Released by Verve on 27 June 1966, it competes with 'Blonde On Blonde' for being the first double rock LP. (although in the UK the original release was only a single disc). Besides that, it is also cited as being one of the first concept albums though there is not one single unifying theme. As leader Frank Zappa wrote in 'The Real Frank Zappa Book', the idea was that 'each tune had a function within an overall satirical concept'
Ray Collins sang with an R&B covers band called the Soul Giants. After losing their guitar player, Frank Zappa was drafted into the band and they gradually began playing his original material. The Soul Giants morphed into The Mothers and as such they came to the attention of MGM producer, Tom Wilson. As a staff producer for Columbia Records, Wilson had earlier produced three albums for Bob Dylan and also worked with Sun Ra and Simon & Garfunkel. Having heard only one song, 'Trouble Every Day', Wilson believed The Mothers to be a white blues band. His opinion changed when he heard them record 'Who Are The Brain Police?' Nevertheless, he must have been suitably impressed as he managed to secure an almost unlimited budget to record the album by this unknown group. One problem was the group's name which MGM were not happy with. Thus it became The Mothers Of Invention.
The recording sessions took place at TTG Studios in Hollywood between 9 and 12 March 1966. (In his book 'Dangerous Kitchen: The Subversive World of Frank Zappa', Kevin Courrier claims that the album was recorded over three months between November 1965 and January 1966. This seems unlikely as Tom Wilson did not spot The Mothers until November 1965 and signed them to Verve on 1 March 1966). Although an advance of $2,500 dollars had been negotiated, this had not been forthcoming by the time the sessions commenced. So it was that a starving band began recording 'Any Way The Wind Blows' and 'Who Are The Brain Police?' As Wilson became even more enthusiastic, Zappa chanced his arm and asked to rent $500 worth of percussion equipment. Wilson agreed and a crazy session commenced at midnight on Friday 11 March involving all the freaks from Sunset Boulevard crowded into the studio. That prompted manager Herb Cohen to ask 'What the hell you gonna do with all those drums at 1.00 in the morning?' The result was the final track on the double album 'The Return Of The Son Of Monster Magnet' despite the band not having the time to finish it. The total cost for the album ran to $21,000, far exceeding the normal $5,000 for a debut album. Effectively, Wilson put his job on the line to make this record.
It is impossible to categorise the music on 'Freak Out!' as it veers between pop, doo-wop, avant garde jazz, psychedelic rock and other trends that are impossible to label. Go listen to the album now - yes, do as you're told and then remind yourself that despite the technical limitations, this music was recorded in 1966.
These are the 'songs' that appeared on the double version of that iconic release:
'Hungry Freaks, Daddy'
According to the sleeve notes, this song was written for the self styled leader of the LA 'freak' scene, Carl Franzoni, described as being freaky down to his toe nails. Beginning with a riff that rips off The Rolling Stones' 'Satisfaction' released the previous year, the song sets the tone for this album and possibly for the rest of Zappa's career. In 1964 US President, Lyndon B Johnson used the term 'Great Society' to describe his vision of an ideal America. The freaks turned their backs on such a vision prompting Zappa to write the lyrics, 'Philosophy that turns away from those who aren't afraid to say what's on their mind. The left-behinds, of the Great Society.' As good a song as 'Satisfaction' is, this knocks it into a cocked hat.
'I Ain't Got No Heart'
On the album sleeve, Zappa calls this song 'a summary of my feelings on social-sexual relationships'. Using many of the cliches used in love songs, The Mothers deliver an anti-love song with lines like 'no angels singing up above today' and 'Why should I be stuck with you? It's just not what I want to do.' Overall it's a great pop song but so far there has been nothing so drastically different to other things going on in the world of pop albums. All that changes with the third track.
'Who Are The Brain Police?'
Beginning with a doom-laden two-note bass introduction, the sound of creaking doors accompany Ray Collins' groaning voice. 'What will you do if we let you go home? And the plastic's all melted and so has the chrome.' Then higher register voices appear creepily asking 'Who are the brain police?' After the second verse, the song goes into a free-form section where background voices repeat 'I think I'm going to die.' The song even includes a portion which is cut from side three's 'Help I'm A Rock'.
This is one creepy, scary song and even Frank Zappa agreed to being scared when he 'finally played it out loud and sang the words.' Now we know that we are not listening to any run of the mill pop record.
No sooner does this end when the mood changes dramatically with:
'Go Cry On Somebody Else's Shoulder'
Following a semi-spoken introduction the listener is transported back to the 1950's with a doo-wop anti-love song. As Zappa says in the sleeve notes, 'This is very greasy. You should not listen to it. You should wear it on your hair. Behind all the vocals listen out for some lovely tinkling piano accompaniment and tasteful vibes.
'Motherly Love'
A musical come on to the hoards of groupies that followed bands around. The title may be a double entendre but the lyrics are clear enough.
'How Could I Be Such A Fool'
Like 'Go Cry On Somebody Else's Shoulder', this is another song of betrayal. A love ballad that constantly changes tempo and features some lush mariachi sounding trumpet behind the final verse.
And so ends side one which features some fine pop songs sandwiching the very strange 'Brain Police'.
Side two begins with the very jaunty and uptempo
'Wowie Zowie'
Another song in the doo-wop style beloved of Zappa, this would just be another goofy pop song in the style of 'Wooly Bully' were it not for some of the lyrics. Zappa writes in the sleeve notes that 'This is carefully designed to suck the twelve year old listener into our camp.' Musically it is most notable for some great xylophone playing.
'You Didn't Try To Call Me'
As Zappa says, this 'is not revolutionary, but is interesting.' Personally I really like the melody which I gather was actually put together in the studio unlike the following song which Zappa wrote in about 1963.
'Any Way The Wind Blows'
An accessible pop song that was written while Zappa was considering divorcing his first wife Kay Sherman.
'I'm Not Satisfied'
According to Zappa, this is okay and safe. He's spot on as it is the weakest 'song' on the album.
'You're Probably Wondering Why I'm Here'
The second side of the album ends with Zappa turning the tables on his audience. Having lured them into a false sense of security with the previous three songs, he hits out.
Rather arrogantly and contemptuously, he sings 'I think your life is incomplete, but maybe that's not for me to say. They only pay me here to play.'
Effectively Zappa was trying to shake up the record buying public and those who attended live shows, into not just accepting what was served up to them. Musically the song is interesting for some demented bass vocals and crazy kazoo playing.
'Trouble Every Day'
This song begins side three and was the song heard by Tom Wilson convincing him he was signing a white blues band. Inspired by the riots that took place the previous August in the Watts neighbourhood of Los Angeles, resulting in 34 deaths; this was Zappa's response to the racial unrest. A straight forward bluesy rocker, I wonder how much this might have been on John Lennon's mind when he came up with 'Revolution'.
From here on in, the album starts to get a bit 'weird'.
'Help, I'm A Rock'
Despite being dedicated to Elvis Presley, this piece about not accepting alienation appears to be a reply to the Paul Simon 1965 song 'I Am A Rock'. A monotonous beat pounds as some gibberish words are sung. This leads into the repetitive chant of the title. This segues into:
'It Can't Happen Here'
This is the craziest and least harmonic barber-shop quartet you've ever heard in your life. Eventually Zappa addresses the fictitious character Suzy Creamcheese. His advances are well and truly rejected.
The final side of the album is taken up by one piece of 'music'.
'The Return Of The Son Of Monster Magnet'
This was the unfinished ballet inspired by Edgard Varese and Igor Stravinsky, that required the rental of $500 dollars worth of percussion equipment. Basically it is twelve minutes of screaming, yelping and nonsense lyrics. Like The Beatles' 'Revolution 9' it is a piece I rarely played then and never play now.
The cover of the album listed some 170 people who had somehow inspired Frank Zappa and his music. According to Zappa, the list was intended to help those wishing to understand the album. This kind of acknowledgement of influences was a theme that The Beatles would use graphically on the cover of 'Sgt Pepper's Lonely Hearts Club Band'.
Upon it's release, the album received some scathing reviews and according to 'The Real Frank Zappa Book', the initial sales amounted to 30,000 units. The accounting statement indicated that the band owed MGM money! However, the album has grown in status since then and as Simpsons creator Matt Groening has said, 'It was crude and ugly, and incredibly sophisticated.'
There was certainly something in there for everyone.
A host of session musicians are listed on the album cover as The Mothers' Auxiliary and there were some additional musicians who were never credited. The Mothers Of Invention at that time were:
Frank Zappa - musical director, guitar & vocals
Ray Collins - Lead vocalist, harmonica, tambourine, finger cymbals, bobby pin & tweezers Jim Black - Drums (also sings in some foreign language)
Roy Estrada - Bass & guitarron; boy soprano
Elliot Ingber - Alternate lead & rhythm guitar with clear white light
Postscript:
In 2006, to commemorate the 40th anniversary of 'Freak Out!', the Zappa Family Trust issued 'The MOFO Project/Object' which offers the original stereo mix of 'Freak Out!' as well as a host of unreleased material. It comes in both 2 and 4 CD versions and in my opinion is definitely worth getting.
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