Uncle Meat

April 21st 1969

Tracks

Uncle Meat: Main Title Theme
The Voice Of Cheese
Nine Types Of Industrial Pollution
Zolar Czakl
Dog Breath, In The Year Of The Plague
The Legend Of The Golden Arches
Louie Louie - Live At The Royal Albert Hall, London/1967
The Dog Breath Variations
Sleeping In A Jar
Our Bizarre Relationship
The Uncle Meat Variations
Electric Aunt Jemima
Prelude To King Kong
God Bless America - Live At The Whisky A Go Go/1968
A Pound For A Brown On The Bus
Ian Underwood Whips It Out - Live At The Falkoner Theater, Copenhagen/1967
Mr. Green Genes
We Can Shoot You
If We'd All Been Living In California
The Air
Project X
Cruisin' For Burgers
Uncle Meat Film Excerpt Part I
Tengo Na Minchia Tanta
Uncle Meat Film Excerpt Part II
King Kong Itself (as played by the Mothers in a studio)
King Kong (Its Magnificence As Interpreted By Dom DeWild)
King Kong (As Motorhead Explains It)
King Kong (The Gardner Varieties)
King Kong (As Played By 3 Deranged Good Humor Trucks)
King Kong (Live On A Flat Bed Diesel In The Middle Of A Race Track At A Miami Pop Festival...The Underwood Remifications) - Live

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Official Release #6

Catalog Number: ZR3839

Produced/Composed/Arranged by Frank Zappa

The Mothers of Invention:

Frank Zappa: guitar, low grade vocals, percussion

Ray Collins: swell vocals

Jimmy Carl Black: drums, droll humor, poverty

Roy Estrada: electric bass, chesseburgers, Pachuco falsetto

Don (Dom De Wild) Preston: electric piano, tarot cards, brown rice

Billy (The Oozer) Mundi: drums on some pieces before he quit to join RHINOCEROS

Bunk (Sweetpants) Gardner: piccolo, flute, clarinet, bass clarinet, soprano sax, alto sax, tenor sax, bassoon (all of these electric and/or non-electric depending)

Ian Underwood: electric organ, piano, harpsichord, celeste, flute, clarinet, alto sax, baritone sax, special assistance, copyist, industrial relations & teen appeal

Artie (With the Green Mustache) Tripp: drums, timpani, vibes, marimba, xylophone, wood blocks, bells, small chimes, cheerful outlook & specific enquiries

Euclid James (Motorhead/Motorishi) Sherwood: pop star, frenetic tenor sax stylings, tambourine, choreography, obstinance & equipment setter-upper when he's not hustling local groupies

Special thanks to:

Ruth Komanoff who plays marimba and vibes with Artie on many of the tracks, and

Nelcy Walker the soprano voice with Ray & Roy on Dog Breath & The Uncle Meat Variations

Pamela Zarubica as Suzy Creamcheese

The music on this album was recorded over a period of about 5 months from October 1967 to February 1968. Things that sound like a full orchestra were carefully assembled, track by track through a procedure known as over-dubbing. The weird middle section of DOG BREATH (after the line , "Ready to attack") has forty tracks built into it. Things that sound like trumpets are actually clarinets played through an electric device made by Maestro with a setting labeled Oboe D'Amore and sped up a minor third with a V.S.O. (variable speed oscillator). Other perculiar sounds were made on a Kalamazoo electric organ. The only equipment at our disposal for the modification of these primary sounds was a pair of Pultec Filters, two Lan Equalizers, and three Melchor Compressors built into the board at Apostolic Studios in New York. The board itself is exceptionally quiet and efficient (the only thing that allowed us to pile up so many tracks) and is the product of Mr Lou Lindauer's imagination & workmanship. The material was recorded on a prototype Scully 12 track machine at 30 ips. The whole project was engineered by Richard Kunc or Dynamite Dick, as he is known to the trade. Special engineering credits go to Jerry Hansen for the percussion effects added later at Sunset Sound in L.A., and to our friend Mike in Copenhagen for the tapes he sent us.

"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."