Uncle Meat

April 21st 1969
Uncle Meat


  • 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

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."