here's a couple more
Brazen. Unlettered. Coarse. Oftentimes Obscene.
"Why'd they even call it that?"
Is it a freakout. Does it freakout. What's a freakout. Are they all freaked out and they want to TELL us?
"Like what is THAT s'pposed to mean?"
"I KNOW! It's soooooooo . . ."
"Uh-huh ....... stoopid."
"YES!, and WEIRD!"
fits of goggling boy-laughs rises as talk descends to 'that weeeeeird girl at the record shop that inSISted on having them play the entire record before
she would buy it or something, I can't remember now, but . . .'
"But I HAVE to say that in my entIRE life *I* have NEVER heard ANY thing so . . ."
"WEIRD!! " they shout in unison.
Of course, neither had I. I remember the time going past too fast and the record was over. But it wasn't pop music. Maybe pop wearing riot gear,
with the riot. Though there were many attempts at different styles performed in the various cuts none seemed radio friendly as a cause of -- and this is the
thing -- the seemingly willful refusal to make the songs actually sound good. There are purposeful uses of distortion of all sorts here, not just in the
audio-technical realm but also in the music's very aggressiveness and even in its more boundary-breaking aspects. It IS rock and roll because of its attitude if not in
musical style and when the music stays there the album reaches its' greatest appeal.
The pair of paeans to rock's golden age of doowop seem contrived, fawning gargoyles of the genre instead. It is hard to hear these and think of their relatives. It
seems on first listen, the author HATES this music which begs the question, why do it? Why Freak Out!?
Hungry Freaks, Brain Police in particular are clear exhortations, a clarion call to witness: as in (thou shalt) FREAK OUT! Wowie Zowie and Motherly Love,
Anyway the wind, you didn't try to call, I Ain't Got No Heart, I'm Not Satisfied all act as witness to do so. Thus, will to freakout. They are advertisements, excuses,
mini novellas in sarcastic print. And the crazy sound effects, only touching now and then with Martin Denny, but in the end overpowering all else as if sound is all
there is that can cajole, lead, overwhelm and conquer this will to freakout.
But in and around the cacophony, the discord, the din what is even more unmistakable is the thinness in the overall sound. Boys and girls, that's the 'sound' of
mid-60's AM. Like it's all coming thru a tin can to your ear.
In other words, censored, clean, free of discord, free of distortion, sanitized like a napkin at the gas station on one of those trundle deals with the handle and the
knob. You pull out the section of towel you want to use and wind up the back with the handle . . . and most of it was mono. And although tons of people had
had loads of success with the mono process, mono in radio was a barrier to be broken as well. and what a way to do it. Now to get the new version of that old mix on the radio. here's a good link:http://www.lukpac.org/~handmade/patio/vinylvscds/freakout.html
[cue up 22dec66 recorded interview with FZ]
the final 21 minutes seem to break all bounds of propriety with this thin canned AM sound with ridiculous kids all playing with the wrong machinery.
"It's indecent! Don't tell your parents you've listened to this. You're lucky you didn't get 6 MONTHS of detention for playing this in band class . . ."
one more link for the songs . . . and the lyrics too,
http://www.globalia.net/donlope/fz/lyri ... k_Out.html