We're Only in It for the Money encompasses rock,experimental music,and psychedelic rock,with orchestral segments deriving from the recording sessions for Lumpy Gravy,which was previously issued by Capitol Records as a solo instrumental album by bandleader/guitarist Frank Zappa and was subsequently reedited by Zappa and released by Verve;the reedited Lumpy Gravy was produced simultaneously with We're Only in It for the Money. We're Only in It for the Money is the first "phase" of a conceptual continuity,which continued with the reedited Lumpy Gravy and concluded with Zappa's final album Civilization Phaze III (1994). In 2005,We're Only in It for the Money was selected for preservation in the National Recording Registry by the United States' Library of Congress,who deemed it "culturally,historically,and aesthetically significant" and "a scathing satire on hippiedom and America's reactions to it".
Background
While filming Uncle Meat,Frank Zappa recorded in New York City for a project called No Commercial Potential,which ended up producing four albums:We're Only in It for the Money;a revised version of Zappa's solo album Lumpy Gravy;Cruising with Ruben &the Jets;and Uncle Meat,which served as the soundtrack to the film of the same name,which finally saw a release in 1987,albeit in incomplete form.[5]
Zappa stated,"It's all one album. All the material in the albums is organically related and if I had all the master tapes and I could take a razor blade and cut them apart and put it together again in a different order it still would make one piece of music you can listen to. Then I could take that razor blade and cut it apart and reassemble it a different way,and it still would make sense. I could do this twenty ways. The material is definitely related."[5]
As the recording sessions continued,the Beatles released their acclaimed album Sgt. Pepper's Lonely Hearts Club Band. In response to the album's release,Zappa decided to change the album's concept to parody the Beatles album,because he felt that the Beatles were insincere and "only in it for the money".[6] The Beatles were targeted as a symbol of Zappa's objections to the corporatization of youth culture,and the album served as a criticism of them and psychedelic rock as a whole.[6]
Recording
Recording for We're Only in it for the Money began on March 6,1967,with the basic tracking of "Who Needs the Peace Corps?" at TTG Studios which was then under the title of "Fillmore". The working title was inspired by a series of performance the Mothers of Invention held at the Fillmore Auditorium,finishing a day prior to the recording session. Zappa would then inaugurate a three-day recording stint at Capital Studios to record Lumpy Gravy from March 14-16,1967.[7] The band returned to New York in the following week,where Zappa became acquainted to then Cream guitarist Eric Clapton during an acoustic guitar led jam at his home. The band subsequently spent from April to June rehearsing and gigging locally in support of their previous album Absolutely Free,which released on May 26,1967.[8] Popular contemporaries such as guitarist Jimi Hendrix,[9] and singer-songwriter Essra Mohawk,[10] joined the Mothers of Invention during their New York shows.
In July,band member Ray Collins had left the Mothers before the New York recording sessions took place,but later rejoined when the band was recording the doo-wop songs that formed the album Cruisin' with Ruben &the Jets.[6]Gary Kellgren was hired as an engineer for the project,and subsequently wound up delivering whispered pieces of dialogue that linked segments of We're Only in It for the Money.[11] During the recording sessions,Verve requested that Zappa remove a verse from the song "Mother People". Zappa complied,but reversed the recording and included the backwards verse as part of the dialogue track "Hot Poop",concluding the album's first side,[12] but this would be removed by Verve themselves on subsequent represses of their own. Also censored on all copies was the Lenny Bruce reference in "Harry,You're A Beast",[13] and a spoken segment of "Concentration Moon" in which Kellgren called the Velvet Underground "as shitty a group as Frank Zappa's group".[14]
Primary recording sessions ran from July until September 1967 at Mayfair Studios in New York. During this period of work on the album,the band recorded at a continuous rate,only taking breaks on the weekends.[15] While the Jimi Hendrix Experience occupied Mayfair Studios on July 19 and 20,to record "The Stars That Play with Laughing Sam's Dice",the band worked on and executed ideas for the cover art for We're Only in it for the Money. Hendrix would make an appearance in the Sgt. Pepper's Lonely Hearts Club Band mock cover,blending in with the cardboard cutouts of other major figures.[16] Weekday work was only halted again on August 4,when Bob Dylan booked the studio to mix and press an acetate disc of "Too Much Of Nothing".[15][17] A majority of the basic tracks would be finished in August,and September was spent mostly overdubbing onto the basic recordings.[7] On September 4,[18] the Velvet Underground,who the Mothers of Invention then detested,entered the studio's second recording space with Tom Wilson,the band's previous producer,to record their sophomore album,White Light/White Heat. Both bands did however co-operate in the studio,and Zappa even suggested to Velvet Underground front-man Lou Reed that he record himself stabbing a cantaloupe with a wrench in the band's song "The Gift".[19] The Mothers of Invention halted work on September 22 to pursue what is considered to be their first European tour,[8] before returning to Apostolic Studios,also in New York,from October 3-8 in order to finish the album off,with final overdubs and mixing occurring.[7]
While recording We're Only in It for the Money,Zappa discovered that the strings of Apostolic Studios' grand piano would resonate if a person spoke near those strings. The "piano people" experiment involved Zappa having various speakers improvise dialogue using topics offered by Zappa. Various people contributed to these sessions,including Eric Clapton,Rod Stewart and Tim Buckley,who Zappa became familiar with after a concert in December 1966.[20][21] The "piano people" voices primarily consisted of Motorhead Sherwood,Roy Estrada,Spider Barbour,All-Night John (the manager of the studio) and Louis Cuneo,who was noted for his laugh,which sounded like a "psychotic turkey".[14]
During the production, Zappa experimented with recording and editing techniques which produced unusual textures and musique concrète compositions; the album featured abbreviated songs interrupted by segments of dialogue and unrelated music which changed the continuity of the album.[22] Segments of orchestral music included on the album came from a solo orchestral album by Zappa previously released by Capitol Records under the title Lumpy Gravy in 1967.[11] MGM claimed that Zappa was under contractual obligation to record for them, and subsequently Zappa re-edited Lumpy Gravy, releasing a drastically different version on Verve Records, after the release of We're Only in It for the Money. The artwork of Lumpy Gravy identified it as "phase 2 of We're Only in It for the Money", while We're Only in It for the Money was identified in its artwork as "phase one of Lumpy Gravy", alluding to the conceptual continuity of the two albums.[11]
For some pressings of the album, MGM censored several tracks without Zappa's knowledge, involvement or permission.[11][23] On the song "Absolutely Free", the line "I don't do publicity balling for you anymore" was edited by MGM to remove the word "balling", changing the meaning of the sentence.[11] Additionally, on "Let's Make the Water Turn Black", the line "and I still remember Mama, with her apron and her pad, feeding all the boys at Ed's Cafe" was removed.[23] Zappa later learned that this line was censored because an MGM executive thought that the word "pad" referred to a sanitary napkin, rather than a waitress's order pad.[23] The Kellgren dialogue segment in "Concentration Moon" was also re-edited, making it seem that he was calling the Velvet Underground "Frank Zappa's group." Zappa later declined to accept an award for the album upon being made aware of the censorship, stating "I prefer that the award be presented to the guy who modified this record, because what you're hearing is more reflective of his work than mine."[23]
Themes
In his lyrics for We're Only in It for the Money, Zappa speaks as a voice for "the freaks—imaginative outsiders who didn't fit comfortably into any group", according to AllMusic writer Steve Huey.[22] Subsequently, the album satirizes hippie culture and left-wing politics, as well as targeting right-wing politics, describing both political sides as "prisoners of the same narrow-minded, superficial phoniness."[12][22][24]
Zappa later stated in 1978, "hippies were pretty stupid. ... the people involved in [youth] processes ... are very sensitive to criticism. They always take themselves too seriously. So anybody who impugns the process, whether it's a peace march or love beads or whatever it is – that person is the enemy and must be dealt with severely. So we came under a lot of criticism, because we dared to suggest that perhaps what was going on was really stupid."[6]
Another element of the album's lyrical content came from the Los Angeles Police Department's harassment and arrests of young rock fans, which made it difficult for the band to perform on the West Coast, leading the band to move to New York City for better financial opportunities.[6] Additionally, Zappa made reference to comedian Lenny Bruce; the song "Harry, You're A Beast" quotes Bruce's routine "To Is A Preposition, Come Is A Verb".[13]
The song "Flower Punk" parodies the garage rock staple "Hey Joe", and depicts a youth going to San Francisco to become a flower child and join a psychedelic rock band.[25] Additionally, the track makes a reference to "Wild Thing", one of the songs that defined the counterculture of that period. The rhythmic pattern of "Flower Punk" is complex, consisting of 4 bars of a fast 5 (2–3), followed by 4 bars of 7 (2–2–3).[26]
Zappa's art director Cal Schenkel and Jerry Schatzberg photographed a collage for the album cover, which parodied the Beatles' Sgt. Pepper's Lonely Hearts Club Band. Zappa spent US$4,000 (equivalent to $35,000in 2023) on the photo shoot, which he stated was "a direct negative" of the Sgt. Pepper album cover. "[Sgt. Pepper] had blue skies... we had a thunderstorm."[6]Jimi Hendrix, a friend of Zappa, took part in the photo shoot.[6]
Zappa phoned Paul McCartney, seeking permission for the parody. McCartney told him that it was an issue for business managers,[6][11][14] but Zappa responded that the artists themselves were supposed to tell their business managers what to do.[11][14] Nevertheless, Capitol objected, and the album's release was delayed for five months.[11][27] Verve decided to package the album with inverted cover artwork, placing the parody cover as interior artwork (and the intended interior artwork as the main sleeve) out of fear of legal action.[6][12] Zappa was angered over the decision; Schenkel felt that the Sgt. Pepper parody "was a stronger image" than the final released cover.[6] In recent years, the album has been reissued with the intended front cover.
In 1984, Zappa prepared a remix of the album for its compact disc reissue and the vinyl box set The Old Masters I. The remix reinstated audio that had been censored by Verve, as well as the original "Mother People" verse.[14] It also featured new rhythm tracks recorded by bassist Arthur Barrow and drummer Chad Wackerman. Zappa would later do the same with Cruising with Ruben & the Jets, stating "The master tapes for Ruben and the Jets were in better shape, but since I liked the results on We're Only in It for the Money, I decided to do it on Ruben too. But those are the only two albums on which the original performances were replaced. I thought the important thing was the material itself."[5]
Lumpy Gravy was also remixed by Zappa, but not released at the time.[6] After the remixing was announced, a $13 million lawsuit was filed against Zappa by Jimmy Carl Black, Bunk Gardner and Don Preston, who were later joined by Ray Collins, Art Tripp and Motorhead Sherwood, increasing the claim to $16.4 million, stating that they had received no royalties from Zappa since 1969.[5]
Zappa would later prepare a CD of the original stereo mix for release by Rykodisc in 1995. Unlike the remix, this retained the censorship applied to "Concentration Moon," "Harry You're a Beast" and "Mother People" on the original releases.[28]
The audio documentarybox setThe Lumpy Money Project/Object chronicles the production of We're Only in It for the Money, including the orchestral version of Lumpy Gravy, a 1968 mono mix of We're Only in It for the Money and 1984 remixes of We're Only in It for the Money and the reedited Lumpy Gravy album, as well as additional material from the original recording sessions.
Barret Hansen praised the album in an April 1968 review for Rolling Stone.[6] He felt it was the most "advanced" rock album released up to that date, though not necessarily the "best"; he compared Zappa with the Beatles, and felt that the wit and sharpness of Zappa's lyrics was more intelligent, but unless one were to adopt a utilitarian view, he would not deny the beauty of the Beatles' music. He concluded that while the initial listening may be significantly profound, due to the reliance on shock, subsequent listening may be reduced in value; and he returns to a comparison with the Beatles, in which he feels that Zappa has the greater musical genius, but is less comfortable to listen to.[38]
AllMusic writer Steve Huey wrote, "the music reveals itself as exceptionally strong, and Zappa's politics and satirical instinct have rarely been so focused and relevant, making We're Only in It for the Money quite possibly his greatest achievement."[22]Robert Christgau gave the album an A, writing, "With bohemia permanent and changed utterly, this early attack on its massification hasn't so much dated as found its context. Cheap sarcasm is forever."[37] In 2012, Uncut described the album as a "satirical psych-rock gem".[39]
In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry, calling it "culturally, historically, and aesthetically significant" and "a scathing satire on hippiedom and America's reactions to it".[44]
Frank Vincent Zappa was an American musician, composer, and bandleader. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works; he also produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. His work is characterized by nonconformity, improvisation sound experimentation, musical virtuosity and satire of American culture. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation.
Art rock is a subgenre of rock music that generally reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental music, avant-garde music, classical music, and jazz.
Absolutely Free is the second album by American rock band the Mothers of Invention, released on May 26, 1967, by Verve Records. Much like their 1966 debut Freak Out!, the album is a display of complex musical composition with political and social satire, whose blend of jazz, classical, avant-garde and rock idioms within multi-sectional, suite-like compositions is seen as an important and influential precursor to progressive rock. The band had been augmented since Freak Out! by the addition of woodwinds player Bunk Gardner, keyboardist Don Preston, rhythm guitarist Jim Fielder, and drummer Billy Mundi; Fielder quit the group before the album was released, and his name was removed from the album credits.
Freak Out! is the debut studio album by the American rock band the Mothers of Invention, released on June 27, 1966, by Verve Records. Often cited as one of rock music's first concept albums, it is a satirical expression of guitarist/bandleader Frank Zappa's perception of American pop culture and the nascent freak scene of Los Angeles. It was the second rock music double album ever released, following Bob Dylan's Blonde on Blonde just one week earlier, as well as the first double debut album by a rock artist. In the UK, the album was originally released as an edited single disc.
Thomas Blanchard Wilson Jr. was an American record producer. He is best known for his work in the 1960s with artists such as Bob Dylan, Frank Zappa and the Mothers of Invention, Simon & Garfunkel, the Velvet Underground, Cecil Taylor, Sun Ra, Eddie Harris, Nico, Eric Burdon and the Animals, the Blues Project, the Clancy Brothers and Tommy Makem, and others.
Uncle Meat is the sixth album by the Mothers of Invention, and seventh overall by Frank Zappa, released as a double album in 1969. Uncle Meat was originally developed as a part of No Commercial Potential, a project which spawned three other albums sharing a conceptual connection: We're Only in It for the Money, Lumpy Gravy and Cruising with Ruben & the Jets.
Civilization Phaze III is the sixty-third album by Frank Zappa, released posthumously as a double album on October 31, 1994. It was the first studio album of new material from Zappa since 1986's Jazz from Hell. The album marks the third part of a conceptual continuity that started with We're Only in It for the Money (1968), with the second part being a re-edited version of Zappa's 1967 album Lumpy Gravy. Zappa described the album as a "two-act opera", but in lieu of traditional recitatives and arias, it alternates brief spoken word passages with musical numbers created on a Synclavier using a combination of sampled and synthesized sounds. Much of the sampled material in the second half of the album was originally recorded by Ensemble Modern and other musicians to Zappa's specifications.
Bizarre Records, self-identified simply as Bizarre, was a production company and record label formed for artists discovered by rock musician Frank Zappa and his business partner/manager Herb Cohen.
Lumpy Gravy is a 1968 solo album by Frank Zappa, written by Zappa and performed by a group of session players he dubbed the Abnuceals Emuukha Electric Symphony Orchestra & Chorus. Zappa conducted the orchestra but did not perform on the album. It is his fourth album overall: his previous releases had been under the name of his group, the Mothers of Invention.
Cruising with Ruben & the Jets is the fourth album by the Mothers of Invention, and fifth overall by Frank Zappa, released under the alias Ruben and the Jets. Released on December 2, 1968 on Bizarre and Verve Records with distribution by MGM Records, it is a concept album, influenced by 1950s doo-wop and rock and roll. The album's concept deals with a fictitious Chicano doo-wop band called Ruben & the Jets, represented by the cover illustration by Cal Schenkel, which depicts the Mothers of Invention as anthropomorphic dogs. It was conceived as part of a project called No Commercial Potential, which produced three other albums: Lumpy Gravy, We're Only in It for the Money and Uncle Meat.
The Mothers of Invention were an American rock band from California. Formed in 1964, their work is marked by the use of sonic experimentation, innovative album art, and elaborate live shows. Originally an R&B band called the Soul Giants, the band's first lineup comprised Ray Collins, David Coronado, Ray Hunt, Roy Estrada, and Jimmy Carl Black. Frank Zappa was asked to take over as the guitarist when a fight between Collins and Hunt led to the latter's being fired. Zappa insisted they perform his original material — a decision that resulted in Coronado's leaving because he did not agree to the change — and on Mother's Day in 1965 the band changed its name to the Mothers. Record executives demanded the name be changed again, and so, "out of necessity", Zappa later said, "We became the Mothers of Invention", referencing the proverb "Necessity is the mother of invention."
Calvin "Cal" Schenkel is an American illustrator, graphic designer, animator and comics artist, specializing in album cover design.
Mothermania (1969), subtitled The Best of the Mothers, is a compilation album by the Mothers of Invention. While the songs were previously released on Freak Out!, Absolutely Free and We're Only in It for the Money, it contains unique mixes or edits made specifically for this compilation.
Xenochrony is a studio-based musical technique developed at an unknown date, but possibly as early as the early 1960s, by Frank Zappa, who used it on several albums. Xenochrony is executed by extracting a guitar solo or other musical part from its original context and placing it into a completely different song, to create an unexpected but pleasing effect. He said that this was the only way to achieve some rhythms.
Gary Kellgren was an American audio engineer and co-founder of The Record Plant recording studios, along with businessman Chris Stone.
"Take Your Clothes Off When You Dance" is a song written by Frank Zappa, with the first officially available version being recorded and released by The Mothers of Invention on their 1968 album We're Only in It for the Money. The song was originally recorded as an instrumental by Frank Zappa in 1961 at Pal Recording Studio.
The Lumpy Money Project/Object is a compilation album by Frank Zappa. Released posthumously on January 23, 2009 as Official Release #85, it compiles the releases Lumpy Gravy and We're Only in It for the Money with previously unreleased material, with the overall package serving as an audio documentary of the production of the two albums, which share conceptual continuity themes. It is project/object #2 in a series of 40th Anniversary FZ Audio Documentaries, following MOFO (2006).
The Old Masters is a box set series by Frank Zappa, released in three volumes on Barking Pumpkin Records from April 1985 to December 1987, consisting of studio and live albums by Zappa and The Mothers of Invention originally released from 1966 to 1976 on other labels, as well as "Mystery Discs" which contained previously unreleased material. The graphics on all three sets was airbrush illustrated by Larry Grossman. 200 Motels was not included in the series, as it was the only Zappa/Mothers album for which Zappa was unable to secure the rights.
Euclid James "Motorhead" Sherwood was an American rock musician notable for being a member of the original version of Frank Zappa's band the Mothers of Invention, providing soprano, tenor and baritone saxophone, tambourine, vocals and vocal sound effects. He appeared on all the albums of the original Mothers line-up and the 'posthumous' releases Burnt Weeny Sandwich and Weasels Ripped My Flesh, as well as certain subsequent Zappa albums. He also appeared in the films 200 Motels, Video from Hell and Uncle Meat.
Lumpy Gravy, also known as Lumpy Gravy (Primordial), is the recalled original debut solo album by Frank Zappa. It is an entirely orchestral recording written by Zappa and performed by a group of session players he dubbed the Abnuceals Emuukha Electric Symphony Orchestra. Zappa conducted the orchestra but did not perform on the album. It was commissioned and briefly released, on August 7, 1967, by Capitol Records in the 4-track Stereo-Pak format only and then withdrawn due to a lawsuit from MGM Records. MGM claimed that the album violated Zappa's contract with their subsidiary, Verve Records, and the album was recalled.
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