. "Zomby Woof" guitar solo: Odeon Hammersmith, London, June 19, 1982.

17. Fine Girl TAN Mitsugu wrote:

----------------------------------------------------------------- From: TAN Mitsugu (a930m14m@eds.ecip.nagoya-u.ac.jp)

Where can I find Steve Vai's vocal on FZ materials? I believe that his background vocal can be heard only on live recordings, notably on YCDTOSA series. Please imagine a landscape of stereo panning of '81/'82 band; as you know, almost every member of this band (except Chad Wackerman) took some vocals, but main vocalists were these three: Bobby Martin, FZ and Ray White [from left to right]. But sometimes on some songs (for example, on "Fine Girl" from Vol. 1 and "Disco Boy" from Vol. 4), from the left channel, you can hear SOMEBODY (not Bobby) singing, especially while Bobby is singing in falsetto. Steve's "stunt guitar" frequently exists in the left channel and his stage position tended to be closer to left (according to "The Dub Room Special"), so I assume that THIS VOCAL is Steve's. -----------------------------------------------------------------

18. Zomby Woof Steve Vai talks about ZW:

----------------------------------------------------------------- From: Steve Vai discography web pages URL: <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa1.html>

On this record, there's a pretty good version of "Sofa #2" and "Zombie Woof". "Zombie Woof" was performed on the 1982 European tour. I used to use Frank's Hendrix guitar, it's the guitar that Jimi Hendrix burned in Miami. I used it as a spare and was always a little nervous to play it, but I remember the second show of the tour we had a new guitar tech and my guitar went out of tune so I had to switch guitars. The tech handed me a guitar that had the E string tuned to F. Then he handed me one of Frank's guitars that was missing a string. So, I had to put the guitar down and wait for him to tune my guitar. Frank turned to me to start "Zombie Woof" because I was the one who started the song when he gave the cue. He looked at me and I had no guitar in my hand, and the look on his face was that of surprise, confusion, yet disappointment (and in a way that only Frank could do it). I shrugged my shoulders and smiled, and they started the song without me. The guitar tech was on a plane home the very next day. Oh, well. -----------------------------------------------------------------

Pat Buzby wrote:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

Guitar solo (and possibly other parts) from London, June 19, 1982 (second show). -----------------------------------------------------------------

21. Be In My Video The song is preceeded by a short 1970 chat in wich Aynsley Dumbar seems to negotiate a "knob-job" with a girl who wants to go to Orlando (thanks to Mike Keneally for having recognized the magic two-words word "knob-job" in his "The Poodle Bites! or Repudiating The Poodle" (<http://www.keneally.com/keneally17.html>)). This version appears in the "Does Humor Belong in Music?" video.

21. Be In My Video 22. The Deathless Horsie 23. The Dangerous Kitchen Wrong date on the booklet: these songs have been performed on August 26, 1984 at The Pier, NYC (corrected in the YCDTOSA 2 booklet).

22. The Deathless Horsie [BP]: solo is shortened.

24. Dumb All Over 25. Heavenly Bank Account 26. Suicide Chump Bootleg(s) in which these versions have appeared: "Heavenly Bank Account" (2 Lps); "Halloween" (Lp); "Teenage Wind" (2 Lps); "Arrogant Mop" (Lp). From the comments to these bootlegs included in the "alt.fan.frank-zappa FAQ, Bootlegs Information, Part 2 of 4, Version 4.1, September, 1997":

Tracks 4-6 [here 24-26] appear on Stage #1: "Dumb All Over" has a guitar solo here that was edited out from the Stage version (some people agree with Zappa that the solo was boring, others crave it) and "Suicide Chump" strangely instead has no solos here but several on Stage #1.

27. Tell Me You Love Me 28. Sofa #2 The booklet states that this two songs came from the 82 Genoa concert but TMYLM has not been performed in Genoa. Also I tried to compare my Genoa 82 tape with this version and I noticed at least a little difference. The ending is from an other concert, it's a different date from 2:19 on. Also, FZ thanked Thomas Nordegg too at the end of the Genoa concert.

Here is a possible solution:

----------------------------------------------------------------- From: "JWB" <mudshark@intergrafix.net>

The liner notes say that these tracks are from July 7, 1982 Genoa (Which is already wrong. The Genoa show was on July 5, 1982) and FZ even goes as far as to describing the band's experiences in Genoa. Don't be fooled. They are from the Pistoia show (July 8). -----------------------------------------------------------------

+ You Can't Do That On Stage Anymore vol 2 (October 1988, 116:42 min.)

1. Tush Tush Tush (A Token Of My Extreme) (2:48) 2. Stinkfoot (4:18) 3. Inca Roads (10:54) 4. RDNZL (8:43) 5. Village Of The Sun (4:33) 6. Echidna's Arf (Of You) (3:30) 7. Don't You Ever Wash That Thing? (4:56) 8. Pygmy Twylyte (8:22) 9. Room Service (6:22) 10. The Idiot Bastard Son (2:39) 11. Cheepnis (4:28) 12. Approximate (8:11) 13. Dupree's Paradise (23:59) 14. Satumaa (Finnish Tango) (Mononen) (3:51) 15. T'Mershi Duween (1:31) 16. The Dog Breath Variations (1:38) 17. Uncle Meat (2:28) 18. Building A Girl (1:00) 19. Montana (Whipping Floss) (10:15) 20. Big Swifty (2:16)

General notes on this volume. Bill Lantz wrote:

----------------------------------------------------------------- From: lantz@primenet.com (Bill Lantz) Date: 1 Jun 1996 12:25:01 -0700

Eyewitnesses to the shows in Helsinki wrote an article in an old Norwegian Society Pages about it. Matti Salmonen contributed these facts:

"There were three concerts in (Helsinki in) 1974. The 2 scheduled ones were Sunday 9/22 (2 shows) and the third was 9/23. The truth is that YCDTOSA vol.2 The Helsinki Concert contains material from both days ("Satumaa" was for instance performed on Monday the 23rd)."

From SP# 43 Dec. 1988.

Why do you find it so hard to beleive that it's not one show? Because it says so in the liner notes?

Bill -----------------------------------------------------------------

Jari Lehtinen wrote:

----------------------------------------------------------------- From: jln@sci.fi (Jari Lehtinen) Date: 13 May 1997 In article <33787803.391@skk.inet.fi>, Matti Salminen <matti.salminen@skk.inet.fi> says: > The venue is called KULTTUURITALO (culturehouse!) - if I > remember right it`s by "Sturenkatu"... ---Matti Funny thing is, that this red palace used to be owned by Finnish Communist Party, and in its time it was indeed the best place to hear the best American and British Imperialist artists. Jimi Hendrix, for example. -----------------------------------------------------------------

For the September '73 Helsinki full story, see also [JH].

General notes on the bass drum sound:

----------------------------------------------------------------- From: s0602574@let.rug.nl (Remco Takken) Date: Mon, 21 Nov 1994 22:55:36 GMT

Well, you just can't believe anything you see and hear, can you (sorry for the Hendrix quote on alt.fan.Frank Zappa). Ruben & the Jets never mentioned any overdubs on the cd... YCDTOSA #2 believe it or not, has the bass drum of Chad Wackerman on it. The original Chester notes were put on harddisc, and from there the new bass drum sound was triggered. It's still Chester's playing, with a new sound attached to it. I heard this information from an extreme Zappa freak and sound specialist called Nick Roovers (still a chance that I fucked up his information, blame me in that case). I happen to like this sound a lot, especially on headphones, check out the other Chester Thompson passages on other YCDTOSA volumes. You can now recognise Thompson for a sound he never heard himself, because Chad Wackerman never played that way... ----------------------------------------------------------------- There are only other two tracks from this band on the series: "Smell My Beard" and "The Booger Man" both from YCDTOSA 4. The Gorilla bass drum sounds different in these two, more natural to me also.

And, again on this subject, a word from our Keneally:

----------------------------------------------------------------- From: boilthat@aol.com Date: 14 Nov 1996 20:19:25 GMT

Good ear - that's actually a triggered sample of Chad's bass drum throughout the Helsinki album. I wonder if Chester knows about it? I also wonder how Frank and Bob managed to isolate Chester's kick drum frequency (I'm assuming it didn't occupy its own track) effectively enough to trigger the sample. Mr. Stone? You lurking?

Keneally -----------------------------------------------------------------

But ...

----------------------------------------------------------------- From: "Bossk (R)" <wikberg@mbox301.swipnet.se>

Oh God. Bob Stone just e-mailed me a one-word reply: "False". No, I'm not making it up - Bob Stone really denies the rumour. I think that desperately needs to be included in the FAQ. -----------------------------------------------------------------

However, Mark Pinske has also something to tell to Chris Michie who made a very long interview with him [M1].

----------------------------------------------------------------- Mix: There seems to be some reference in the newsgroups to the possibility that the kick drum on the Helsinki concerts was kind of sampled in or something. Pinske: It was. It's called a Disco Boombox. It was made by dbx. It's a little thing called Disco Boombox. That's what the name of it was. You could spit into it and a kick drum would come out. [Laughs.] You could basically send anything you wanted into it and a kick drum would come out. We did do some triggering with Synclavier and some stuff like that, try to do that. It kind of got a little bit overdone in some ways. But we did manufacture drums out of--what I did was, I would take the original drums on the Helsinki stuff--I sectioned off what was originally just a stereo pair, and then I would take a graphic equalizer, for instance, and find the snare. And EQ everything else out. And then we would use that ridiculously sounding EQ that would spit every time the snare played, and I would externally trigger, using a gate and an external trigger, we'd externally trigger maybe a sample of a good snare that we recorded in the studio. And we tried to make it sound a little bit more real. Because a lot of them sounded just horrible. A lot of them didn't have any drums on at all. They were just a ring-y room. And we tried to give them some definition. And it was real easy sometimes to get a little bit too carried away, and get the proportions a little too up front, or too far back. I think the ultimate drum sound that we ever had was on the "Man From Utopia" album. -----------------------------------------------------------------

Pinske worked for FZ until 1986, but "The Helsinki Tapes" was already announced as a three record set in the 1987 liner notes to the cassette "The Guitar World According To Frank Zappa". It won't be surprising if Pinske was the remix engineer for the early project.

3. Inca Roads The guitar solo for this version has been used, with a different edit, for the "One Size Fits All" version of IR (see the OSFA liner notes).

Particularly: ----------------------------------------------------------------- From: Jeremy Haupt <jeremy146@delphi.com> Date: 9 Dec 1994

The FZ guitar solo on "Inca Roads" is taken from the Helsinki concert that was released on YCDTOSA 2 -- but with some edits. Here are the edits from YCDTOSA 2: Edit 1: from 3:56 to 4:26 Edit 2: from 4:50 to 5:32 Edit 3: from 5:46 to 6:05 Also, the YCDTOSA 2 version features flute notes that punctuate the fifth notes of the septuplets that follow the lyric section immediately after the guitar solo. I'm not sure if I've heard this in other versions. -----------------------------------------------------------------

9. Room Service Just a little note about french cousine:

[...] Look You're going to sleep You're going to sleep I am so hungry Can you bring me something to eat right away?

Bouillia... Bouilliabai? ########### [...]

----------------------------------------------------------------- From: Patrick Neve <splat@darkwing.uoregon.edu>

Bouillabaisse. A very French soup. -----------------------------------------------------------------

11. Cheepnis Dan The Kitti man wrote:

----------------------------------------------------------------- From: dankitti99@aol.com Date: 22 Jan 1997

YCDTOSA2 does not have Um um nummy-nummy-num vocals (that's fun to say, Um um nummy-nummy-num), FZ's narration doesn't have any reverb & the poodle is Frenchie (rather than Frunobulax), Napoleon Murphy Brock sings about his breakfast rather than calling for canned goods and toilet paper. Was that because they had enough toilet paper in Helsinki? If they can steal towels, they can steal toilet paper. Most of the arrangement is similar except the Cheaper The Better vocals are more prominent in the YCDTOSA2 mix. -----------------------------------------------------------------

12. Approximate The "so modern way number 3 'with the feet' " way to perform this song is visually very "exhilarating". I highly recommend the "Dub Room Special" video for a complete amusement with yet another version of this song from an LA 1974 concert.

At the beginning FZ says:

Alright, that's the melody, now, here it is with the mouth, as performed at Eeva's wedding ...

The story of Eeva's wedding as been revealed in an article about FZ in Finland throughout his career [JF]:

----------------------------------------------------------------- 74/09/17 There was no concert this day. FZ was in Helsinki, but it was all PR. [...] One incident worth mentioning is the supper in restaurant Saslik, where he first slightly burned his fingers, when grabbing a shish kebob too greedily. He then immediately stuck his sore fingers in a glass of icy Coca Cola and made a terrible scene. The reporter, Raila Kinnunen, of the magazine Apu described how he finally calmed down when he noticed that there would be no blisters in his precious guitarist's hands. She then assisted him with the shish kebob for the rest of the meal, holding it for him to bite. The rest of the evening was a lot happier... (The following parahraphs contain an interesting conceptual continuity clue.) When Zappa's entourage was finishing their meal, a group of eight young ladies entered. They were having a "polterabend" [bachelorette] party of one Eeva Helkama, who was going to be married next Saturday. It is quite common in Finland that not only the future husbands, but also the future wives celebrate their last single days rather heavily. Eeva was dressed in very old-fashioned grandma's lace underpants and a Black Jack (a condom brand) T-shirt. She offered an apple to every man in the restaurant. FZ got two apples. The entourages got together and spent the rest of the opening hours of the restaurant conversing and having fun. As a result of this meeting, the whole FZ crew got invited to the wedding. Originally they were not supposed to arrive in Finland until Sunday, the day of the first concerts, but Frank decided to change the flight tickets and arrive already on Saturday. From Saslik the FZ party continued to the night-club in hotel Hesperia, where a very high-spirited FZ jammed with an Indonesian dance band. -----------------------------------------------------------------

Finally a quote that's worth mentioning here also since it has been quite obscure for a significant time:

----------------------------------------------------------------- From: Roman Garcia <donlope@ono.com> Subject: Mystery Song #2 in Approximate Date: Wed, 18 Dec 2002 02:10:20 +0100

In case anyone is interested in these little details, I've just found the melody christened by Jon Naurin as "Mystery Song #2" (the one inside "It Just Might Be A One-Shot Deal") quoted in "Approximate" from _You Can't Do That On Stage Anymore Vol. 2_, at 7:21 (approximately, of course). -----------------------------------------------------------------

14. Satumaa (Finnish Tango) A nice photo strictly connected to this song is available through Internet in the Robbert Heederik web page "St. Alphonzo's Pancake Homepage" (http://www.wins.uva.nl/~heederik/zappa/). The photo is a JPEG file (http://www.wins.uva.nl/~heederik/zappa/files/jpg/satumaa.jpg) and it is described in <http://www.wins.uva.nl/~heederik/zappa/files/jpg/satumaa.txt>. Here is the description:

----------------------------------------------------------------- The photograph was taken at the Kulttuuritalo (Culture house) concert hall in Helsinki on September 22, 1974. The persons are Ruth Underwood, Chester Thompson, Matti Koskiala, George Duke, Tom Fowler and Frank Zappa. Matti Koskiala, a veteran Finnish drummer and percussionist, is teaching the band to play a Finnish tango, Satumaa. I scanned the picture from the July 1991 issue of "Muusikko", the Finnish musicians union magazine. I didn't ask their or Mr. Koskiala's permission. The Finnish RSO plays at the same hall. I am proud to have played percussion with them on this very same stage, conducted by Ingo Metzmacher, who has recorded an excellent CD of Conlon Nancarrow's studies with Ensemble Modern.

Matti Sunell ----------------------------------------------------------------- 19. Montana (Whipping Floss) Mike Keneally wrote:

----------------------------------------------------------------- From: boilthat@aol.com Date: 8 Mar 1997 In article <5fpgtu$71l@news.cc.oberlin.edu>, spb0377@alpha.cc.oberlin.edu writes: > On Montana, you can clearly hear Ruth falling behind on > the percussion solo before the verse. But I can't hear the > mistakes on Piquantique either. Some of the unison lines are rhythmically a little askew; not everyone's lining up. I think all the right notes are in there, but the phrasing is slightly awkward ("A right note in the wrong place is a WRONG NOTE" - Scott Thunes to MK, 1987). On another evening he may well have let it slide. Keneally -----------------------------------------------------------------

Here is some more:

----------------------------------------------------------------- From: JWB <mudshark@intergrafix.net> Date: 29 Dec 1998

[...] On the last two beats of the drum solo, Chester and Ruth are BOTH playing a snare drum. This is where Ruth fucks up the first time, coming in about half a beat late with a snare drum note that should be right on the first beat. > However, the second time -- the lick seems perfect to me! I > can't understand why Ruth says that it's too fast. It sounds > to me like she nailed it the 2nd time! Ruth isn't PLAYING the second time! She stops playing during the last measure of the drum solo because FZ is going "too fast" for her. This is why FZ flags the 2nd intro to a halt right at the end of the solo. The snare drum you hear there IS Chester, but Ruth should ALSO be playing. In addition, Ruth also has a snare drum note on the first downbeat after the solo, while Chester has a bass drum note. You can hear Ruth's snare drum note (late) on the 1st intro and in the 3rd intro. It is absent from the 2nd because Ruth stopped to complain about the tempo. FIRST INTRO = Ruth plays last measure of drum solo too slow and hits first beat of the verse a half a beat too late. FZ stops the band, and makes a joke about Ruth having a wild night. He also comments elsewhere (in "Don't You Ever..") that "It sure is slippery in the percussion section tonight...I hope Ruth doesn't fall down and hurt herself". SECOND INTRO = Ruth stops completely during the last measure and yells, "It's too fast for me. I can't keep up!" THIRD INTRO = Ruth finally nails it, of course, because FZ has sarcastically cut the tempo in half. -- John W. Busher mudshark@ptdprolog.net -----------------------------------------------------------------

Right after the second intro, when Ruth stops completely, there is a female voice yelling something about sticks (1:42 - 1:48), I cannot hear "It's too fast for me. I can't keep up!" like John W. Busher seems to (see above). Also at 1:48.100 (to be quite precise) I think there's an edit with the voice of FZ going "One two, one two three four" fading in (if you watch the waveform here, you will recognize a fade in pattern) over what Ruth (did she loose her sticks?) was saying.

Also, there is a clear edit (noise appears and disappears abruptly) between 1:12 and 1:22 where the following dialogue (referred to Ruth Underwood) takes place:

FZ: What happened to you last night? Napoleon: George has a tape of it FZ: George has a tape of it? Ok, we'll use that in the second show! Ready? "Montana" ...

What can we conclude? Surely that the episode is heavily edited, but also that it may be edited out of more than one single performance.

+ You Can't Do That On Stage Anymore vol 3 (November 1989, 135:03 min.)

1. Sharleena (8:54) 2. Bamboozled By Love (6:06) 3. Lucille Has Messed My Mind Up (2:52) 4. Advance Romance (1984) (6:56) 5. Bobby Brown Goes Down (2:44) 6. Keep It Greasey (3:30) 7. Honey, Don't You Want A Man Like Me? (4:16) 8. In France (3:01) 9. Drowning Witch (9:22) 10. Ride My Face To Chicago (4:22) 11. Carol, You Fool (4:06) 12. Chana In De Bushwop (Zappa/Diva Zappa) (4:52) 13. Joe's Carage (2:20) 14. Why Does It Hurt When I Pee? (3:06) 15. Dickie's Such An Asshole (10:08) 16. Hands With A Hammer (Bozzio) (3:18) 17. Zoot Allures (6:09) 18. Society Pages (2:33) 19. I'm A Beautiful Guy (1:55) 20. Beauty Knows No Pain (2:55) 21. Charlie's Enormous Mouth (3:40) 22. Cocaine Decisions (3:14) 23. Nig Biz (4:59) 24. King Kong (24:32) 25. Cosmik Debris (5:13)

1. Sharleena This version was also released (a different edit 6:47 long) as a flexi-disc by the "Guitar Player" Magazine (Sound Page #28) on January 1987. [BP]: announcement, guitar duet & ending are shortened.

Finally, a little note on a bit of 80's Hollywood folklore (The Universal Studios are a cinema amusement park located in Hollywood):

Dweezil is going to play the guitar solo on a song from the 'Them Or Us' album, called Sharleena.

Oooh oooh oooh Battlestar Galactica? ########## ######### Oooh oooh oooh

[...]

----------------------------------------------------------------- From: Tom Troccoli (ttrocc7007@aol.com)

The performance was taped at the Universal Amphitheater, which is located at Universal Studios. The theme park at the time was featuring a Battlestar attraction which was heavily advertised at the time. -----------------------------------------------------------------

2. Bamboozled By Love [BP]: Chicago, Bismarck Theatre (November 23, 1984, 2nd show). Guitar solo is shortened. 4. Advance Romance (1984) [BP]: 00:00 Chicago, Bismarck Theatre (November 23, 1984) 01:03 Vancouver, Queen Elisabeth Theatre (December 18, 1984, 2nd show) 02:31 Chicago '84 Front part of guitar solo is missing.

Thanks [BP] as usual but there must be also a Seattle bit since there are references to the 'Hi-Ho Silver' night (see below). Before going in detail on the 'Hi-Ho Silver' matters, a note on some Italian folklore:

----------------------------------------------------------------- From: Francisco Espinoza <franaesp@entelchile.net>

Patrick Neve writes:

> Hey, what that song that Frank hums a bar of, at exactly 1:42 > of Advance Romance from YCDTOSA vol. 3? It's an old traditional Italian dance song. A 'tarantella'. I think this comes from Tarantula, because people who get stung by them, start dancing like this ! It's similar to Butt-Head's funk dancing style. Leaping sidewards in a hysterical manner... I think it was a quick homage to his Italian roots, in response to Ike's insistent All-American 'Hi-Ho Silver'... -----------------------------------------------------------------

Finally, here are the comments on 'Hi-ho Silver!', the sort of secret word for the December 17, 1984 concert in Seattle (see also Keep It Greasey and Cosmik Debris later on this volume):

----------------------------------------------------------------- From: Patrick Neve <splat@darkwing.uoregon.edu>

It's a reference to the 1938 western serial, "The Lone Ranger". "Silver" was the name of the Lone Ranger's horse. Whenever he took off to go fight crime, he'd jump on his horse, who would rear back on its hind legs, and the Lone Ranger would call out, "Hi-ho Silver, away!" Besides the mask, this became The Lone Ranger's primary trademark, and somehow became permanently ----------------------------------------------------------------- From: ulrich@sfu.ca (Charles Ulrich)

... [Hi-Ho Silver is an] allusion to The Lone Ranger, a famous western series on radio and TV. They also allude to a Lenny Bruce comedy routine about The Lone Ranger. In one of these songs (I forget which), Scott Thunes throws in a snatch of Rossini's "William Tell Overture", which was the theme music for The Lone Ranger. -----------------------------------------------------------------

6. Keep It Greasey [BP]: 00:00 Seattle, Paramount Theatre (December 17, 1984, 2nd show) 01:21 NYC, The Pier (August 26, 1984) 01:48 Seattle 03:23 NYC.

And again on the 'Hi-ho Silver!' subject:

[...] Hi-ho Silver! Thank you, Masked Man! ###### #### Hi-ho Silver! [...]

----------------------------------------------------------------- From: mark@software.org (Stu Mark)

to be specific - the Hiyo Silver, (and 'thank you masked man') were specific to the Lenny Bruce bit, which was very specifically about the masked man being experimental in his sexuality... very funny bit... -----------------------------------------------------------------

Finally in the words of Zappa himself [DO]:

"We had a lot of laughs. For example, one night in Seattle, in the middle of the show, (guitarist) Ike Willis started to do an imitation of Lone Ranger, blurting out, 'Hi, ho, Silver!'. I still don't know why it happened, but I cracked up every time he did it. It must have been road fatigue. He'd keep yelling in the most inappropriate places. The whole show was riddled with bad Lone Ranger jokes and me not being able to sing the right words." 7. Honey, Don't You Want A Man Like Me? [BP]: 00:00 NYC (August 26, 1984) 00:56 NYC (August 25, 1984)

8. In France [BP]: guitar solo is missing, harmonica solo is shortened.

9. Drowning Witch Here is the true, complex story of this version according to [BP]: 00:00 Bolzano, Campo Comunale (July 3, 1982) 00:35 unknown 1984 01:57 Seattle, Paramount Theatre (December 17, 1984, 2nd show) 02:28 Chicago, Bismarck Theatre (November 23, 1984, 1st show) 02:40 Bolzano '82 03:42 Chicago '84 (1st show)

14. Why Does It Hurt When I Pee? In the liner notes FZ tells us a story about the December 15 Salt Lake City concert, so the SLC references in the first part of this version can't belong to the November 23 Chicago concert. [BP]: 00:00 Seattle, Paramount Theatre (December 17, 1984, 1st show) 01:50 Chicago, Bismarck Theatre (November 23, 1984, 1st show) 02:37 unknown 1884

15. Dickie's Such An Asshole Bootleg(s) in which this version has appeared: "Remington Electric Razor" (Lp). DSAA is named "Tricky Dicky" on this bootleg and has the George Duke solo cut out. [BP]: front part is missing.

The lyrics to this songs and the Terry Bozzio rap outro (which can be also seen as the intro to Hands With A Hammer) quote a suicide story. Here is the relevant lyrics bit and some comments to the whole thing:

[...] You missed your girl out there... Lemme tell ya... I love this man, I work for this man But this show has like pushed me Beyond the brink of what I can physically...withstand My hands are... I mean, look at these calices Jesus Christ! I've had a hard tour Jesus, we had the... roadmanager committed suicide ########### ######### ####### [...]

----------------------------------------------------------------- From: "Fred H. Banta" (fhbanta@mindspring.com) The attitude expressed in "Suicide Chump" is obnoxious, but this may very well have been his attitude toward suicides. Who knows, perhaps I would find it less revolting if I were in FZ's shoes in 1977-78(?) when his tour manager ripped off all the band's loot, went to a casino, pissed away the whole lot, came back to his hotel room and killed himself to atone for his sins. ----------------------------------------------------------------- From: Patrick Neve (splat@darkwing.uoregon.edu) Wow, so it's true? What's the story? All this time I thought Terry was making it up as he went along when in Baby Snakes (also just before "Hands With A Hammer") he says that the road manager had committed suicide on that tour. (The cut is from oct. 31 '77). Did his girlfriend (Dale) ever fall out of a window on that tour as well? I always assumed it was just a put-on for the camera's sake, a little bit of pre-concert hamming. If that's what it was, and his claims were based in fact, then it shows a definite amount of insensitivity, both on Terry's part for joking about it, and on FZ's for releasing it in two formats. I don't suppose Frank had much sympathy for the the guy, in any event. So, how did he do it? What was his name? etc. ----------------------------------------------------------------- From: "Fred H. Banta" (fhbanta@mindspring.com) Phil Kaufman, the legendary Human Trombone: "I had just finished a tour with Emmylou when I got a call from a friend of Eddie Tickner who had something to do with the Zappa management firm. Zappa's road manager, Ron Nihota, had committed suicide. The story is that Ron had spent $10,000 of the tour money on drugs and gambling during the first night of a tour. He had done a lot of coke which was a no-no in Zappa's band... Anyway, Ron had cut his armpits, the souls of his feet, and his crotch. He was bleeding badly, Zappa had a fellow named Pancho who was a bag-man -- not the Vegas-type bagman, but he went out and did the luggage... He had come around and heard someone moaning inside the room. John Smothers was standing with him... John was a big, big, black guy with a bald head. He was very intimidating. (He owned a limosine company in Baltimore). Pancho and John knocked on the door but couldn't get any response, so they got a maid to open the door. There was a stream of blood from the bathroom all the way to the door. Ron was lying there moaning, and John said, "Say there, Pancho, you better get some mouth-to-mouth resuscitation there." Pancho replied, "Man he don't need air, he needs blood." So I got a call from Zappa's manager, Bennett Glotzer, in June of 1977, asking if I could come that night to Arizona to take over the tour. I said I could make it the next day. They flew me to Baton Rouge where I met Frank. I was handed a briefcase with blood-stained accounts and road gear in it, all of which I had to sort through to get the tour on the road." -----------------------------------------------------------------

This track has been included in the YCDTOSA Sampler in an other edit (the only other track included in the Sampler with a different edit is Cosmik Debris (see below)):

----------------------------------------------------------------- From: "Roman" <victor@lanza.com> Date: Thu, 23 Apr 1998 01:24:52 +0200 Patrick Neve wrote: > On Mon, 20 Apr 1998, Arne Natvik wrote: > > > have anybody heard this album,and what is on it? where can i > > get a copy? I have got all the others, and I think they are > > GREAT! > > If you've got all the others then you're not missing anything > materially. I guess the version of "Dickie's Such An Asshole" > is shorter. Not enough justification for me. It's not only shorter, it's a different version (the middle part is more similar to the Broadway version, that stuff about Bebe Rebozo and such, it's Rebozo or Remozo?). That's the only difference between the versions in the sampler and the rest of the series as far as I know. There's some different liner notes also in the entries of the songs. ________ Roman mailto:donlope@distrito.com http://www.globalia.net/donlope/fz/ -----------------------------------------------------------------

More precisely, the rap included in the time interval [7:44, 7:49] in the Volume 3 version has been substituted with a longer one in the sampler. This is the 5 seconds Volume 3 rap:

[...] Bebe Somebody Ronald Somebody Who was it? Who? [...]

And this is the longer one included in the Sampler (non everything has been understood yet):

[...] Owned a couple of Bebe Rebozo Owned a couple of Pat Boone Owned a couple of Ronald Reagan And owned a couple of the new vice-president He said if the old must die He said he'd stand by me through thick 'n thin [...] impeachment And he said he'd never know He said he'd never let him do it I said: I believe you I said: Hold down I said: I never cheat [...] I've never lied [...]

16. Hands With A Hammer 17. Zoot Allures Bootleg(s) in which these versions (until 2:24 in ZA) have appeared: "The Eyes Of Osaka" (2 Cds) "Strange Habits" (2 Cds). These two bootlegs have a different cover but are identical. The '76 band used the drum solo HWAH as an intro to ZA. According to [BP] this HWAH version has been shortened. Also, HWAH and the first part of ZA come from Osaka (Kosei Nenkin Kaikan, Febraury 3, 1976 (source: affz, Pat Buzby)), not from Tokio. Lastly, according to [BP], part two of ZA (from 2:24) has been recorded on May 30, 1982 (Arenes, Cap d'Agde, France).

Moreover TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995 At 1:11, during Terry's drum solo, you can hear someone (maybe Roy Estrada) shouting, something like 'Kinishinai!'. It is a Japanese word which means 'don't worry about it', although Roy's intonation is far different from ordinary Japanese, no Japanese considered it as 'our language'. Interesting that the same word is also heard on the outro of 'Dancin' Fool' (the background vocal of FZ chating). Source: 'ZAPPA!' (1992 Guitar&Keyboard Player special issue, p.87). -----------------------------------------------------------------

22. Cocaine Decisions The Palermo riot. Here is a translation to the Italian you can hear in this track, MB is Massimo Bassoli (see also notes & comments to "Uncle Meat"):

----------------------------------------------------------------- min. voice text (#) notes TRANSLATION

1:55 FZ massimo come here

1:58 FZ bring the band on down behind me boys

2:02 MB ragazzi per favore, zappa vorrebbe dirvi di stare calmi, di non gettare niente nello stadio(1) e di non ... avere problemi con la polizia. cercate di stare calmi. non sappiamo esattamente cosa sta succedendo pero' cercate di mantenere la calma cosi' si puo' andare avanti con lo spettacolo. PLEASE GUYS, ZAPPA WOULD LIKE TO TELL YOU TO BE CALM, DON'T THROW THINGS INTO THE STADIUM, AND DON'T ... HAVE TROUBLES WITH THE POLICE. TRY TO BE CALM. WE DON'T KNOW EXACTLY WHAT'S HAPPENING BUT TRY TO KEEP CALM SO THAT THE SHOW CAN GO ON

2:56 FZ seduti per favore PLEASE SEAT DOWN 3:01 GUY1 ma che e'? (2) WHAT'S UP? 3:03 GUY2 hanno rotto, hanno rotto sta porta qui no(4) ... (3) hanno rotto sta porta qui perche' veniva in campo allora siccome la polizia si e'...(5) con(6) la porta aperta non voleva entrasse tutta la gente. Capito? THEY HAVE BROKEN, THEY HAVE BROKEN THIS DOOR THEY HAVE BROKEN THIS DOOR BECAUSE LEADS TO THE FIELD THEN SINCE THE POLICE DID ... WITH THE DOOR OPEN THEY DIDN'T WANT ALL THE PEOPLE IN. GOT IT? NOTES (1) I may be wrong but I suspect MB would say stage instead of stadium but he was a little bit confused. (2) Left channel. (3) Center, then left channel. (4) "no" means no! But you can't translate it in this context. Maybe an attempt would be "RIGHT?". (5) Something strange here happens: I think there is an edit or a strange mix of the spoken parts. What i notice is that the words before the note sign (5) do not match with the following. (6) Here you can hear FZ saying "nig biz" -----------------------------------------------------------------

22. Cocaine Decisions [BP]: 00:00 unknown 1984 00:0? into Chicago, Bismarck Theatre (November 23, 1984, 1st show) 00:49 Palermo, Stadio Comunale (July 14, 1982).

23. Nig Biz [BP]: opening part is shortened.

24. King Kong A clip from the '82 band section (the "blowjob" portion) has been included in "Video From Hell" (Honker Home Video, 1987).

There are some "Thing Fish"/"YCDTOSA series" poetry "Conceptual Continuity"/"Statistical Density" clues. In "The Massive Improve'lence" (from "Thing Fish") at 2:09 Bob Harris sings:

I WANT A NUN! I WANT A NUN! I WANT A BURRO IN THE FROSTY LIGHT!

In this track at 13:50 Tommy Mars sings exactly the same verses, in the Yellow Snow '79 ("YCDTOSA 1") live poetry fashion. Is there any reason for this?

Moreover at 14:34, during the '82 section, *DENNY WALLEY* says "oh you want a kinder garden!". Yes DW, in 1982! What really happen is that at 11:09 in "Don't Eat The Yellow Snow" ("YCDTOSA 1") DW says "oh you want a kinder garden" and this little fragment was inserted in "King Kong" ("YCDTOSA 3") at 14:34.

Lastly, according to [BP], these are the edits: 00:00 Parc Des Expositions, Metz, France, June 22, 1982 05:01 Rainbow Theater, London, December 10, 1971 (Sax & guitar solo are shortened) 12:13 London, Odeon Hammersmith (June 19, 1982, 2nd show) (Keyboard solo & 'Garden' rap are shortened) 14:34 London '79 (see above) 14:35 Metz '82 18:02 unknown, maybe Palais des Sports, Dijon, France, June 3, 1982 23:30 unknown 1982.

25. Cosmik Debris [BP]: 00:00 unknown '84 00:30 Paramount Theatre, Seattle, Washington, December 17, 1984 (2nd show) 01:36 Portland, Arlene Schwitzer Theatre (December 20, 1984) 03:12 Seattle '84 (2nd show) 03:25 Portland '84 04:04 Seattle '84 (2nd show) 04:19 unknown 1984

This track has been included in the YCDTOSA Sampler in an other edit (the only other track included in the Sampler with a different edit is Dickie's Such An Asshole (see above)). In this version the ending is different (from 4:25):

----------------------------------------------------------------- From: pbuzby@surfnetcorp.com Date: 1998/06/10

[...]

Keneally mentions on the "Poodle Bites!" section of his web site that the applause at the end of "Cosmik Debris" is from the Pier in NYC, August 25 or 26 '84. -----------------------------------------------------------------

+ You Can't Do That On Stage Anymore vol 4 (June 1991, 133:59 min.)

1. Little Rubber Girl (Zappa/Walley) (2:57) 2. Stick Together (2:04) 3. My Guitar Wants To Kill Your Mama (3:20) 4. Willie The Pimp (2:07) 5. Montana (5:43) 6. Brown Moses (2:38) 7. The Evil Prince (7:13) 8. Approximate (1:49) 9. Love Of My Life (Collins/Zappa) (1:58) 10. Let's Move To Cleveland Solos (1984) (7:11) 11. You Call That Music? (4:07) 12. Pound For A Brown Solos (1978) (6:30) 13. The Black Page (1984) (5:15) 14. Take Me Out To The Ball Game (Norworth/Von Tilzer) (3:02) 15. Filthy Habits (5:40) 16. The Torture Never Stops (Original Version) (9:15) 17. Church Chat (2:00) 18. Stevie's Spanking (10:51) 19. Outside Now (6:10) 20. Disco Boy (3:00) 21. Teen-Age Wind (1:54) 22. Truck Driver Divorce (4:47) 23. Florentine Pogen (5:10) 24. Tiny Sick Tears (4:30) 25. Smell My Beard (Duke/Zappa) (4:30) 26. The Booger Man (Duke/Brock/Zappa) (2:47) 27. Carolina Hard-Core Ecstasy (6:28) 28. Are You Upset? (1:29) 29. Little Girl Of Mine (Levy/Cox) (1:41) 30. The Closer You Are (Lewis/Robinson) (2:05) 31. Johnny Darling (Statton/Statton) (0:52) 32. No, No Cherry (Ceasar/Gray) (1:26) 33. The Man From Utopia (Woods/Woods) (1:16) 34. Mary Lou (Jessie) (2:14)

1. Little Rubber Girl Wrong date on the booklet: it was performed on October 31, 1978 (The Palladium, NYC), intro from Bismarck Theater, Chicago, Illinois November 23, 1984. Bootleg(s) in which this version has appeared: "Twenty Years of Frank Zappa (Warts And All)" (12 Lps).

2. Stick Together Wrong date on the booklet: it was performed on December 18, 1984 (Queen Elizabeth Theatre, Vancouver).

5. Montana Incomplete date information on the booklet: first part was performed on December 9-12 (?), 1973 (The Roxy, Los Angeles, CA) and second on December 23, 1984 (Universal Amphitheater, Universal City, CA). 6. Brown Moses TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995 An edit occurs at 2:31. There remains a real live segue from 'Brown Moses' to 'The Evil Prince'. -----------------------------------------------------------------

7. The Evil Prince Incomplete date information on the booklet: it was performed on September 25, 1984 (Odeon Hammersmith, London) and on December 18, 1984 (Queen Elizabeth Theatre, Vancouver, BC).

Pat Buzby wrote:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

The YCDTOSA sampler lists this as being from Vancouver (December 18, 1984), while the YCDTOSA 4 notes list it as being from London. I haven't heard the sampler, so I don't know if it's the same version. My guess is that it is and that it includes segments from both cities. ----------------------------------------------------------------- I, for one, have then checked this two version and I think they are identical. Moreover, here are some notes about another edit:

[...] I've a special review Yes I know you really do! I've been saving for years Yes I know you really have For a show just like this, For a really stupid show With POTATOES and QUEERS ###### I'll say it's disgusting, atrocious, and dull I'll say it makes boils inside of your skull [...]

----------------------------------------------------------------- From: johan_wikberg@ssco.se (johan wikberg) Date: 01 Jan 1997 14:09:59 GMT

<richmilnix@aol.com> writes:

> On The Evil Prince, from YCDTOSA 4, at 3:30, there's a crazy > edit when Ike sings "Potatoes and.../...Queers." It's > clearly a splice. My nosy question is, what could possibly > have gone there? The structure of the song as it exists is > so tight, I can't imagine what get cut.

I think Ike does not sing "Potatoes and ... / ... Queers", he only sings "Potatoes and [CUT]" and only the chorus sings "Queers". Ike clearly sung the whole line originally but Frank edited him out - in a very bad edit indeed - maybe because he missed the note or put a secret word in or whatever. So there is no missing time.

Johan

johan_wikberg@ssco.se

-----------------------------------------------------------------

8. Approximate Incomplete date information on the booklet: it was performed on July 8, 1982 (Stadio Municipale, Pistoia, Italy).

Mike Keneally about Steve Vai playing:

----------------------------------------------------------------- From: boilthat@aol.com Date: 27 Mar 1997

Personal fave Vai moment on a Zappa album: his playing on "Approximate" from Stage Vol. 4. Frank pushed him WAY up in the mix (for once). Keneally -----------------------------------------------------------------

Steve Vai himself:

----------------------------------------------------------------- From: Steve Vai discography web pages URLs: http://www.vai.com/AllAboutSteve/disconotes_ycdtosa4.html

This, like most of Frank's other "You Can't Do That On Stage Anymore" volumes, has material on it from different bands. For people who get off on twisted guitar parts (the impossible kind), there's a song called "Approximate" on this record. Frank composed this song with indefinite pitches, basically just rhythms and note directions. We had several different versions worked up. In one performance we were to add our own pitches to the rhythms, in another we would add our own words to the rhythms and sometimes we would dance the rhythms. Yes, that's Frank. This particular night the performance involved notes and the tempo was frighteningly fast, very fast. Unlike many of the other performance pieces I recorded while with Frank, my guitar is mixed very loud in this one. This piece of music is one of hundreds if not thousands of examples of Frank's uncompromising compositional genius. No other contemporary composer can bring together so many different techniques, genres, skillfulness and comic relief. -----------------------------------------------------------------

9. Love Of My Life Incomplete date information on the booklet: it was performed on May 8, 1980 (source: affz, Pat Buzby).

10. Let's Move To Cleveland Solos Wrong date on the booklet: intro ("The Hook") performed probably by some '73/'74 band, the rest was performed on October 28, 1984 (Fine Arts Center Concert Hall, Amherst, Massachusetts) Before the beginning of the real solos, you can hear something you will here again (in an another version) before the beginning of "Smell My Beard" in this volume. Here what affz said: ----------------------------------------------------------------- From: s0602574@let.rug.nl (R. Takken) Date: unknown

You guys also spotted the 9 second 'motiv' played by the 73/74 band going 'rdn...rrr-rud-tud-tudn'? It isn't credited as a song, and it appears twice on volume 4, even between two songs that aren't even from that period!! ----------------------------------------------------------------- From: lantz@primenet.com (Bill Lantz) Date: Mon, 13 Mar 1995 14:30:18 MST

I think this was called The Hook, and FZ had the band (in this case the 73-74 band IMO) cued to do it on a hand signal along with others we all know and love. -----------------------------------------------------------------

11. You Call That Music? Incomplete date information on the booklet: it was performed on February 14, 1969 at the McMillin Theater, Columbia University, NYC.

12. Pound For A Brown Solos Wrong date on the booklet.

Jon Naurin wrote:

----------------------------------------------------------------- From: "Jon Naurin" <mg20634@gaia.swipnet.se> Date: Wed, 5 Feb 1997

Wrong again - it's from Oct 28, early show. It seems that FZ labelled all the 27-31 Oct 1978 tapes as "Halloween '78", and therefore, it says 31-Oct everywhere in the YCDTOSA booklets. -----------------------------------------------------------------

13. The Black Page (1984) Incomplete date information on the booklet: it was performed on December 18, 1984 at the Queen Elizabeth Theatre, Vancouver and on August 26, 1984 (guitar solo) at the The Pier, NYC (source: affz, Pat Buzby).

14. Take Me Out To The Ball Game Incomplete date information on the booklet: it was performed on May 13, 1988 at the Velodrome, Bilbao, Spain.

Here is what Mike Keneally writes on his web page (<http://www.keneally.com/zappa.html>): "I think "Take Me Out To The Ball Game" is one of the most outstandingly absurd things ever to appear on an FZ release".

And Abner Doubleday wrote:

----------------------------------------------------------------- From: jyob@aol.com (JYOB) Date: 27 Jun 1998 12:34:12 GMT

Back in the 1980's the Atlanta Braves were ONE of the worst ball teams in either league. But Ted Turner had them blasted all over Amerika by way of WTBS & cable TV. I suppose that the song is a sort of mock out of the poor Braves announcers who had to make a lousy team seem interesting to the TV audience by quoting meaninless, irrelevent statistics (Baseall is famous for this) like the Braves setting the record for losing 1 run games on Sundays in the month of June. My question is this: Why did Zappa perform this song in Europe where it would be completely lost on the audience since I doubt they get WTBS over there & don't know a "worm - burner" from a banana???

Abner Doubleday -----------------------------------------------------------------

15. Filthy Habits Incomplete date information on the booklet: it was performed on May 13, 1988 (Velodrome, Bilbao, Spain) and on May 19, 1988 (Le Summum, Grenoble, France).

Album(s) in which song has appeared: "Sleep Dirt" not "Studio Tan".

16. The Torture Never Stops (Original Version) Wrong date on the booklet: it was performed on May 21, 1975 at the Armadillo World Headquarters, Austin, Texas (source: "FZ Lyrics" web site).

17. Church Chat Incomplete date information on the booklet: it was performed on June 22, 1982 (Parc des Expositions, Metz, France).

18. Stevie's Spanking Wrong date on the booklet: part one from an unknown May-June 1982 performance, part two was performed on July 9, 1982 (ex Mattatoio di Testaccio, Rome, Italy).

Part of this version appears in "Video From Hell" (Honker Home Video, 1987).

TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995

The Rome performance wasn't used as a whole. Compared to Video From Hell version, the vocal section and the first FZ's short guitar solo is from an unknown performance. At 2:46, when Steve's solo begins, it is edited to Rome. -----------------------------------------------------------------

19. Outside Now Incomplete date information on the booklet: it was performed on November 10, 1984, late show at the Tower Theater, Philadelphia, PA

20. Disco Boy See also comments to "Fine Girl" (YCDTOSA 1).

20. Disco Boy 21. Teen-Age Wind Incomplete date information on the booklet: these songs have been performed on June 26, 1982 at the Olympiahalle, Munich, Germany (source: affz, Pat Buzby).

22. Truck Driver Divorce Wrong date on the booklet: it was performed on September 24-26 (?), 1984 (Odeon Hammersmith, London), on December 17, 1984 (Paramount Theatre, Seattle, Washington) and the guitar solo on June 26, 1982 (Olympiahalle, Munich, Germany).

Pat Buzby wrote:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

Guitar solo (and the short instrumental bridge after the vocals) is from Munich, June 26, 1982. -----------------------------------------------------------------

23. Florentine Pogen The booklet says that this version is from Odeon Hammersmith, London (February 18, 1979) but the first part (until 2:16) come from a 1974 concert. Here again what affz said: ----------------------------------------------------------------- From: spb0377@ocvaxa.cc.oberlin.edu (Pat Buzby) Date: 8 Mar 1995 16:29:46 GMT My theory is that the first part is from the YCDTOSA 2 Helsinki shows, since Chester's bass drum has that same staple-gun sound as on those CDs. Just speculation, though. -----------------------------------------------------------------

24. Tiny Sick Tears Incomplete date information on the booklet: it was performed on February 13, 1969 at The Factory, The Bronx, NYC.

Here is what Ben Watson wrote in "Frank Zappa The Negative Dialetics of Poodle Play" (pag. 491):

This is the same routine that Zappa performed at his orchestral concert at UCLA's Pauley Pavilion on 15 May 1970. It rubbishes Jim Morrison's mythic expansion of Oedipal themes in "The End": when the protagonist declares "father I want to kill you!" his father is "beating is meat with a copy of Playboy" and says "not now son, not now".

F.P. Tullius wrote an article on the 1970 concert entitled "Zubin and Mothers" published in the April 1971 issue of Playboy (this article has been posted to a.f.f-z by David L. Windt on May 26, 1995). In this article Tullius transcribed the 1970 routine.

Here is a short description of the routine:

----------------------------------------------------------------- From: culrich@istar.ca (Charles Ulrich) Date: Wed, 16 Sep 1998 14:30:31 -0700 When I first saw the track list of YCDTOSA 4, I thought "Tiny Sick Tears" must be a parody of "96 Tears". When I bought the album, I decided that I had been mistaken. Several years later, I realized that I had been right all along. It's just that the most obvious part is edited out.

The routine starts with "My Boyfriend's Back". Then comes a song that I don't recognize, apparently titled "I'm Gonna Bust His Head". And then there's "96 Tears", which wanders off into "The End" territory.

This routine was performed over a long period of time when Ray Collins was in the Mothers. It was described in 1967 by Doon Arbus (reprinted in The FZ Companion by Kostelanetz). The YCDTOSA 4 version is from 1969. (Ray was not in the band, so perhaps they didn't perform the whole suite. Or maybe Lowell sang Ray's parts.) Ray performed it with the Mothers on 5/11/70 and 5/15/70. (The latter was in the non-orchestral set that isn't on the bootleg LP but is in circulation among tape traders.)

--Charles -----------------------------------------------------------------

Actually, the article by Arbus published in [RK] is dated April 20, 1969.

25. Smell My Beard See also comments to track 10 "Let's Move To Cleveland Solos".

25. Smell My Beard 26. The Booger Man Wrong date on the booklet: these songs have been performed on November 8, 1974. (source: affz, Pat Buzby (his source: "Society Pages")).

Bootleg(s) in which these versions have appeared: "Mystery Box (The Rondo Hatton Band)" (10 Lps). In this bootleg the titles are different and are: "Boogers of Marty Perellis" and "White Juice on His Beard". The bootleg includes also a track, apparently from the same concert, called "Smell My Beard" which is not the SMB herein included and is still (December 1996) unreleased (see also "alt.fan.frank-zappa FAQ, Bootlegs Information, Part 1 of 4, Version 4.1, September, 1997").

27. Carolina Hard-Core Ecstasy Wrong date on the booklet: it should have been performed on December 17, 1984 at the Paramount Theatre, Seattle, Washington (source: FZShows 6.0, Jon Naurin)

28. Are You Upset? Incomplete date information on the booklet: it should have been performed on February 21-22, 1969 (or June?) at the Fillmore East, NYC (source: "FZ Lyrics" web site).

29. Little Girl Of Mine 31. Johnny Darling 32. No, No Cherry Incomplete date information on the booklet: these songs have been performed on August 24, 1984 (Detroit, Michigan), all but "No, No Cherry" coda.

30. The Closer You Are Incomplete date information on the booklet: first part was performed on December 1, 1984 (Bayfront Center Arena, St. Petersburg, Florida), second part on August 24, 1984 (Detroit, Michigan).

29. Little Girl Of Mine 30. The Closer You Are 31. Johnny Darling 32. No, No Cherry 33. The Man From Utopia 34. Mary Lou Biffyshrew wrote:

----------------------------------------------------------------- From: biffyshrew@aol.com (Biffyshrew) Date: 18 Aug 1998 05:02:57 GMT

StucoHomes wrote: > And I love the 50s medley too... - Who are those songs > originally by?

Little Girl Of Mine - The Cleftones The Closer You Are - The Channels Johnny Darling - The Feathers (I still need the original of this) No, No Cherry - The Turbans The Man From Utopia - Donald Woods & the Vel-Aires Mary Lou - Young Jessie

Your pal, Biffy the Elephant Shrew @}-`--}---- http://members.aol.com/biffyshrew/biffy.html "Eatin' ain't cheatin'."--Bill Clinton -----------------------------------------------------------------

32. No, No Cherry TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995

An edit from '84 band to '82 band occurs before the last word (1:18). -----------------------------------------------------------------

33. The Man From Utopia 34. Mary Lou Incomplete date information on the booklet: these songs have been performed on July 8, 1982 (Stadio Municipale, Pistoia, Italy).

33. The Man From Utopia In the lyrics there is a reference to Francesco Sanavio, here is the story according to Jon Naurin:

----------------------------------------------------------------- From: naurin@mbox300.swopnet.se (Jon Naurin) Date: 1998/04/15

Bossk (R) writes:

> (By the way, in "The Man from Utopia", also on STAGE #4, > there's a line that goes "Well, he had a girl, but [?] says he > got it" - now, how the well do you fill in the [?]? > "Sinobbio"?)

It's "Sanavio". Francesco Sanavio is an infamous rock promotor who organized the 1982 Italian tour. Before the Pistoia show, there was a little riot backstage involving Sanavio. Apparently FZ found this amusing (he even had Smothers shooting it with a portable camera), and this happening became the source for secret words that night. Sanavio used the word "Abbondanza" (I think it means "plenty of") a lot, which became a favourite phrase for the 82 and 84 bands (even think it appears here and there on official releases).

- Jon -----------------------------------------------------------------

+ You Can't Do That On Stage Anymore vol 5 (July 1992, 141:11 min.)

1. The Downtown Talent Scout (4:01) 2. Charles Ives (4:38) 3. Here Lies Love (Martin/Dobard) (2:45) 4. Piano/Drum Duet (1:57) 5. Mozart Ballet - Piano Sonata in B flat (Mozart) (4:05) 6. Chocolate Halvah (Zappa/George/Estrada) (3:25) 7. JCB & Kansas On The Bus #1 (Kanzus/Black/Kunc/Barber) (1:04) 8. Run Home Slow: Main Title Theme (1:17) 9. The Little March (1:21) 10. Right There (Zappa/Estrada) (5:07) 11. Where Is Johnny Velvet? (0:52) 12. Return Of The Hunch-Back Duke (1:44) 13. Trouble Every Day (4:07) 14. Proto-Minimalism (1:40) 15. JCB & Kansas On The Bus #2 (Kanzus/Black/Kunc/Barber) (1:11) 16. My Head? (Mothers Of Invention) (1:22) 17. Meow (1:24) 18. Baked-Bean Boogie (3:27) 19. Where's Our Equipment? (2:29) 20. F.Z./JCB Drum Duet (4:27) 21. No Waiting For The Peanuts To Dissolve (4:45) 22. A Game Of Cards (Zappa/Sherwood/Tripp/Underwood) (0:46) 23. Underground Freak-Out Music (3:52) 24. German Lunch (Mothers Of Invention) (6:43) 25. My Guitar Wants To Kill Your Mama (2:12) 26. Easy Meat (7:39) 27. The Dead Girls Of London (Zappa/Shankar) (2:29) 28. Shall We Take Ourselves Seriously? (1:45) 29. What's New In Baltimore? (5:04) 30. Moggio (2:29) 31. Dancin' Fool (3:13) 32. RDNZL (7:59) 33. Advance Romance (7:01) 34. City Of Tiny Lites (10:38) 35. A Pound For A Brown (On The Bus) (8:39) 36. Doreen (1:59) 37. The Black Page #2 (9:57) 38. Geneva Farewell (1:38)

General note to disc two: Bolzano, an Italian town, is mispelled in the booklet (it says "Balzano"). For some other general notes on this disc see also comments to "Geneva Farewell" below.

1. The Downtown Talent Scout Wrong date on the booklet: it was performed on June 24 or 25, 1966 at tha Fillmore Auditorium, San Francisco.

A couple of comments concernig a recurrent episode:

[...] Cause after all you look so freaky How could anyone believe That what you think and what you feel Comes close at all to what is real

Blow your harmonica son #### #### ######### ### [...]

----------------------------------------------------------------- From: Patrick David Neve <splat@gladstone.uoregon.edu> 1. Trouble Every Day, Freak Out, 1965- "5 in every 4 just won't amount to nothin' more than watch the rats crawl across the floor and make up songs about bein' poor. Blow your harmonica, son."

2. Prelude To The Afternoon Of A Sexually Aroused Gas Mask, Weasles Ripped My Flesh, 1970- After many of Roy's falsetto "Aaahs" and Motorheads 'Snorks', FZ can plainly be heard to utter, at 3:25, "Blow your harmonica, son." ----------------------------------------------------------------- From: "Bert van Oortmarssen" <berto@and.nl> ... but listen to Lightning Slim, who said this line in almost every song (to Lazy Lester, Schoolboy Cleve or Wild Bill Philips or whoever played the harp). -----------------------------------------------------------------

2. Charles Ives 3. Here Lies Love Incomplete date information on the booklet: these pieces have been performed on February 14, 1969 at that McMillin Theater, Columbia University, NYC.

2. Charles Ives Musical materials of this piece are also played in "Didja Get any Onya" (from "Weasels Ripped My Flesh") from 2:45 to 5:05 in the Cd version. The vinyl version of DGAO is shorter and includes only the first 58 seconds (the ending) of the 2:20 minutes section mentioned. The 2 tracks are from two different 1969 concerts.

4. Piano/Drum Duet Incomplete date information on the booklet: it was performed on July 8, 1969 at The Ark, Boston.

6. Chocolate Halvah Incomplete date information on the booklet: it was performed on February 7 or 8, 1969 at the Thee Image, Miami, Florida.

7. JCB & Kansas On The Bus #1 A note on Lovesick Blues, partially included in this track (The Grandmothers included a version of this song in one of their Cds (source: Patrick Neve)).

----------------------------------------------------------------- From: Tom Tuerff (ttuerff@primenet.com) I don't want to throw a monkey wrench into the Zappa Family Trust or anything, but on "JCB and Kansas on the Bus#1" on YCDTOSA#5, Jimmy Carl and Kansas sing a good portion of the song "Lovesick Blues" by Irving Mills, Cliff Friend and Hank Williams. My question is, how much of a song do you need to sing before you need to pay somebody royalties? There's a good portion of the song here. I can't imagine that Frank was much of a Hank Williams fan, so it's possible that he had no idea what JCB and Kansas are singing--probably thought they made it up. But Lovesick Blues is definitely not written by Black/Kansas/Kunc/Barber. -----------------------------------------------------------------

See also:

<http://www.arlo.net/lyrics/lovesick-blues.shtml>.

And of course:

<http://globalia.net/donlope/fz/songs/Lovesick_Blues.html>.

8. Run Home Slow: Main Title Theme 9. The Little March Incomplete date information on the booklet: these pieces have been performed on February 14, 1969 at the McMillin Theater, Columbia University, NYC.

10. Right There Incomplete date information on the booklet: it was performed on February 7 or 8, 1969 (Thee Image, Miami, Florida) and on February (?), 1969 (Criteria Studios, Miami, Florida). Source: "FZ Lyrics" web site.

In the liner notes FZ wrote: "The tape in the background was recorded by Bunk and used in several live concerts during that tour." According to a rumour, Bunk Gardner 'performed' in that tape which was actually recorded secretly by Don Preston. The tape was running while Gardner was having a private meeting with a woman. Later those recordings reached the ears of Roy Estrada who went crazy for those sort of moans to the point that he did memorize some of them. FZ wanted him to 'recite' parts of the tape live on stage while the tape itself was running. 'Skweezit, Skweezit, Skweezit', from Mystery Disc, is the same routine but it comes from another performance (no background tape in this occasion).

14. Proto-Minimalism Incomplete date information on the booklet: it was performed on February 14, 1969 at the McMillin Theater, Columbia University, NYC.

TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995

Dave Samuels should be added to the personnel. In 'You Call That Music' on Vol.4, he is credited as 'guest vibe player'. However, you can assume the other possiblity that FZ played vibes on this tune. I think Dave is more likely. -----------------------------------------------------------------

15. JCB & Kansas On The Bus #2 Dave Lane wrote:

----------------------------------------------------------------- From: Dave Lane <chickyraptor@hotmail.com> Date: Wed, 01 Jul 1998 17:44:34 -0400 [...] "JCB & Kansas On The Bus #2" is another uncredited song that goes back quite a way. It's called "Pistol Packin' Mama", and is a song from the 1940's by Al Dexter. It was a popular Bing Crosby record. There's even a version by the great progressive avante-garde recording artist Boxcar Willie.

Check out the following links: http://www.kcmetro.cc.mo.us/pennvalley/biology/lewis/crosby/pistol.html

[You'll see that the words are a bit different than what JCB sings, but if you listen to the soundclips below, you'll be able to tell it's the same tune, but JCB screwed up the words.]

http://www.wins.uva.nl/~heederik/zappa/albums/You_Can_t_Do_That_On_Stage_Anymore_vol_5/15.html -----------------------------------------------------------------

16. My Head? (Mothers Of Invention) Incomplete date information on the booklet: it was performed on September 10, 1968 (Art Tripp's birthday) at the Sunset Sound Studios, Hollywood, California (source: "FZ Lyrics" web site).

17. Meow Incomplete date information on the booklet: it was performed on July 23, 1968 at the Whisky A-Go-Go, LA.

18. Baked-Bean Boogie Incomplete date information on the booklet: it was performed on July 8, 1969 at The Ark, Boston.

19. Where's Our Equipment? Incomplete date information on the booklet: it was performed on October 1, 1967 at the Falkoner Center, Copenhagen.

TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995

I guess it is from the same concert as 'Ian Underwood Whips It Out' on Uncle Meat. Then, the unknown record engineer can be suspected as 'Mike' (see UM liner notes). (All above is guess work. Who confirms it?). -----------------------------------------------------------------

And a technical note about this recording:

----------------------------------------------------------------- From: Bob Stone (bobstone@earthlink.net) The 'mono' track was processed through a cheesy Orban stereo synthesizer we had in the studio, as I recall, with a combination of setero reverb effects from the Lexicons and live chambers. The 'main' signal is indeed 'out of phase' in the convention sense. It should have a more interesting effect when listening through headphones because of the 'phase' relationship with respect to the reverb. UMRK product has been noted before as failing to follow conventionalism. -----------------------------------------------------------------

20. F.Z./JCB Drum Duet Incomplete date information on the booklet: it was performed on February 14, 1969 at the McMillin Theater, Columbia University, NYC.

21. No Waiting For The Peanuts To Dissolve Incomplete date information on the booklet: it was performed on February 7 or 8, 1969 at the Thee Image, Miami, Florida.

23. Underground Freak-Out Music Incomplete date information on the booklet: it was performed on February 7 or 8, 1969 at the Thee Image, Miami, Florida.

This piece has been published in another edit in Mystery Disc with the title 'Black Beauty'. The intro (the first 5 seconds of UFOM) and a section between 3:23 and 3:51 have been edited out in 'Black Beauty'. But the Mystery Disc track has a long section (from 3:25 to 5:22) which is not in UFOM. Thanks to A. Pizzin for this study [K2].

24. German Lunch Incomplete date information on the booklet: it was performed on February (?), 1969 at the Criteria Studios, Miami, Florida.

Bootleg(s) in which this version has appeared: "Remington Electric Razor" (Lp). In this bootleg "My name is Fritz" is an excerpt from GL.

25. My Guitar Wants To Kill Your Mama Bootleg(s) in which this version has appeared: "Vitamin Deficiency" (2 Lps).

26. Easy Meat 27. The Dead Girls Of London 28. Shall We Take Ourselves Seriously? 29. What's New In Baltimore? 30. Moggio 31. Dancin' Fool 38. Geneva Farewell Incomplete date information on the booklet: these songs has been performed on June 30, 1982 at location: Patinoire des Vernets, Geneva, Switzerland (source: "FZ Lyrics" web site).

28. Shall We Take Ourselves Seriously? Here is the true story of this song:

----------------------------------------------------------------- From: berger@uran.informatik.uni-bonn.de (Carl Berger) Date: 28 Jun 1994 13:15:08 GMT

This is the story of "Shall we take ourselve seriously ?" It happened at the show in K/"oln, 21st of May 1982. (The same show where "When no one was no one" and "But who was Fulcanelli" from the Guitar album were recorded).

This is the preamble to the song by Frank Zappa on that night.

"Ok Ladies and Gentlemen, this is something special. Come up to the microphone, Peter" (A guy walks onto the stage and transtalted that stuff into german) "The last time we played here in Cologne, something happened after the show that was unbelievable. As you know, there is a company here in the fatherland, that promotes concerts all over the place. And the man, who runs this company, his name is Fritz Rau. We have know Fritz for a long time. But the last time we played here, he put on a performance, that was incredible. If you can imagine, grown man, sitting in the box office at 3 o'clock in the morning, argueing, because the roadies got to eat asparagus. Now, this was so amazing, that I had to write a song about it. Tonight, Peter is going to play the featured role of Fritz Rau. Now give'em the first part of Fritz's big speech." Peter now gave the audience an imitation of Rau's german dialect. Pretty funny that was. I transcriped that from a tape recorded that night. I was 14 years old, standing first row. One of my first concerst (after Genesis and Supertramp :) The other guy mentioned in the song, Mike Scheller, is a concert promoter as well.

Carl -----------------------------------------------------------------

Part of the May 21, 1982 show (including the premiere recordings of SWTOS) is available in the "Volare" bootleg.

In his "The Poodle Bites! or Repudiating The Poodle" (<http://www.keneally.com/keneally17.html>) Mike Keneally give as further details on this song:

[...] the song is about German promoter Fritz Rau's contention that asparagus should not be offered to just anyone backstage, causing him to throw some sort of unseemly fit, which Frank of course immortalized in song. [...] [the line] "shall we weep in the box-office dawn" [...] and the falsetto passage that follows is a quote from the Frankie Valli/Four Seasons song "Dawn"; the line is "Dawn, go away, I'm no good for you". Get it?

32. RDNZL Incomplete date information on the booklet: it was performed on June 30, 1982 at Patinoire des Vernets, Geneva, Switzerland (intro) and on July 14, 1982 at the Stadio Comunale La Favorita, Palermo, Italy (guitar solo). Source: "FZ Lyrics" web site.

33. Advance Romance The guitar solo is a different edit of "Jim & Tammy's Upper Room" from "Guitar". The date for J&TUR was corrected in the YCDTOSA 2 booklet, so at the end we have: June 1, 1982, Bordeaux, France. However the booklet of this volume does not mention this location for any track for the '82 disc two. Questions, questions, questions ...

34. City Of Tiny Lites Incomplete date information on the booklet: it was performed on May 30, 1982 at Les Arenes, Cap d'Agde, France (source: "FZ Lyrics" web site).

35. A Pound For A Brown (On The Bus) Incomplete date information on the booklet: it was performed on July 3, 1982 at the Stadio Comunale, Bolzano, Italy (source: "FZ Lyrics" web site).

36. Doreen Incomplete date information on the booklet: it was performed on June 11 (early show), 1982 (Alte Oper, Frankfurt, Germany) and probably on June 26, 1982 Olympiahalle, Munich, Germany (coda). Source: "FZ Lyrics" web site).

37. The Black Page #2 The last part of the solo (from 6:09) has been released also as "Which One Is It?" on the "Guitar" album. Pat Buzby observes that presumably the entire track comes from Munich (Olympiahalle, June 26, 1982) since this is the location for "Which One Is It?" according to the "Guitar" liner notes. And a CC clue from Alek: ----------------------------------------------------------------- From: alek@best.com (DownerMan) Date: 19 Sep 1995 Preamble: did I RTFFAQ? No. At 2:51 into the tune, in the right channel, begins the distinctive (one might say monotonous) riff from Ya Hozna, and it continues pretty much throughout the rest of the song. [snip] Mmmm... minutiae... Alek -----------------------------------------------------------------

These kind of minutiae are the appropriate food to "Cruising with YCDTOSA"!

38. Geneva Farewell Steve Vai talks about this band and Geneva:

----------------------------------------------------------------- From: Steve Vai discography web pages URLs: <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa5.html>

The second disc of this two-disc package contains recordings from Frank's 1982 European tour. I was in this band and that tour has special memories for me. I went through some major emotional and personal development during that period. Some major pivotal physiological expansion.

Frank was one time quoted as saying "The '82 band could play beautifully when it wanted to." Some of my favorite Zappa songs were performed at these concerts and appear on this disc. A few of the more challenging ones are "What's New In Baltimore?", "Moggio", "RDNZL", "Advance Romance" and "Black Page #2".

There's one piece on there called "Geneva Farewell". It was the third song of the set from the show in Geneva and Frank pointed to me, surprisingly, to do an ad lib guitar solo on the spot. I waited a long time for that moment. The band was grooving and I was gearing up. I had the "blow away factor" on ten. The "blow away factor" is a personal indicator of the forthcoming event, that reveals to you the inspiration and knowledge that you're gonna kick some major ass in the next few moments.

I played three notes and somebody threw a cigarette butt on the stage and Frank stopped the show. He then went up to the microphone and said something to the effect of..."Do not throw anything up on the stage and whoever threw that must come up and show themselves, and then be escorted out of the building and then we will continue the show." We sat for a few moments in silence, then somebody threw something else on stage. I don't know if it was a coin or a bottle of water, but Frank abruptly got up, walked off the stage, got in a car and drove away. The band ran backstage and the audience proceeded to destroy the stage by throwing stuff at it and then finally attacking it. As we were driving away, we could hear them yelling, in broken English, "ZAPPA GO HOME!!!" Oh, well, farewell Geneva. -----------------------------------------------------------------

Here is the translation to the French included in this track:

----------------------------------------------------------------- From: Frank Laforce <frankzap@glo.be> Translation on "Geneva Farewell: OK, if you throw anything else on the stage, the concert is over! Cherchez les personnes qui jettaient les cigarettes sur l'stage, s'il vous plat Et ne jettez pas les objets sur le stage Ne jettez pas les objets Cherchez les personnes qui jettaient les cigarettes sur l'stage, s'il vous plat House lights, the concert's over! Which means: Find the people that threw the cigarettes on the stage, please And don't throw objects on the stage Don't throw any objects Find the people that threw the cigarettes on the stage, please -----------------------------------------------------------------

And for the real incident:

----------------------------------------------------------------- From: "JWB" <mudshark@intergrafix.net> Date: Sun, 24 Jan 1999 14:10:20 -0500 [...] You haven't heard the whole incident. "Geneva Farewell" is heavily edited. This is what really happened:

(FZ stops RDNZL during Vai's guitar solo) FZ: Okay, here's your warning. If you throw anything else on the stage the concert is over. And before we play anything else, I want the guy who threw the cigarette at me located and removed from the concert. (audience begins to boo)

Translator (Ray White?) repeats the speech in French, audience listens. (audience begins to boo again, and louder. According to Steve Vai, at this point a bunch of shit starts flying up onto the stage.)

FZ: House lights, the concert is over. (FZ leaves the stage, gets in car and drives away. The rest of the band and the crew hear chants of "Zappa Go Home" as they prepare to leave. There is a short riot, things are damaged.) -----------------------------------------------------------------

+ You Can't Do That On Stage Anymore vol 6 (July 1992, 137:44 min.)

1. The M.O.I. Anti-Smut Loyalty Oath (3:01) 2. The Poodle Lecture (5:02) 3. Dirty Love (2:40) 4. Magic Fingers (2:21) 5. The Madison Panty-Sniffing Festival (2:44) 6. Honey, Don't You Want A Man Like Me? (4:02) 7. Farther O'Blivion (2:22) 8. Is This Guy Kidding Or What? (4:03) 9. I'm So Cute (1:39) 10. White Person (2:07) 11. Lonely Person Devices (3:14) 12. Ms. Pinky (2:00) 13. Shove It Right In (6:46) 14. Wind Up Working In A Gas Station (2:32) 15. Make A Sex Noise (3:09) 16. Tracy Is A Snob (3:54) 17. I Have Been In You (5:05) 18. Emperor Of Ohio (1:32) 19. Dinah-Moe Humm (3:16) 20. He's So Gay (2:34) 21. Camarillo Brillo (3:10) 22. Muffin Man (2:25) 23. NYC Halloween Audience (0:46) 24. The Illinois Enema Bandit (8:05) 25. Thirteen (Zappa/Shankar) (6:09) 26. Lobster Girl (O'Hearn/Colaiuta/Zappa) (2:21) 27. Black Napkins (5:22) 28. We're Turning Again (4:57) 29. Alien Orifice (4:16) 30. Catholic Girls (4:04) 31. Crew Slut (5:34) 32. Tryin' To Grow A Chin (3:33) 33. Take Your Clothes Off When You Dance (3:47) 34. Lisa's Life Story (Zappa/Popeil) (3:06) 35. Lonesome Cowboy Nando (5:15) 36. 200 Motels Finale (3:43) 37. Strictly Genteel (7:08)

1. The M.O.I. Anti-Smut Loyalty Oath The booklet says it is a concert Florida date from September 1970. The band (who sort of present itself during the "oath") is the June 1970 - April 1971 one, but neither "FZShows" nor "Gig List" web pages mention a Florida (mention in "oath" too) date in that period. However, while Greg Russo lists only one Florida date in Orlando, on October, 10 in [GR], the "FZ Lyrics" reports: Tully Gymnasium, Florida State University, Tallahassee, Florida, October 9, 1970. This is a difficult one!

2. The Poodle Lecture Wrong date on the booklet: it was performed on October 30, 1977 (source: affz, Pat Buzby). Anzoh Hay wrote:

----------------------------------------------------------------- From: hhf@euronet.nl (Anzoh Hay ) Date: 23 May 1996 00:19:31 GMT

The Poodle Lecture

(You Can't Do That On Stage Anymore - Vol. 6 / Baby Snakes Video)

In the beginning God made 'the light.' Shortly thereafter God made three big mistakes. The first mistake was called man, the second mistake was called wo-man and the third mistake was the invention of the poodle. Now the reason the poodle was such a big mistake is because God originally wanted to build a Schnauzer, but he fucked up. Now long time ago the poodle used to be a very attractive dog. The poodle had hair evenly distributed all over it's small piquant canine type body. That's the way it used to be, the poodle used to be a regular looking dog. You know it's true, I guess you do too. Oh, I have to kiss you? Oh okay. Anyway listen, check this out. The poodle used to look good, you know the regular dogs that used to hang round the neighbourhood looked at the poodle and they didn't think anything of it. They didn't use to make fun of it in the olden days. But the wo-man, as you know, has always been much smarter than the man. * That stuff is very bad for you, throw it away, okay. Now you're interupting my story, now listen: What is that? Is that the tower of power or what. Oh no no no, it's one of those dope feind devices, take it away, now listen: The wo-man has always been much smarter than the man, you know this is true. And so it was since the beginning of time. The man would do anything to get some pussy. And that's why the wo-man always had control over him. In the beginning the wo-man looked the man directly into the eye and said: I tell you what, why don't you go get a job because I could use a few nice things around the house. Mainly what I need is a clipper, a scissors and a pair of zircon encrusted tweezers, (get's a necklace from someone out of the audience) -thank you very much. And of course the man did his duty as they say in the trade. He went out and he got a goddamn job. Went out and pushed that broom around for about $2.98 an hour, brought his money back to the garden of Eden and gave that money to the wo-man. The wo-man ran out the back door of the garden of Eden went directly to the hardware store. Got the clippers, the scissors and the zircon encrusted tweezers and came back and while the man was very tired from having his job, while he was sleeping the wo-man got a hold of the poodle. Because the wo-man had noticed earlier that the lenght and the proportion of the poodle's oral appendage, the tongue of the dog in other words, ladies and gentlemen, was very much to her liking, except that this dog had too goddamn much hair on it. It didn't have the disco look that's so popular nowadays. And so the wo-man sat out to modify the afore mentioned dog. Let me get a little eh visual aid. (Zappa takes a pink stuffed poodle) Now she took the dog and she cleaned it up a little bit. You see, she took a little bit of the back-part here around the neck, the thorax, the tootsies. Got all of the unwanted extranious material of this area which we shall call Burbank. And then she sat the little sucker up like this, really nice. Got his mouth set up like that and squatted right on him. Looking down into the dog's eye. She looked down into the dogs eyes, do you know what she said to the dog. She said:

* Edited out from this lecture, but to be heard on video 'Baby Snakes' 00:18.04: 'Brooklyn for example ?? 'The present day composer refuses to die, it should give Edgard Varese credit right down there. Should have his name on it. Thank you, okay. (followed by Dirty Love) -----------------------------------------------------------------

4. Magic Fingers Wrong date and location on the booklet: it was performed on December 5, 1980 at the Berkeley Community Theatre (source: affz, Pat Buzby).

5. The Madison Panty-Sniffing Festival Here is part of rap and a short note:

Well it's contest time ladies and gentlemen. Directly from Madison Wisconsin It's the Madison Panty-Sniffing festival, just as promised. (Cough!) Heavy duty, maroon nylon heavy duty. Okay... Light blue cotton with tiny skid.... That's getting him very excited because it appears that the bottom parts of those pants are welded together. Okay let's try this, alice blue nylon... [...]

China Syndrome! Awright, rustic hokey pokey model number thirteen. Oorhh, nehh. (hack, hack) Blue with the little embroidered things on the front. This smells like armpits. Okay who wins? Those belong to Chuck Eldridge. ##### ######## ----------------------------------------------------------------- From: bcdrums@aol.com (BCDrums)

Lighting director. -----------------------------------------------------------------

4. Magic Fingers 5. The Madison Panty-Sniffing Festival 9. I'm So Cute 12. Ms. Pinky 16. Tracy Is A Snob 18. Emperor Of Ohio Wrong band on the booklet: Vinnie Colaiuta and Arthur Barrow must be added, Chad Wackerman and Scott Thunes must be removed.

7. Farther O'Blivion Wrong date and band on the booklet. FO'B was performed on June 24, 1973 during the Australian summer portion of the 1973 world tour. The line-up should also be corrected, Sal Marquez was also in that band (source: affz, Pat Buzby). Bootleg(s) in which this version has appeared: "Nifty"; "Mystery Box (The Rondo Hatton Band)" (10 Lps); "Cuccurullo Brillo Brullo" (2 Cds); "The Mothers Down Under" (2 Cds). These bootlegs contain the complete Nanook thing, really amazing.

Lastly the name of this song should be incorrect. The booklet says that "Apstrophe(')" was the album in which it has appeared, so the correct name should be "Father O'Blivion". And here is what affz said: ----------------------------------------------------------------- From: "Jon Naurin" <mg20634@gaia.swipnet.se> Date: Wed, 5 Feb 1997 Farther O'Blivion was an instrumental, containing parts of "Greggary Peccary", "BeBop Tango" and "Cucamonga". Here's a more complete analysis I posted on affz once:

Here's my analysis of Farther O'Blivion, as played in Sydney, 06/24/73: 1) "Greggary Peccary", starting with the frenetic piece right after "using all the frightening little skills that science made available", through the "Steno Pool/This is Big Swifty/Any Gimmick or Gizmo/Is your wife snoring?/We have got the little answers" parts. The late '73 band skipped the first part and started at "Steno Pool" 2) Then there's a solo (in this case violin, later versions sax) over a I-VII-bVI-VII vamp, matching the "Invention of the Calendar" part of GP. 3) This is followed by most of the "BeBop Tango", including obligatory jazz trombone solo. Later versions also feature George Duke singing "This is BeBop..." and Bruce Fowler dancing. 4) Various solos, in this case clarinet/trumpet/violin. Also an obligatory marimba solo, which seems partially composed, partially improvised. Finally a drum solo. 5) The song is concluded with a portion of "Cucamonga". -----------------------------------------------------------------

8. Is This Guy Kidding Or What? Wrong date on the booklet: it was performed on October 30, 1977 (source: affz, Pat Buzby).

Vladimir Sovetov wrote:

----------------------------------------------------------------- From: Vladimir Sovetov <sova@kpbank.ru>

[...]

The popstars of your choice takes of his pants and climbs on top of you, and the next thing you know you hear this little voice in your ear and it says: "I'M IN YOU." Oh I knew you'd be surprised.

[...]

Well, this is a joke about Peter Frampton' then smashin' hit I'M IN YOU. Check out SHEIK YERBOUTI I Have Been In You N&C for details. -----------------------------------------------------------------

10. White Person Bootleg(s) in which this version has appeared: "Wanna Buy Some Acid?" (2 Cds).

TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995

Wrong date. Maybe same as The Torture Never Stops on Vol.1. -----------------------------------------------------------------

Jon Naurin wrote:

----------------------------------------------------------------- From: 92UL08@chestud.chalmers.se (Jon Naurin) Date: 15 Nov 1995 Finally, I got another tape yesterday that revealed a new error in the YCDTOSA liner notes: YCTDOSA 6, disc 1, track 10, "White Person". This is a performance from Hemmerleinhalle in Neukirchen, NOT Nurnberg. The date is February 25, 1978, NOT 1977. The musicians are correct, though all except Zappa should be credited with vocals. - Jon -----------------------------------------------------------------

11. Lonely Person Devices Wrong date, TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995

Should be 3.3.1976. (Also, you can recognize that this vamp is in the same chord progression as 'Black Napkins' in 4/4. 'Panty Rap' from Tinsel Town Rebellion is a reggae based on the same vamp.) -----------------------------------------------------------------

Also, magnificently catching the essence of "Cruising with YCDTOSA", Jon Naurin wrote:

----------------------------------------------------------------- From: "Jon Naurin" <mg20634@gaia.swipnet.se> Date: Wed, 5 Feb 1997

If you want to be really anal, you could point out that it was the early show. -----------------------------------------------------------------

13. Shove It Right In Incomplete date information on the booklet: it was performed on June 5 or 6, 1971 at the Fillmore East, NYC.

14. Wind Up Working In A Gas Station Wrong date on the booklet: it was performed on October 29, 1976 (source: affz, Pat Buzby).

Pat again for further comments: ----------------------------------------------------------------- From: spb0377@ocvaxa.cc.oberlin.edu (Pat Buzby) Date: 17 Jan 1994 17:11:02 GMT Bianca Odin. She was with the fall '76 band for a couple of months and was let go in mid-tour. (Drugs?) This was the same lineup that later made "Zappa In New York" with the added horns. BTW, this song (which is the only officially released performance with Bianca) was actually recorded in late October '76, and includes Eddie Jobson on keyboards. These omissions are two of the innumerable errors in the liner info on YCDTOSA 4 and 6. -----------------------------------------------------------------

15. Make A Sex Noise Wrong date and location on the booklet: it was performed in Binghamton on March 17, 1988 (source: affz, see below).

----------------------------------------------------------------- From: zed@maths.tcd.ie (John Walsh) Date: 21 Apr 1995 14:56:30 +0100 spb0377@ocvaxa.cc.oberlin.edu (Pat Buzby) wrote: > YCDTOSA 6 : > Make A Sex Noise - FZ says something near the end about finding > sexy people in Binghamton or something like that. So could this > be from Binghamton rather than Towson? Yeah, the date for this recording is also wrong. On the liner notes the date is 23-March-88 but he makes references to it being St. Paddy's day (17-March every year) when he invites women of irish extraction to make a sex noise on stage. I presume this makes the date for the other song on the cd with the same date wrong as well. -----------------------------------------------------------------

Here is the rap portion relevant to the previous comment: [...] Now, I'm not sure that each and everyone of these contestants is truly Irish in the biblical sense of the word, but I think we have to give them credit for coming up here and representing the Irish people in Binghamton tonight. Especially when you realize that that's about the only form of safe sex left in America. (heh-heh-heh) [...]

17. I Have Been In You Wrong date on the booklet according to Pat Buzby:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

I Have Been In You - October 29, 1978. Long FZ intro about the song's premiere in 1977 and the status of the Baby Snakes film edited out. -----------------------------------------------------------------

19. Dinah-Moe Humm Incomplete date information on the booklet: it was performed on November 23, 1984 at the Bismarck Theater, Chicago, Illinois and on August 26, 1984 at the The Pier, NYC (end). Source: "FZ Lyrics" web site.

20. He's So Gay Incomplete date information on the booklet: it was performed on August 26, 1984 at the The Pier, NYC (source: "FZ Lyrics" web site).

21. Camarillo Brillo 22. Muffin Man Incomplete date information on the booklet: these songs have been performed on November 23, 1984 at the Bismarck Theater, Chicago, Illinois.

23. NYC Halloween Audience 37. Strictly Genteel This really is a completely unuseful comment, a "but what the fuck" thing! In NYCHA you can can clearly one particular screeming hard-core fanatic say "Zappaaaaa" or something like that. The same clear scream once again appears at the end of SG at the end of this disc. Hence NYCHA comes from the Halloween 1981 concert.

24. The Illinois Enema Bandit This performance should come from L.A., December 23, 1984 (as the booklet almost says). But there's something strange here about show routines and secret words. From 5:11 to 5:33 the band seems to be in Seattle (December 17) because of the "Hi-Ho Silver" jokes (see also "Advance Romance", "Keep It Greasey" and "Cosmik Debris" on Volume 3). But the set lists for the Seattle concerts (compiled by Jon Naurin in his FZShows) do not include TIEB. Is it a little error in the FZShows or were they still imitating the Lone Ranger a few days later? Here are the lyrics related to the previous notes:

[...] And stuff his pudgy little thumbs in the side of his vest Then they'll put out a call (Hi-yo!) for the jury folks And the judge would say, "No 'silver' jokes!" Then they'll drag in the bandit for all to see, Sayin' "Don't nobody put that little black mask on me...(Hi-ho!) HOT SOAP WATER in the FIRST DEGREE!" And then Tonto might say, "Don't nobody put that Vegamatic on me!" WELL DID YOU CAUSE THIS BROCCOLI? WELL DID YOU CAUSE THIS BROCCOLI? WELL DID YOU CAUSE THIS KINDA BROCCOLI? [...]

Moreover TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995

After Ike shouts 'Isn't that amazing?' (6:29), an edit to '81/'82 band occurs. (Ike disappered, and Steve Vai's guitar and Ed Mann's marimba come in, and also, the bass is switched to Mini-Moog bass.) -----------------------------------------------------------------

Finally, there's a reference to Lisa's Life Story (see below in this document) in the following bit of lyrics.

[...] One girl shout: "Well, bring that small appliance 'round to me!" BANDIT ARE YOU GUILTY? TELL ME, WHAT'S YOUR PLEA? Another satisfied homemaker shouts: "Well, let that Vegamatic be!" ######### [...]

25. Thirteen Pat Buzby wrote:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

Intro and violin solo from October 27, 1978 (second show), guitar solo from October 31. -----------------------------------------------------------------

An interesting Barrowian thread culminating with a note on this track:

----------------------------------------------------------------- From: Arthur Barrow <bigear@netcom.com> Date: Fri, 17 Jan 1997 Jon Naurin wrote: > > Mike Puterbaugh writes: > > >Arthur Barrow <bigear@netcom.com> say: > >>Though Logeman was not nearly as technically amazing as > >>Vinnie, his more straight ahead approach gave me more > >>room to play. > > >Speaking of playing with Vinnie, I've always wondered: how > >did you manage to play the vamp to Keep It Greasey for 5+ > >minutes straight, with Vinnie doing god-knows-what against > >it? It seems like it must have taken a lot of concentration. > > And, I would like to add, was this vamp rehearsed before the > 1978/79 tours, or was it something that FZ came up with > during the studio sessions for "Joe's Garage"? It would be > interesting to hear how you would handle that 22/16,15/16 (or > whatever) thing live, considering the brilliance with which > the 13 and 21 vamp were treated. > > - Jon Yeh, it certainly did take some concentration! The 5 mintute vamp for the solo was actually something brand new for the Joe's sessions, though at least one of the verse vamps had been played before in rehearsal a little. I came up with the bass part in the studio and we played it only once or twice before recording it. By the way, Frank made up the 13 vamp just before going on stage that night in NY with Shankar. Arthur -----------------------------------------------------------------

26. Lobster Girl Wrong date on the booklet: it was performed on October 29, 1978 (source: affz, Pat Buzby).

27. Black Napkins The guitar solo has been performed on November 23, 1984 at the Bismarck Theater, Chicago, Illinois (source: "FZ Lyrics web site).

Moreover, TAN Mitsugu wrote:

----------------------------------------------------------------- From: a930m14m@eds.ecip.nagoya-u.ac.jp (TAN Mitsugu) Date: 17 Jul 1995

Dave Samuels is omitted again. He is inaudible though, should be added. -----------------------------------------------------------------

28. We're Turning Again Pat Buzby wrote:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

Mannheim, May 25, 1988. (I believe the entire version is from this show, though I haven't verified it completely.) -----------------------------------------------------------------

And here is what Mike Keneally writes on his web page (<http://www.keneally.com/zappa.html>): "[...] You will also hear me lose control of my guitar after the Hendrix section in "We're Turning Again", to Ike's audible amusement".

29. Alien Orifice Bootleg(s) in which these versions have appeared: "Heavenly Bank Account" (2 Lps); "Halloween" (Lp); "Teenage Wind" (2 Lp); "Arrogant Mop" (Lp).

From the comments to these bootlegs included in the "alt.fan.frank-zappa FAQ, Bootlegs Information, Part 2 of 4, Version 4.1, September, 1997": "Alien Orifice appears on Stage #6, where the solo has been shortened". Moreover the ending comes from a 1988 concert. You can hear the best horn section you never heard in you life.

30. Catholic Girls Incomplete date information on the booklet: it was performed on February 12, 1988 (source: affz, Pat Buzby). And here is a story raleted to a concert in the same location two days later. It is not related to a performance included in the YCDTOSA series but it is really amazing. Here it is:

----------------------------------------------------------------- From: Carl M Merson (cmerson@shell1.erols.com)

I, a fellow named William Schools and 3 guys from New Jersey (I think) were the folks dancing to Approximate on stage at the Tower Theater in Philadelphia on Valentine's Day, 1988. Check out the picture of us in the first edition of the U.S. Society Pages, published in 1990. This event occured after a bunch of folks foisted a note to Frank after the intermission begging him to (a) conduct the audience in round (which he did), (b) have Chad Wackerman sing (he sang the Love Boat theme), and (c) have the band dance to "Approximate". Since he wasn't sure how many band members knew Approximate (except for the Fowlers), he asked the audience if we knew the song. Of course, we were the first to volunteer. Having come off of a high the night before, after meeting Frank and family backstage, William and I were more than willing to have another chance to "meet" Frank, even it it meant going on stage in front of 3,000 people and making asses of ourselves! The most hilareous thing I recall from my 3 minutes of fame was when Scott Thunes laid 4 pages of horribly dog-eared and yellowed sheet music in front of us and instructed us to "Dance to this!". What he put in front of us onto the stage floor was the original hand-written manuscript for Approximate. I nearly peed myself ----------------------------------------------------------------- From: Jon Naurin (naurin@mbox300.swipnet.se)

It was in fact Den Simms (of Society Pages) who passed FZ the note with "some not so normal requests". They were actually as follows:

1) For Ike do so a "solo" with his collected artifacts. (which he also did)

2) Anything acapella (they did "The Closer you are")

3) Have Chad sing 4) Dance "Approximate"

... or blow off all of the above and conduct the fuckin' audience ----------------------------------------------------------------- From: ninja (ninja@concentric.net)

zappa at the tower: 2-12-88 2-13-88 2-14-88

was there -----------------------------------------------------------------

31. Crew Slut Incomplete date information on the booklet: it was performed on March 3, 1988 (source: affz, Pat Buzby).

And here is a story about wet equipments:

----------------------------------------------------------------- From: Bob Stone <bobstone@earthlink.net> Date: Mon, 24 Jun 1996 11:33:22 +0000 Peter de B. Harrington inquires in his mini-novel: [snip] > 4) On YCDTOSA "Crew Slut" mention is made about Harry not > getting his equipment wet for 6 weeks. Does this refer > back to the Beacon '88 show, when a Pepsi was spilled and > shorted out the board? Ah, yes....how did you know it was Pepsi? Were you in the Beacon balcony? Frank was about to cancel that show until I let him know that I could feed a PA mix from the recording truck. Poor Harry. You can bet he will never position the console in front of an overhang again. [snip] Bob ----------------------------------------------------------------- From: Vladimir Sovetov <sova@kpbank.ru>

Harry is Harry Andronis FZ 88 tour house mixer. -----------------------------------------------------------------

And this is where in the lyrics this story is mentioned:

[...] So, darlin', take a little ride On Harry's face And be a CREW SLUT Yes sirrrr Be a CREW SLUT Be a CREW SLUT Watch out he's (?) His equipment hasn't gotten wet For a month-and-a-half CREW SLUT Hiss name is Harry Be a CREW SLUT That's right How about that West Bank huh? [...] Mike Keneally has a lot more to say about this story in his '88 tour diary. Go to <http://www.keneally.com/198827.html> for more details.

32. Tryin' To Grow A Chin Bootleg(s) in which this version has appeared: "Tiny Nightmares" (2 Lps); "Zurkon Music" (Lp); "Donna You Wanna" (Cd).

33. Take Your Clothes Off When You Dance According to Bill Lantz (see below) Arthur Barrow played acoustic guitar rather than bass on this song.

----------------------------------------------------------------- From: lantz@primenet.com (Bill Lantz) Date: 19 Nov 1996 08:26:05 -0700 biffyshrew@aol.com wrote: > Who plays the mandolin on the YCDTOSA 6 version of "Take Your > Clothes Off When You Dance"? And are there really two basses > on this track? The only obvious one sounds like Patrick > O'Hearn to me. That's Arthur Barrow and I think you're hearing an acoustic guitar. Bill -----------------------------------------------------------------

And here are further comments by Pat Buzby on this Halloween run:

----------------------------------------------------------------- From: spb0377@alpha.cc.oberlin.edu Date: 17 Nov 1996 21:51:58 GMT There were two basses through the Halloween '78 run (and most of the shows in October '78), but I've almost never been able to hear both of them at once. (Were there two basses on the SNL appearance? Or was anyone here at the shows?) Maybe one of them switched to mandolin/acoustic guitar for this track - otherwise, Denny Walley seems like the best suspect. Pat Buzby Oberlin, OH -----------------------------------------------------------------

34. Lisa's Life Story Bootleg(s) in which this version has appeared: "Demo's" (Lp). Once again band and date errors, it has been performed on December 11, 1981 and here is what affz said: ----------------------------------------------------------------- From: u9112676@muss.cis.McMaster.CA (P. Psutka) Date: 18 Mar 1995 12:08:04 -0500

"Lisa's Life Story" is actually from '81 (and might not have Ike Willis on it unless he sat in for that show.) -----------------------------------------------------------------

And here are further comments by Pat Buzby:

----------------------------------------------------------------- From: Patrick.Buzby@oberlin.edu Date: Tue, 26 Nov 1996 15:38:27 -0400 (EDT)

Excerpted from "Pound For A Brown" (the same version which featured a piano solo from Nicholas Slominsky). Interesting that the original version had a reggae feel, as opposed to the free-jazz feel of the released version. -----------------------------------------------------------------

Steve Vai talks about Lisa's family:

----------------------------------------------------------------- From: Steve Vai discography web pages URLs: <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa6.html>

This is the final volume of the "You Can't Do That On Stage Anymore" archives. There are some stimulating sparks on this record. A whipping version of "Alien Orifice" and a very playful piece called "Lisa's Life Story". Lisa Popeil, as I mentioned on the Popeil record's entry elsewhere in this discography, was a musician who had auditioned for Frank's band in 1981. When we played at the Santa Monica Civic Center in 1981, she came out on stage and did this improv where she told the story of her life through operatic meanderings. Lisa Popeil is of the famed Popeil family, you know... the inventor of Popeil's pocket fisherman. Her father is Ron Popeil of Ronco. So, it was delightful to hear her tell the story of her life as we followed Frank's conducting. -----------------------------------------------------------------

More comments on Lisa's story follow and are related to the these lyrics excerpts:

[...] Hello My name is Lisa Popeil Ever seen one of these? My father who's filthy rich made this It's a Pocket Fisherman and he also made the Vegamatic [...] Which works about as well And then there's always my brother Ronnie of Ronco I'm sure you've heard of him He has all those commercials That go on and on and on and on Now I'm here to tell you my life story [...]

----------------------------------------------------------------- From: Mike Espinoza (espinoza@io.com)

"Weird Al" Yankovic did a song called "Mr. Popeil" in 1984. His explanation of the song in the liner notes of his box set, Permanent Record, should answer your question. "It's not about Ron Popeil, the founder of Ronco, but about his dad, the guy who invented the Vegamatic and the Pocket Fisherman. He did pitches for them on TV before Ronco was started. Mr. Popeil was a big facet of American pop culture; he started the whole genre of marketing these gimmicky gadgets on TV. Around the time I was writing the song, I came across a magazine article about me, and right next to it I saw a story about Mr. Popeil's daughter, Lisa Popeil, who was classically trained singer who had worked with Frank Zappa. I thought it would be great if we could get her to sing on the track, and she agreed to do it. It was very odd, though, to be in the studio directing Lisa how to sing her own name!"

-"Weird Al" ----------------------------------------------------------------- From: splat@darkwing

Here's Lisa's web page URL: http://www.popeil.com/ It says she has recorded an album. Anybody got it? ----------------------------------------------------------------- From: Douglas ON <douglason@aol.com>

She released a self-titled album on her self-titled (Lisa Popeil Records) record label in 1983 which includes the guitar stylings of none other Steven Vai. ----------------------------------------------------------------- From: Jon Naurin <naurin@mbox300.swipnet.se>

I've had some email contact with Lisa, so I can fill in with some details: Her boyfriend at the time went to audition for the 1981 band (drums), and Lisa went along to give him moral support. Tommy Mars then talked her into auditioning for keyboards and vocals. She then rehearsed with the band for a short period on August. "Lisa's life story" was ad-libbed during these rehearsals, then Lisa worked out a loose script before performing it live in December. She also performed "Dangerous Kitchen" - FZ handed her the words in the intermission between the shows and told her that she was going to do it - without rehearsal. This session also has some nice stuff where Steve Vai plays guitar licks and Lisa imitates them. ----------------------------------------------------------------- From: spb0377@alpha.cc.oberlin.edu (Pat Buzby) Some additional info from FZ's 1989 interview with Society Pages - Lisa sight-sang "Be-Bop Tango" at the audition, which impressed him enough to let her rehearse with the band. However, after a while it seemed (in FZ's words) that the amount of things she couldn't do was greater than the amount that she could, so Bobby Martin ended up filling the keyboard/vocal position. -----------------------------------------------------------------

There's another bit of Lisa in this volume on The Illinois Enema Bandit (see before in this document).

35. Lonesome Cowboy Nando Incomplete date information on the booklet concerning the 1988 segments of the songs: they have been performed on June 9, 1988.

The double issue 14-15 of Debra Kadabra [K2], the Italian fzine published by the Italian FZ Appreciation Consortium, includes the true story of "Lonsome Cowboy Nando". Nando is Fernando ("all my friends they call me DO" ... "Nan-Nan-Nan DO-DO-DO") Boero, a marine biologyst from Genoa, they Italian city where the '88 part of "Lonsome Cowboy Nando" was recorded. Nando wrote for us the story of his friendship with FZ, it's a very nice story, I hope I'll find someone from affz that would want to translate it in English. Meanwhile here is a rough translation of the begining of the article:

"There is nothing I'd like better than having a jellyfish named after me" (FZ). In 1982, after becoming a researcher in the University of Genoa, I asked for a work fund that could allow me to be for a long time in the Bodega Marine Laboratory of the University of California, Berkeley. The purpose was to study the taxonomy and the ecology of the local jellyfish fauna (yes, there exist people who earn a living studing jellyfish). Actually the true purpose was another one: to meet Frank Zappa. My strategy was a simple one: - that fauna was (and is) not well known; - I would find some new species for sure; - once I have found them I would have to give them a name; - I would dedicate one of them to FZ; - I would tell him about it; - He would invite me for a visit. And that's how it went.

[...]

David Ocker also wrote about Ferdinando:

----------------------------------------------------------------- From: David Ocker, <docker@netcom.com> So, I thought, I'll post this - maybe some zoologists read this group - possibly even the person who named that animal after Frank in the first place - and they can provide some more information. Onno Gross wrote: I was recently reading the mail by David Ocker, Los Angeles, on the naming of a marine creature named after Zappafrank. Later following happened: A scientist colleg from Vienna, Michael Stachowitch, was visiting and by talking it turned out he is a Zappa-freak as well. It came to the point that he knew the man who had named the sea species after Frank and who also send a photo to Frankies home: it was Frank Boero, who as a scientist was working at that time in California. Michael told me that Frank was known to hardly miss ever any FZ concert. He published his work: F. Boero (1987): Life cycles of Phialella zappai n. sp., Phialella fragilis and Phialella sp. (Cnidaria, Leptomedusae, Phialellidae) from Central California. - Journal of Natural Histors, 21, 465-480. and it says in the ending: "I have the pleasure in naming this species after the modern music composer Francis (Frank) Vincent Zappa. I have a copy of his nice work on the new marine hydrozoan P. zappai and if your are interested send me an e-mail or directly contact Frank. His snail-mail address is: F.Boero Dept. di Biologia Univerita degli Studi di Lecce Via Provile Lecce-Monteroni 73100 Lecce, ITALIA -----------------------------------------------------------------

There's a few mistakes in what Onno Gross wrote: the name of the marine creature is "Phialella zappai" (not Zappafrank), the name of Boero is "Ferdinando" (nickname "Nando") not "Frank".

Finally, here is what Mike Keneally writes on his web page (<http://www.keneally.com/zappa.html>): "My personal favorite MK contribution to a Zappa CD occurs in "Lonesome Cowboy Nando", when I attempt to cram the line "I describe the little dangling utensils on this thing and tell him to draw it up so that it looks just like a brand new jellyfish" into the same space where I would normally say "stomp in his face so he don't move no more". The first time I listened to this song with Frank, he applauded me after that section. One o' them priceless moments. You will also hear me lose control of my guitar after the Hendrix section in "We're Turning Again", to Ike's audible amusement".

37. Strictly Genteel Bootleg(s) in which these versions have appeared: "Heavenly Bank Account" (2 Lps).

Steve Vai talks about SG:

----------------------------------------------------------------- From: Steve Vai discography web pages URLs: <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa6.html>

There is also a beautiful version of "Strictly Genteel" on this record. I had heard Frank mention that it was one of his favorite songs that he'd written. -----------------------------------------------------------------

Unfortunately, still other objects on stage:

----------------------------------------------------------------- From: Ken Mistove (kmistove@eclipse.net)

There were 2 shows that night. If I'm not mistaken, parts of the first (the show I attended) were used in the "Dub Room Special" video. The second show was broadcast on MTV. If I remember (were talking 15 years ago) MTV did not show all of the encores. I seem to remember it ending with "Strictly Genteel" On a side note - The version of "Strictly Genteel" from 10/31/81 that appears on YCDTOSA 6 is to the best of my knowledge, from the first show. Some jerk threw an egg at the stage towards Frank. If you listen to the band introduction at the end of the song, Frank mentions something about "not throwing things on stage". I distinctly remember him saying that at the show I was at (I also witnessed the egg throwing). After all the encores were complete, he asked for the jerk to turn him/her self in. Apparently security knew who did it. Can anyone add to this or know differently? -----------------------------------------------------------------

Two different editions ======================

In 1995 Ryko reprinted the series and this is their official statement on volumes 1-4: "New master; New timing sheet: Volumes 1-4".

On volumes 5-6 (1995 issue) Ryko made the following different statement:

"In the case of the last two volumes of You Can't Do That on Stage Anymore (Vol. 5 & Vol. 6), Playground Psychotics, Ahead of Their Time and The Yellow Shark, new timing sheets were created, but because they had been mixed and mastered as recently as 1991-1993, the original masters were simply error-checked and OK'd (in other words, new masters weren't delivered on these)."

On the Johan Wikberg FZ web site there is a page devoted to the all the YCDTOSA editions. This is the URL:

<http://w1.858.telia.com/~u85821131/vinylvscds/stage.html>.

Sources & related information =============================

- Web Sites:

FZ Lyrics

URL : <http://www.globalia.net/donlope/fz/> Maintainer: Román García Albertos e-mail : <donlope@distrito.com> Notes : home of a "all-spoken-words-in-any-FZ-record" project

The ZAPPA PATIO

URL : <http://w1.858.telia.com/~u85821131/> Maintainer: Johan Wikberg e-mail : <wikberg@mbox301.swipnet.se>, <bossk-office@telia.com> Notes : home of 'Son of the alt.fan.frank-zappa Bootleg FAQ', 'The Return of the Son of the alt.fan.frank-zappa Vinyl vs Cds FAQ', 'The alt.fan.frank-zappa Singles Discography FAQ Some More' and 'Frank Zappa - a Weirdo Discography'

The FZShows homepage

URL : <http://home.swipnet.se/fzshows/> Maintainer: Jon Naurin e-mail : <naurin@mbox300.swipnet.se> Notes : home of the FZShows v6.0 document

The Planet Of My Dreams

URL : <http://members.shaw.ca/fz-pomd/index.html> Maintainer: Charles Ulrich e-mail : <ulrich@sfu.ca> Notes : home of the Frank Zappa Gig List (updated: March 14, 2003) (<http://members.shaw.ca/fz-pomd/giglist/index.html>)

Interviews and Articles

URL : <http://home.online.no/~corneliu/interviews.htm> Maintainer: Geir Corneliussen e-mail : <corneliu@online.no> Notes : part of "The First Church of APPLIANTOLOGY" web site (<http://home.online.no/~corneliu/>), includes the complete Goldmine interview quited in the Introduction (<http://home.online.no/~corneliu/goldmine.htm>)

YCDToSA Statistical Density

URL : <http://home.earthlink.net/~patboie/ycdtosa-dense.html> <http://home.earthlink.net/~patboie/ycdtosa-puffed.html> Maintainer: Patrick Boie e-mail : <patboie@earthlink.net> Notes : "in a fit of utter insanity, i made a list of how well each of FZ's lineups are represented in the YCDToSA series. [...]i thought this might be helpful for collectors wondering which lineups they do or don't have enough of, or at all.

YCDTOSA rating web pages

URL : <http://morezappastuff.iwarp.com/stage.htm> Maintainer: Foggy G e-mail : <turtlestew@compuserve.com> Notes : the maintainer to affz on May 7, 1998: "I have just posted my web page devoted to answering that age-old question -> WHAT IS THE BEST STAGE VOLUME? I have rated each volume based on two criteria, given each track an individual score, and then given each volume a total score. I have solicited ratings from others, but so far have only received one. This is included on the page, and I hope to add others soon".

Mike Keneally & Beer for Dolphins

URL : <http://www.keneally.com/> Maintainer: Scott Chatfield e-mail : <scott@moosenet.com> Notes : home of the 88 tour diary: <http://www.keneally.com/1988.html>

Vai's web pages

URL : <http://www.vai.com/> Maintainer: Michael Mesker e-mail : unknown Notes : home of the Steve Vai discography: <http://www.vai.com/AllAboutSteve/discography_full.html> with notes relevant to the YCDTOSA series: <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa1.html> <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa3.html> <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa4.html> <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa5.html> <http://www.vai.com/AllAboutSteve/disconotes_ycdtosa6.html>

Bozzio's web pages

URL : <http://www.terrybozzio.com/> Maintainer: <http://www.evolutionweb.com/> e-mail : unknown Notes : home of the Steve Bozzio discographywith notes relevant to the YCDTOSA series: <http://www.terrybozzio.com/zappa/ucant.html> <http://www.terrybozzio.com/zappa/ucant3.html> <http://www.terrybozzio.com/zappa/ucant4.html> <http://www.terrybozzio.com/zappa/ucant6.html>

St. Alphonzo's Pancake Homepage

URL : <http://www.wins.uva.nl/~heederik/zappa/> Maintainer: Robbert Heederik e-mail : <heederik@wins.uva.nl> Notes : home of the FZ lyrics and FAQs (text versions)

ARF

URL : <http://www.arf.ru/> Maintainer: Vladimir Sovetov e-mail : <sova@arf.ru> Notes : home of the FZ Note & Comments FAQs (html versions)

- Books:

[RK] Richard Kostelanetz, "The Frank Zappa Companion (Four Decades of Commentary)", Schirmer Books, 1997.

[RR] Robert Riedt, "You Can't Do That On Stage Anymore - the Book", self-published, 2000, Germany.

[GR] Greg Russo "Cosmik Debris: The Collected History and Improvisation of FZ" Crossfire Publications, 1999 (revised first edition).

[BW] Ben Watson, "Frank Zappa The Negative Dialetics of Poodle Play", Quarter Books, 1994.

Note: unfortunately I am not completely sure of the existence of [RR], I read about it on "the big nOte", June 28, 2000 (<http://www.geocities.com/pdoelder.geo/bignotejune28.html>) which is part of <http://www.geocities.com/pdoelder.geo/indexe.html>, The Black Page website, the follow-up of the Dutch Frank Zappa fanzine by the same name), where they say: "about 400 pages about zappa's stage-series: tracks, bands, musicians, limited editions of 100 copies." Even if I don't know more about it (in 2000 I tried to contact the author at <r.riedt@rz.uni-sb.de>, but I had no answer back), I have decided to include this title in the "related information" department for the sake of completeness.

- Magazines:

[JH] Esa Järvi with Juhani Heinonen, 'Frank Zappa In Finland', njet.net, May 6, 2001 <http://www.njet.net/palstat/article.phtml?art_id=318>

[DO] Dan Ouellette, 'Frank Zappa', Pulse!, p. 50 - 52, August 1993. <http://home.online.no/~corneliu/pulse.htm>

[M1] Chris Michie, 'The Complete Mark Pinske Interview', Mix, Jan 1, 2003. <http://mixonline.com/ar/audio_complete_mark_pinski/index.htm>

[M2] Chris Michie, 'You Call That Music?', Mix, Feb 1, 2003. <http://mixonline.com/ar/audio_call_music/index.htm>

[WR] William Rulhmann, 'Moving On To Phase Three', Goldmine, January 27, 1989. <http://home.online.no/~corneliu/goldmine.htm>

- Fanzines:

[BP] Dr. Including, 'The Secret Lab of Dr.Including', The Black Page Magazine, vols. 29 and 30. [Thanks to Remco Takken who posted these precious Dr. Including studies which way back in May 1995]

[K1] Nando Boero 'Lonesome Cowboy Nando' Debra Kadabra, issue 14-15, December 1995.

[K2] Alessandro Pizzin, 'Mystery Disc', Debra Kadabra, issue 21, July 1999.

Acknoledgements ===============

Current version includes contributions of:

Fred H. Banta <fhbanta@flash.net> Arthur Barrow <bigear@ix.netcom.com> BCDrums <bcdrums@aol.com> Carl Berger <berger@uran.informatik.uni-bonn.de> Biffyshrew <biffyshrew@aol.com> John W. Busher <mudshark@intergrafix.net> Pat Buzby <patb@inforel.com> John Smith Christopher <smithcj@copper.ucs.indiana.edu> Brian Czako <czako@vnet.ibm.com> dankitti99 <dankitti99@aol.com> Alek 'DownerMan' <alek@best.com> Abner Doubleday <jyob@aol.com> Brian Ekberg <ekbergb@mindspring.com> Francisco Espinoza <franaesp@entelchile.net> Mike Espinoza <espinoza@io.com> Cory Ferber <cmf2268@ritvax.isc.rit.edu> Anzoh Hay <hhf@euronet.nl> Peter de B. Harrington <harring@helios.phy.ohiou.edu> Mike Keneally <boilthat@aol.com> Martin Jenkins <xqp@cix.compulink.co.uk> MHB <MHB@mitvma.mit.edu> Frank Laforce <frankzap@glo.be> Bill Lantz <lantz@primenet.com> Dave Lane <chickyraptor@hotmail.com> Jari Lehtinen <jln@sci.fi> Stu Mark <mark@software.org> Carl M. Merson <cmerson@shell1.erols.com> Ken Mistove <kmistove@eclipse.net> Jon Naurin <naurin@mbox300.swipnet.se> Patrick David Neve <splat@darkwing.uoregon.edu> Ninja <ninja@concentric.net> David Ocker <docker@netcom.com> Douglas ON <douglason@aol.com> Dave Perry <dp@hydra.carleton.ca> P. Psutka <u9112676@muss.cis.McMaster.CA> Richmilnix <richmilnix@aol.com> Román G. Albertos <donlope@distrito.com> John V. Scialli <scialli@primenet.com> Shill <shill@mojo.europe.dg.com> Vladimir Sovetov <sova@kpbank.ru> Bob Stone <bobstone@earthlink.net> Rob Sweet <sweet@skat.usc.edu> Remco Takken <s0602574@let.rug.nl> TAN Mitsugu <studiotan@z.email.ne.jp> Tom Troccoli <ttrocc7007@aol.com> Tom Tuerff <ttuerff@primenet.com> Charles Ulrich <culrich@pomona.edu> Bert van Oortmarssen <berto@and.nl> John Walsh <zed@maths.tcd.ie> Johan Wikberg <wikberg@mbox301.swipnet.se> David L. Windt <windt@nanook.div111.att.com>

I also wish to thank, in casual order, Robbert Heederik, the author of one of the first FZ Internet web sites, Scott Chatfield, who has brought Mike Keneally into the Internet, John Scialli, for that planet, Les Fils de l'Invention (Didier Mervelet, Dominique Jeunot, Bruno Le Tohic and all the others), those amazing French zappophiles, TAN Mitsugu, who has always been given help and support, Marco Bazzoli, who gave a lot of help gathering YCDTOSA related info, Giuliano Bottali, who also gave help and support to this project, Alessandro Pizzin, one of the founders of the Debra Kadabra Consortium and maintainer of the DK web pages, and Ale Sordi, graphic designer of the Italian fzine.

Finally, Cruising with YCDTOSA is dedicated to all the people fond of Frank Zappa who "listen so carefully to every little detail".

# History of the document #

In the following, tracks are expressed as "(volume, track)" ("*" means every track and it refers to comments written at the beginning of the notes to that volume).

Version 1.0, version 1.1 (April 1995).

Version 2.0 (May 1995).

Version 2.1 (20 June 1995).

Version 2.2 (15 July 1995).

Version 2.3 (17 September 1995) has new info on the following tracks: (3, 16); (4, 6); (4, 18); (4, 32); (5, 14); (5, 19); (6, 10); (6, 11); (6, 24); (6, 27). All these comments are due to TAN Mitsugu.

Version 2.4 (17 December 1995) has new info on the following tracks: (1, 2); (1, 14); (5, 37); (6, 10); (6, 35).

Version 2.5 (15 December 1996) has new or updated info on the following tracks: (1, 1); (1, 5); (1, 6); (1, 11); (1, 14); (1, 24); (1, 25); (1, 26); (2, *); (4, 7); (4, 9); (4, 20); (4, 21); (4, 22); (4, 25); (4, 26); (6, 2); (6, 7); (6, 14); (6, 17); (6, 25); (6, 28); (6,29); (6, 30); (6, 31); (6, 33); (6, 34).

Version 3.0 (19 August 1997) has new or updated info on the following tracks: (1, 10); (1, 16); (2, *); (2, 11); (2, 19); (3, 12); (4, 8); (6, 1); (6, 7); (6, 11); (6, 25).

Version 4.0 (28 September 1998) has new or updated info on the following tracks: (1, 1); (1, 6); (1, 7); (1, 11); (1, 14); (1, 17); (1, 27); (1, 28); (2, *); (2, 9); (2, 15); (3, 1); (3, 4); (3, 6); (3, 15); (3, 25); (4, 7); (4, 8); (4, 14); (4, 29-34); (5, *); (5, 1); (5, 7); (5, 15); (5, 19); (5, 38); (6, 5); (6, 8); (6, 24); (6, 30); (6, 31); (6, 34); (6, 35); (6, 37). Part of the new comments included in version 4.0 come from the ARF web site maintained by Vladimir Sovetov (the July 24, 1998 update).

Version 4.1 (18 August 1999) has new or updated info on the following tracks: (1, 27); (1, 28); (2, 19); (3, 25); (4, 24); (5, 2); (5, 10); (5, 23); (5, 38).

Version 5.0 (11 May 2003) has new or updated info on the following tracks: (1, 9); (1, 14); (1, 16); (1, 17); (1, 18); (2, *); (2, 3); (2, 12); (2, 19); (3, 24); (4, 1); (4, 2); (4, 5); (4, 7); (4, 10); (4, 11); (4, 13); (4, 14); (4, 15); (4, 16); (4, 17); (4, 18); (4, 19); (4, 22); (4, 24); (4, 27); (4, 28); (4, 29); (4, 30); (4, 31); (4, 32); (4, 33); (4, 34); (5, 1); (5, 3); (5, 4); (5, 6); (5, 7); (5, 8); (5, 9); (5, 10); (5, 14); (5, 16); (5, 17); (5, 18); (5, 19); (5, 20); (5, 21); (5, 23); (5, 24); (5, 26); (5, 27); (5, 28); (5, 29); (5, 32); (5, 34); (5, 35); (5, 36); (6, 1); (6, 10); (6, 13); (6, 16); (6, 20); (6, 21); (6, 22); (6, 27).

_______________________________________________________________________ Francesco Gentile Debra Kadabra the Italian FZ Appreciation Consortium <effeg@tiscali.it> <http://members.tripod.com/~mambojambo/>

browse the "Cruising with YCDTOSA" pages - it's a DK product! <http://web.tiscali.it/effeg/cwy/cwy.htm> _______________________________________________________________________