Freak Out!
Freak Out! is the debut studio album by American rock band the Mothers of Invention, released on June 27, 1966, by Verve Records. Often cited as one of rock music's first concept albums, it is a satirical expression of guitarist/bandleader Frank Zappa's perception of American pop culture and the nascent Los Angeles freak scene's "freak-out" trend. It is often incorrectly cited as the second rock music double album ever released, following the release of Bob Dylan's Blonde on Blonde just one week earlier. In fact, both were preceded by Jimmy Clanton's Jimmy's Happy/Jimmy's Blue, released in 1960, and by several double album compilations. However, Freak Out! does seem to have been the first double debut album by a rock artist. In Europe, the album was originally released as an abridged single album.
The album was produced by Tom Wilson, who signed the Mothers, formerly a bar band called the Soul Giants. Zappa said many years later that Wilson signed the band to a record deal under the impression that they were a white blues band. The album features Zappa on vocals and guitar, along with lead vocalist/tambourine player Ray Collins, bass player/vocalist Roy Estrada, drummer/vocalist Jimmy Carl Black and guitar player Elliot Ingber, along with appearances from several session musicians.
The band's original repertoire consisted of rhythm and blues covers, but after Zappa joined the band his original compositions came to the fore and their name was changed to the Mothers. The musical content of Freak Out! ranges from rhythm and blues, doo-wop, and standard blues-influenced rock to orchestral arrangements and avant-garde sound collages. Although the album was initially poorly received in the United States, it was a success in Europe. It gained a cult following in America, where it continued to sell in substantial quantities until it was discontinued in the early 1970s. The album was remixed in 1985, for the Old Masters Box One LP box set, and subsequent CD releases.
In 1999, the album was honored with the Grammy Hall of Fame Award, and in 2003, Rolling Stone ranked it among the "500 Greatest Albums of All Time". In 2006, The MOFO Project/Object, an audio documentary on the making of the album, was released in honor of its 40th anniversary.
Background
In the early 1960s, Frank Zappa met Ray Collins. Collins supported himself by working as a carpenter, and on weekends sang with a group known as the Soul Giants. In April 1965, Collins got into a fight with their guitar player, who quit. In need of a substitute, Zappa promptly filled in. The Soul Giants' repertoire originally consisted of R&B covers. After Zappa joined the band, he encouraged them to play his own original material. While most of the band members liked his ideas, then-leader and saxophone player Davy Coronado felt that performing original material would cost them bookings, and quit the band. Zappa took over leadership of the band, who officially changed their name to the Mothers on May 10, 1965.The group moved to Los Angeles in the summer of 1965 after Zappa got them a management contract with Herb Cohen. They gained steady work at clubs along the Sunset Strip. MGM staff producer Tom Wilson offered the band a record deal with the Verve Records division in early 1966. He had heard of their growing reputation but had seen them perform only one song, "Trouble Every Day", which concerned the Watts riots. According to Zappa, this led Wilson to believe that they were a "white blues band".
Recording
The first two songs recorded for the album were "Any Way the Wind Blows" and "Who Are the Brain Police?" When Tom Wilson heard the latter, he realized that the Mothers were not merely a blues band. Zappa remembered "I could see through the window that he was scrambling toward the phone to call his boss—probably saying: 'Well, uh, not exactly a 'white blues band', but ... sort of.'" In a 1968 article written for Hit Parader magazine, Zappa wrote that when Wilson heard these songs, "he was so impressed he got on the phone and called New York, and as a result I got a more or less unlimited budget to do this monstrosity." Freak Out! is an early example of the concept album, a sardonic farce about rock music and America. "All the songs on it were about something", Zappa wrote in The Real Frank Zappa Book. "It wasn't as if we had a hit single and we needed to build some filler around it. Each tune had a function within an overall satirical concept."The album was recorded at TTG Studios in Hollywood, California, between March 9 and March 12, 1966. Some songs, such as "Motherly Love" and "I Ain't Got No Heart", had already been recorded in earlier versions prior to the Freak Out! sessions. These recordings, said to have been made around 1965, were not officially released until 2004, when they appeared on the posthumous Zappa album Joe's Corsage. An early version of the song "Any Way the Wind Blows", recorded in 1963, appears on another posthumous release, The Lost Episodes, and was originally written when Zappa considered divorcing first wife Kay Sherman. In the liner notes for Freak Out!, Zappa wrote, "If I had never gotten divorced, this piece of trivial nonsense would never have been recorded." "Hungry Freaks, Daddy" is an attack on the American school system that musically quotes a Rolling Stones song, " Satisfaction", in its opening measures, and contains a guitar solo between the first and second verses that itself briefly quotes Richard Berry's 1959 song "Have Love, Will Travel".
Tom Wilson became more enthusiastic as the sessions continued. In the middle of the week of recording, Zappa told him, "I would like to rent $500 worth of percussion equipment for a session that starts at midnight on Friday and I want to bring all the freaks from Sunset Boulevard into the studio to do something special." Wilson agreed. The material was worked into "Cream Cheese", a "ballet in two tableaux" that was eventually retitled "The Return of the Son of Monster Magnet". In a November 1967 radio interview, Zappa is heard complaining that the version of "Monster Magnet" released on Freak Out! was in fact an unfinished piece; the percussion track was intended to serve as the foundation for an even more complex piece, but MGM refused to approve the studio time needed to record the intended overdubs that would have completed the composition, and so it was released in this unfinished form. In addition to the Mothers, some tracks featured a "Mothers' Auxiliary" that consisted of additional session players, including noted "Wrecking Crew" members Gene Estes, Carol Kaye and Mac Rebennack, guitarist Neil LeVang, and jazz-soul pianists Eugene DiNovi and Les McCann, with vocal contributions by Paul Butterfield, Kim Fowley, Jeannie Vassoir and future Mother Jim Sherwood. Several orchestral musicians, who were also mostly credited as members of the Auxiliary, also made contributions to several songs at certain sessions, chiefly in the form of backing tracks on those songs.
Zappa later found out that when the material was recorded, Wilson had taken LSD. "I've tried to imagine what must have been thinking", Zappa recounted, "sitting in that control room, listening to all that weird shit coming out of the speakers, and being responsible for telling the engineer, Ami Hadani, what to do." By the time Freak Out! was edited and shaped into an album, Wilson had spent $25–35,000 of MGM's money. In Hit Parader magazine, Zappa wrote that "Wilson was sticking his neck out. He laid his job on the line by producing the album. MGM felt that they had spent too much money on the album."
Censorship and alternate mixes
An early version of the album was done in April, with a different track order from the final sequence completed two months later: for instance, "Wowie Zowie" was the original planned lead-off track rather than "Hungry Freaks, Daddy", "Trouble Comin' Every Day" was included on side one rather than side three, and "Who Are the Brain Police?" took up the middle of side two rather than the middle of side one, with only "Help, I'm a Rock" and "Cream Cheese" taking up the same concluding places on the early sequence that they eventually would on the finalized sequence."Wowie Zowie" itself originally contained a musique concrète section between the bridge and third verse that would eventually be edited out of the song as it appeared on the finalized sequence, while the third section of "Help, I'm a Rock", called "It Can't Happen Here", contained two additional lines consisting of the word "psychedelic" during the self-pleasure sequence and of the words "...since you first took the shots" immediately following the "we've been very interested in your development" line. Tapes of the early sequence were eventually leaked to European collectors and bootlegged on vinyl as The Alternate Freak Out! in 2010, with long-time Zappa associate Scott Parker later describing the early sequence's track order as having more conceptual "integrat" and "a greater amount of weirdness sprinkled throughout" than that of the finalized sequence during a 2011 podcast.
The label eventually requested that the two lines in question be removed from the "It Can't Happen Here" section of "Help, I'm a Rock", both of which had been interpreted by MGM executives to be drug references. However, the label either had no objections to, or else did not notice, a sped-up recording of Zappa shouting the word "fuck" after accidentally smashing his finger, occurring at 11 minutes and 36 seconds into "The Return of the Son of Monster Magnet". From the 1995 CD reissue of the album onwards, the formerly three-part "Help, I'm a Rock" was reindexed as two separate tracks, with only the first two parts remaining under the "Help, I'm a Rock" title but with "It Can't Happen Here" becoming its own track, as "It Can't Happen Here" had been included by itself on the 1969 vinyl compilation Mothermania, where the two normally censored lines were also reinstated.
MGM also told Zappa that the band would have to change their name, claiming that no DJ would play a record on the air by a group called "the Mothers".