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PostPosted: Sun May 11, 2014 10:45 am 
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chumcloud wrote:
Dang it's been quite in these parts. You guys don't like the new poster?

Anyway, I know I said that there'd be no more USA dates this year, but....... more are coming.
Going to play 2 towns we've never (technically, in one case) played before in the state of California, and there will also be a brief run that will include KalamalouisvashvilraleigsomewhereinMD

Good stuff



:?
Kalamazoo MI
Louisville KY
Asheville NC
Raleigh NC
?? MD


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PostPosted: Mon May 12, 2014 9:48 am 
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KUIII wrote:
chumcloud wrote:
Dang it's been quite in these parts. You guys don't like the new poster?

Anyway, I know I said that there'd be no more USA dates this year, but....... more are coming.
Going to play 2 towns we've never (technically, in one case) played before in the state of California, and there will also be a brief run that will include KalamalouisvashvilraleigsomewhereinMD

Good stuff

Where in California? Any hints at least? Nor Cal or So Cal?

The guy on DZW also said new dates soon. C'mon SoCal! There are 4 unbooked show slots at the OC Fair in Costa Mesa for the last week of July, but the venue holds 8,000. That's all I got.

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PostPosted: Mon May 12, 2014 7:39 pm 
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Thanks, coevad. I'm rooting for NorCal of course. There are two casinos in Oroville (my hometown and half an hour away now) where they've never played at. That would be my best hope.


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PostPosted: Tue May 13, 2014 8:21 am 
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KUIII wrote:
Thanks, coevad. I'm rooting for NorCal of course. There are two casinos in Oroville (my hometown and half an hour away now) where they've never played at. That would be my best hope.

Yeah, SoCal got 6 shows within 150mi. From Dec. to Feb. NorCal, only two or three, I think. Watch, It'll be in Bakersfield or something.

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PostPosted: Tue May 13, 2014 9:42 pm 
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coevad wrote:
KUIII wrote:
Thanks, coevad. I'm rooting for NorCal of course. There are two casinos in Oroville (my hometown and half an hour away now) where they've never played at. That would be my best hope.

Yeah, SoCal got 6 shows within 150mi. From Dec. to Feb. NorCal, only two or three, I think. Watch, It'll be in Bakersfield or something.

I don't think they've played in Needles yet. :mrgreen: I wonder if Dweezil's ever thought to honor his Dad by playing in Lancaster or (Rancho) Cucamonga or some place like that.


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PostPosted: Wed May 14, 2014 8:59 am 
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The Sunset Strip is right close to Laurel Canyon...

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PostPosted: Wed May 14, 2014 9:01 am 
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announced today

Aug 8th
San luis Obispo, CA
SLO Brew
tickets: http://www.ticketfly.com/purchase/event/579575
masterclass: http://www.ticketfly.com/purchase/event/579599

Aug 9
Fresno, CA
Tower Theatre
ticket links coming

Sept 13
Darlington, MD
Lunar Bay Festival
http://www.lunarbayfestival.com/?page_id=1228


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PostPosted: Wed May 14, 2014 10:41 am 
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So the answer to the north/south question is: central! They played SLO when Scott Thunes did the west coast 2012 tour. SLO would be a 211mi drive for me. :|

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Last edited by coevad on Wed May 14, 2014 10:48 am, edited 1 time in total.

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PostPosted: Wed May 14, 2014 10:47 am 
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chumcloud wrote:
announced today

Aug 8th
San luis Obispo, CA
SLO Brew
tickets: http://www.ticketfly.com/purchase/event/579575
masterclass: http://www.ticketfly.com/purchase/event/579599

Aug 9
Fresno, CA
Tower Theatre
ticket links coming

Sept 13
Darlington, MD
Lunar Bay Festival
http://www.lunarbayfestival.com/?page_id=1228

Way too far south for me. Dovey might like the SLO show, it's not that far from Santa Maria. 8)

Thanks chumcloud! 8)

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PostPosted: Wed May 14, 2014 4:52 pm 
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KAPT.KIIRK wrote:
chumcloud wrote:
announced today

Aug 8th
San luis Obispo, CA
SLO Brew
tickets: http://www.ticketfly.com/purchase/event/579575
masterclass: http://www.ticketfly.com/purchase/event/579599

Aug 9
Fresno, CA
Tower Theatre
ticket links coming

Sept 13
Darlington, MD
Lunar Bay Festival
http://www.lunarbayfestival.com/?page_id=1228

Way too far south for me. Dovey might like the SLO show, it's not that far from Santa Maria. 8)

Thanks chumcloud! 8)

I'm considering going to see Deep Purple and Blue Oyster Cult at the casino in Lincoln on Aug. 8th. Might be fun if some of the other NoCal Zealots want to split costs on a room and hang out at the hotel and casino and catch that one. www.thundervalleyresort.com/Entertainment/Headliners


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PostPosted: Wed May 14, 2014 8:13 pm 
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Rather see Greg & Leon. I don't trust those Indian casinos anymore, they try and scalp ya and have lousy sound. Have you checked this tribe, tribal sounds and grounds out yet KU? :?:

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PostPosted: Wed May 14, 2014 10:14 pm 
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I went there a few years ago and saw the Tubes but it wasn't at the outdoor amphitheater, it was inside in a smaller room and I had a good time. My impression was that it was pretty nice compared to some of the other casinos. This is just one of the many shows that I put on my calendar - most of which I won't go to. I wouldn't mind seeing DP again. They've actually made some pretty good music in their later years with Steve Morse on guitar. I haven't seen BOC since 1980. An interesting thing (to me anyway) about the current BOC lineup is that Kazim Sulton of Todd Rundgren and Utopia fame is their bass player.


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PostPosted: Fri May 16, 2014 9:15 am 
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Aug 10 Felton, CA Mountain Sol Festival


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PostPosted: Fri May 16, 2014 9:40 am 
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Wow. The shows just keep popping up! Book more Cali.
DZ should always end tours with an LA show. I'm hoping!

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PostPosted: Fri May 16, 2014 9:43 am 
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The only time I've seen BOC was at a Day On The Green in Oakland, CA. circa '76 with Jeff Beck and The headlining band, The J. Geils Band. Peter Framton was a special guest with J.Geils. BOC was really good even at third bill. But so was the rest of that show. Great line up! 8)

chumcloud wrote:
Aug 10 Felton, CA Mountain Sol Festival

This looks like it might be fun, if it's the Felton on Hwy. 9 or 35 outta Santa Cruz. :D

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PostPosted: Fri May 16, 2014 10:30 am 
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Go to DZW, KiIrk & click "tour dates" , find the show and it will have a google map with zoom. That zoom feature is real spiffy, don't cha think? So. Road trip for you and Plookster? I think so.

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PostPosted: Fri May 16, 2014 10:40 am 
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KAPT.KIIRK wrote:
The only time I've seen BOC was at a Day On The Green in Oakland, CA. circa '76 with Jeff Beck and The headlining band, The J. Geils Band. Peter Framton was a special guest with J.Geils. BOC was really good even at third bill. But so was the rest of that show. Great line up! 8)

chumcloud wrote:
Aug 10 Felton, CA Mountain Sol Festival

This looks like it might be fun, if it's the Felton on Hwy. 9 or 35 outta Santa Cruz. :D

I looked. It's the 9.

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PostPosted: Fri May 16, 2014 10:51 pm 
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KAPT.KIIRK wrote:
The only time I've seen BOC was at a Day On The Green in Oakland, CA. circa '76 with Jeff Beck and The headlining band, The J. Geils Band. Peter Framton was a special guest with J.Geils. BOC was really good even at third bill. But so was the rest of that show. Great line up! 8)

chumcloud wrote:
Aug 10 Felton, CA Mountain Sol Festival

This looks like it might be fun, if it's the Felton on Hwy. 9 or 35 outta Santa Cruz. :D

I tried to find the lineup for this festival but it seems it hasn't been announced yet. One positive attraction is that apparently this is the place where Thomas the Tank Engine lives. www.roaringcamp.com


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PostPosted: Sat May 17, 2014 7:58 am 
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The 'Sol' fest has mostly local bands playing, I hear.

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PostPosted: Tue May 27, 2014 8:06 am 
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9/9 Kalamazoo, MI State Theatre
9/10 Louisville, KY Mercury Ballroom
9/11 Asheville, NC Orange Peel
9/12 Raleigh, NC Lincoln Theatre
9/13 Darlington, MD Lunar Bay


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PostPosted: Tue May 27, 2014 7:13 pm 
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KUIII wrote:
KAPT.KIIRK wrote:
The only time I've seen BOC was at a Day On The Green in Oakland, CA. circa '76 with Jeff Beck and The headlining band, The J. Geils Band. Peter Framton was a special guest with J.Geils. BOC was really good even at third bill. But so was the rest of that show. Great line up! 8)

chumcloud wrote:
Aug 10 Felton, CA Mountain Sol Festival

This looks like it might be fun, if it's the Felton on Hwy. 9 or 35 outta Santa Cruz. :D

I tried to find the lineup for this festival but it seems it hasn't been announced yet. One positive attraction is that apparently this is the place where Thomas the Tank Engine lives. http://www.roaringcamp.com

It's at Roaring Camp, in the Santa Cruz Mtns. where the steam engine was used in Shoot The Moon with Sean Pean, one of his earlier efforts.The train, redwoods, UCSC students, Big Basin Sate Park are the local attractions.

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PostPosted: Thu Jul 03, 2014 2:15 am 
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Atlantic City Weekly July 2nd 2014
Zappa Plays Zappa

Technology Reunites Rock’s Weirdest Dad With His Musical Offspring
By Ed Condran

Dweezil Zappa isn’t the first performer to play with his late iconic father, and thanks to technology, odds are he won’t be the last. Natalie Cole opened the crypt door 20 years ago when she recorded a duet with her legendary dad, Nat King Cole. Her stirring version of “Unforgettable” is her biggest hit to date. “Some people might not have gotten it, but most people did,” Cole said. “It’s one of my favorite things I ever did.”

Zappa, 44, is in Cole’s camp. The son of guitar god Frank Zappa, who passed away in 1993 at the age of 52, will jam with his pop Monday at the Ocean City Music Pier. The ghostly senior Zappa will perform behind his progeny on a screen, as the two deliver call-and-response guitar lines.

High-tech certainly puts together shows that would have been unfathomable a generation ago. “Why not take advantage of what we can do?” Zappa says. “I think it’s a great thing for fans to experience. We have video and audio footage of Frank that’s isolated. We pull this off, and everyone has a good time with it.”

Part of what made his maverick father so great was that he was so unpredictable. Frank Zappa truly made alternative music that couldn’t be placed in a category. As his son puts it: “I don’t know how you could compartmentalize what he did.”

Unlike some other Zappa cover bands, Dweezil Zappa is reverential when it comes to his father’s music. “That makes the most sense to me,” he says. “Do the bands that play my father’s music think they’re going to make his music better by playing it differently? That’s not going to happen. Do orchestras take Mozart and rip it apart? Of course not. Frank did things a certain way and that’s the way we present the material.”

Zappa could be out making his own music, but he feels compelled to be the musical archivist working to keep his father’s songs alive. “I don’t want Frank’s music to be forgotten,” he says. “There are a lot of younger people who were never exposed to his music, and then there are the casual listeners who just know ‘Dancin’ Fool,’ ‘Don’t Eat the Yellow Snow’ and ‘Valley Girl.’ Frank was much more than those songs. Those songs don’t give you one sixty-fourth of what he was all about. There was no one like Frank, and there is no one remotely like him today. That’s why I’m out there playing his music.”

Monday, July 7th. 7:30pm. Ocean City Music Pier, Moorlyn Terrace & the Boardwalk, Ocean City.

Tickets are $35.


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PostPosted: Wed Jul 09, 2014 12:45 am 
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Dweezil Zappa: Like Frank, like son

By Rich Howells - rhowells@civitasmedia.com

The name “Zappa” is instantly recognizable to older music fans, but Dweezil Zappa, son of the late, great Frank Zappa, found that many younger listeners were growing up not knowing who his father was or what his groundbreaking art did for music, so Zappa Plays Zappa was born.

Eight years later, Dweezil (along with his band) is still recreating Frank’s seemingly endless catalog of songs on stage and introducing it to audiences all over again. After just paying tribute to Jimi Hendrix at the F.M. Kirby Center in March on the “Experience Hendrix” tour, Dweezil is returning to the Wilkes-Barre theater on Friday, July 11 to pay tribute to his dad. Over the holiday weekend, Zappa talked to the Weekender about hanging out with his old man, how this tour got started, the reaction he’s received from younger generations, teaching others the tricks of the trade, and what his daughters are listening to these days.

WEEKENDER: What has made you stick with the guitar all these years? What is it about it that speaks to you or has become a part of you?

DWEEZIL ZAPPA: Well, the guitar is probably the most versatile instrument. You can do so many different things with it, just in terms of how you can manipulate the strings – either attack the strings, bend the strings – then you have so many different ways to create poems with it through different equipment and effects and things like that, so it’s a constantly evolving type of instrument. There’s just so many different styles that you can play on it; it’s just a great instrument.

W: Did your dad put the guitar in your hand or was it something you immediately wanted to play?

DZ: As a kid, I watched him play and always thought it was the coolest thing. His playing I always knew was really complicated, so I figured I would have to start somewhere else first before I tried to do what he was doing, and so when I first started playing, I was 12 and I was listening to players like Randy Rhoads, who played with Ozzy Osbourne, [and] Eddie Van Halen. The stuff that they were doing was also quite complicated and technically difficult to master, but it was less complicated than the harmonic and rhythmic content in my dad’s music, so at least it felt like an easier platform to start.

W: What is one of your favorite memories of hanging out with your dad?

DZ: We always did some funny things relating to word games. We had one game that we played that you had to try and invent a word that represented a certain type of example. For example, one time I was trying to come up with a word for the type of individual who only ever wears a rock T-shirt, and Frank in a nanosecond said “insignoramus,” a combination of “insignia” and “ignoramus.” It was hilarious.

W: Do you still use that one?

DZ: Oh yeah.

W: What was your original inspiration for starting the “Zappa Plays Zappa” tour in 2006?

DZ: A lot of people that were under the age of 35 didn’t know anything about my dad’s music. Even if you said the name “Frank Zappa,” they would say, “Who?” That just didn’t seem right to me, so I wanted to give people a chance to hear the music in a live situation where the music was being played respectfully as it was designed to be played, so I was creating a band that really treated the music more like a repertory ensemble. The difference there is that a lot of people say, “Oh, well do you do your own thing with music? Do you modernize it?” and I say, “No.” There’s no reason to do that because if you were putting it in the world of classical music, by example, you don’t take Mozart pieces or Beethoven pieces and change them or rearrange them or modernize them in order to widen the audience. The job is to preserve what was written on the page and respect the composition, so you’re not going to have a concert with a rapper in a white wig going, “Yeah! Yeah! Beethoven! Yeah!” It’s not going to happen.

W: His music was way ahead of its time anyway.

DZ: The point is to respect the music and play it as it’s written, and there’s a lot of discipline involved in doing that, but the thing about it is I also, in doing this, wanted to re-educate the audience in a way in that I wanted to focus primarily on what I thought was the main ingredients that made my dad’s music unique to him, which are really just the rhythmic elements and the harmonic content. I chose initially to steer clear of most of the stuff that was humor-based because that tends to confuse people. People think when you hear a song that has funny words and this, that, and the other, they think, “Oh, well that person must not be very serious about what they do,” so they would sort of lump my father’s music into this novelty act kind of thing. The music is stigmatized by two things: the novelty act and the fact that his core audience and the time that he was touring the most was decades ago, so what it amounts to for people in the media and whatnot is that it’s nostalgia music and this is not current, but Frank’s music is from the future. Not only is it beyond current, nobody’s even approaching what he accomplished.

W: At first, the crowds were probably older guys reliving their glory days. Have the crowds been getting younger since?

DZ: Yeah, it’s definitely changed to where we see a lot more young people, and we see a lot more women. In the beginning, like you were describing, it was what we call the sausage festival, mostly just older guys, but that was pretty much to be expected. But it definitely changed.

W: What kind of reaction and feedback have you received from these younger fans?

DZ: The best example I can give you is in the band. There’s a member of the band who plays keyboards; his name is Chris Norton, and he has never heard Frank’s music before. He heard us play Frank’s music; he saw the first DVD that we did and he was blown away by all the variety in the music and just what it takes to play the music, and he contacted me on my website and he was wondering if we were ever going to be holding auditions. I just said, “Well, send me a video of you playing a couple of different songs,” and I told him what songs to play, and he could play these parts and he was 23 at the time. So when we did have auditions, I auditioned a bunch of people and he got the job. But right there, that’s exactly the whole reason behind all of this. We play the music, a younger generation has been able to see it, and the proof of it is there’s one of them that was so inspired that he wanted to be in the band. There’s definitely more out there. We come across people all the time who are like, “This is my favorite music ever. There’s nothing like it.” We’re like, “Yep, we know.”

W: Before this show, you also offer a guitar class people can take. What are some of the most common questions you get?

DZ: Pretty much one of the universal themes that everybody is interested in is because of the way guitar is typically taught by most books, videos, and things. There tends to be a place that people plateau, and they get to a certain area where they’ve learned a few scales and they’ve learned pentatonic shapes that are used for rock and blues playing, but what happens is they don’t necessarily feel comfortable connecting the neck and being able to create phrases that utilize the whole neck. It’s usually just based on how the material is presented, and they aren’t able to visualize the connecting places on the fretboard, so I have a simple little solution for some of those issues, so I usually start with that. It’s usually pretty helpful for people because it automatically, and in a very simple way, gives them the ability to play all over the neck and widens the little boxes that they’re used to, so I take what they already know and I expand it for them in a very simple, easy to remember way.

W: Your kids are young, but do you see them getting interested in making music or picking up a guitar?

DZ: There’s guitars around the house and they have their own guitars and they will occasionally get them out, throw them on, and do some stuff, but as a kid, I remember I got a guitar when I was 6 and I didn’t really know what to do with it at all; I just kind of made some noise on it. It wasn’t until much later that I got serious about the idea of playing it, but as far as music goes, my girls, they’re starting to develop what their idea of what kind of music they like, and it’s just really funny to me to see what it is that they like.

They’re 6 and 8, so the music that they really like is to be kind of expected. They’re exposed to things like Katy Perry and stuff like that. … Both Kelly Clarkson and Katy Perry are good singers; I think they make good music, but my girls haven’t come to me with something that I’ve found to be really completely unlistenable, so that’s good.

W: You did take home Grammy for “Peaches en Regalia.” Do you think this music could eventually find its way into the mainstream?

DZ: Anything can be popular if it has enough exposure, you know? But ultimately, what we are hoping to do is just get more of what we’ve done completed, some more DVDs and some other stuff because there’s only one that’s been put out, and that was from the first tour, so the band has evolved and so many other songs have been learned and performed and stuff. There’s a lot of things that I would like to be able to do with this.

Over the long run, I’d like to make sort of a documentary about the whole project just because there’s so many elements to doing it and it’s been an ongoing for a decade.


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PostPosted: Sat Jul 12, 2014 11:37 pm 
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Dweezil Zappa does his father proud at Kirby Center

By Brad Patton Times Leader Correspondent

WILKES-BARRE — Like a lot of things that are challenging or outside the norm, the music of Frank Zappa is not for everyone.

But for the musically adventurous – such as the smallish but spirited crowd at the F.M. Kirby Center for the Performing Arts on Friday – the complex harmonics and rhythms and inventive wordplay can be highly entertaining.

Friday’s show in Wilkes-Barre featured many of the tunes the elder Zappa and his band the Mothers of Invention recorded in the late-1960s and early-1970s faithfully reproduced by the composer’s son, the phenomenally talented guitarist Dweezil Zappa, and his equally gifted “Zappa Plays Zappa” band.

“Good evening,” Dweezil said as he casually strolled up to the microphone. “You guys ready? Let’s play some Frank Zappa music.”

With that, Dweezil and the five-piece “Zappa Plays Zappa” band – Scheila Gonzalez (saxophone, keyboards, vocals), Ben Thomas (vocals, trumpet, trombone, percussion), Chris Norton (keyboards, vocals), Kurt Morgan (bass) and Ryan Brown (drums) – started with “Zomby Woof” from the 1973 album “Over-Nite Sensation.”

The group returned to that album throughout the evening, also playing “Montana” – an amusing ditty about a dental-floss farmer Dweezil said was one of his childhood favorites – and “Camarillo Brillo” during the 96-minute main set and “Dinah-Moe Humm” as part of the encore.

“We’re going to play some songs from some of the older records,” Dweezil said after the opening number. “There’s always so many songs to choose from, it’s a challenge to put it together.”

That’s quite the understatement as Frank Zappa released 62 albums, both solo and with the Mothers of Invention, between 1966 and 1993, the same year he succumbed to cancer at the age of 52. The Zappa Family Trust has released another 37 albums since his death, giving Dweezil and his bandmates 99 albums worth of material from which to choose. A quick perusal of the setlist from the last time the band played the Kirby Center in June 2012 showed only one or two duplicates from Friday’s show.

Fan favorite “Son of Suzy Creamcheese” from 1967’s “Absolutely Free” was an early highlight Friday as was that same album’s “Call Any Vegetable.”

Keyboardist Norton, who had never heard any of Frank Zappa’s original recordings when he joined the ZPZ band, turned in a wicked performance on the instrumental “Eat That Question.” Gonzalez displayed her saxophone skills on “RDZNL,” pronounced “Redunzel.” (Dweezil said that title was a combination of “Redundant” and “Rapunzel” and was his father’s nickname for his mother, who tended to repeat herself.)

Perhaps the absolute highlight of the main set was the scorching version of “Apostrophe,” which was originally an instrumental jam between Frank Zappa, bassist Jack Bruce (of Cream) and drummer Jim Gordon (of Derek and the Dominoes), featuring only Dweezil and the rhythm section of Morgan and Brown.

The set then drew to a close with “City of Tiny Lights” and “Florentine Pogen.” During this section, Dweezil brought a girl from the audience on stage to play the same guitar with him. “You never know what’s going to happen when you come to a show,” he said.

The 26-minute, three-song encore began with “Cosmik Debris” from the 1974 album “Apostrophe (‘),” and continued with the aforementioned “Dinah-Moe Humm.”

“Get ready to get on your feet and do a little dancing,” Dweezil said before the latter. “This is quite an up-tempo number for this evening.”

The band then finished up with an extended, joyous romp through “Muffin Man,” a song first featured on Frank Zappa’s 1975 mostly live album “Bongo Fury.”


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PostPosted: Sun Jul 13, 2014 4:24 am 
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Fuck! Louisville is 4 and a half hours, and Asheville is further than that. Y'all got TN in the radar?


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