Lumpy Money

14 thoughts on “Lumpy Money”

1. lot a good music to look forward too :) yippyyyyyyyyyyy

2. Well I picked this one up holding my breath, and although I cannot say that the release is as masterful as the 4-disc MOFO Project, it is fascinating for the hardcore fan.

   I think that the strongest facet of this release is the fair and equal balance that they give to both the “Lumpy Gravy” material, as well as to the “We’re Only In It For the Money” material.

   The real treasure is the Capitol version of Lumpy Gravy, so beautiful and powerful because it solely features the powerful and stunning 20th Century symphonic originals that Frank recorded with Nick Venet at Capitol, and he ended up chopping up these sessions, only using small snippets for the Verve “Lumpy Gravy”

   I am very curious as to why they chose to release in their entirety the Digital Remixes from 1984 of “Lumpy” and “Money” that everyone universally hated so much. Maybe it was something they still thought Frank would have wanted. I also don’t know why they chose the MONO original mix of “Money” instead of releasing the ORIGINAL STEREO mix of “Money”. They don’t really go into this in the liner notes.

   To me, the most disappointing aspect of this release is the material from the “Money” sessions, most of which are just the basic rhythm section backing tracks to most of the songs that would make the album. It’s interesting for the hardcore fan, but pretty straight forward and predictable: the songs all seem fully fleshed-out even at the rhythm section phase; this is no “work in progress”, Frank knew EXACTLY what he wanted and what he was doing.

   The most fascinating and valuable track on this whole release has to be the “Lonely Little Girl” 45 single mix, with its unique collage and tagged on instrumental vamp ending. I’m so glad they included that.

   I adore the little spoken snippets, the interviews as well as Eric Clapton’s speaking outtakes.

   This is a very interesting release for the hard-core Zappa fan. I would recommend it if you want to delve deeper.

3. I agree with most of Marco J’s comments and will try not to be repetitive. First, regarding MONEY:
   My guess is that the mono version of MONEY is included because the stereo version is available and most people who would buy this would have it. The differences in the mono and stereo versions are not that significant to my ears, and I just prefer the stereo version. What blows my mind is why the censored parts were not built back into the mono mix (or better yet, a complete stereo mix). The censored parts are:
   1. Concentration Moon: The track on disc 3 titled “Intelligent Design” includes most of the “studio whispering” heard throughout album, including the line “also at the same time I get to work with the Velvet Underground which is as shitty a group as Frank Zappa’s group”, which was cut from all but the most obscure vinyl releases.
   2. Harry You’re A Beast: The hiddeous UMRK version includes the “don’t come in me” part not played backwards like in all other versions. Unfortunately it has the “remix” properties, but it’s only for a few seconds.
   3. Mother People: The UMRK version includes the “shut your fucking mouth…” part, which is only on obscure vinyl and MOTHERMANIA in its original form.
   If there are other significant differences, please advise.

   Regarding LUMPY GRAVY, I found most of the dialog on the original version to be distracting and annoying. Blasphemy? Perhaps, but that’s the truth. So the Capitol version is interesting, and the 25 minute “How Did That Get In Here” is another reason to buy this collection. The differences between the Verve and Capitol versions are significant – there is some overlap but they are two unique works.

   Why the UMRK GRAVY is here is a mystery. I prefer the 1995 stereo version over the remixed version, even if it has been improved for this release.

   The packaging is both clever and unfriendly. Shiny black covers are great for attracting fingerprints, and the CD trays are cumbersome for removing discs. I’m sure I’ll break one of the discs eventually. The graphics are great, but they could be in a quadruple jewel case.

   The bottom line is that there is about one disc worth of new material here that validates its existence. The instrumental bits on disc 3 are interesting, but many of the studio out takes are not. As it stands, I’m glad to have it, but if an uncensored, un-remixed version of MONEY was included, I would be thrilled.

4. Phil Erwin says: “My guess is that the mono version of MONEY is included because the stereo version is available and most people who would buy this would have it”

   I think, everything they put into those 40th anniversary releases has to be something different than what is on the regular Ryko versions. I believe Ryko still has the rights to the FZ approved masters. So they had to use the original transfer of Freak Out for MOFO and the mono mix of WOIIFTM for Lumpy Money.

   Also this theory would explain why there has been no MOAF. Absolutely Free was recorded very rushed and there might be no extras in existence for a release without conflicting the Ryko catalogue.

   Th.

5. thinman, you’re right. they (the fzt) are selling us forgettable masters with excellent alternative tracks

6. Duodenum – the 84 remix version – it’s pure, evil genius.

7. After listening to nothing but these 3 discs for the last month or so, I feel I’m ready to comment. Apologies for the length of this review!

   Firstly, this release is aimed squarely at bona-fide Zappa fans, not to newcomers, and even they may question the relevance of some of the material included herein (see above reviews for some examples).

   First up, on Disc One, is Frank’s original edit for Lumpy Gravy as recorded for Capitol Records in February and March 1967. It is purely instrumental, and includes none of the talking or collage quality of the originally released version. Although the music here is wonderful, much of it will be familiar, albeit appearing in vastly differing juxtapositions. The fact that it’s in Mono really doesn’t matter – it still sounds great. However, even though this would’ve made an excellent release following on the heels of Absolutely Free, it is nowhere near as unique as the final version.

   The second part of Disc One is dedicated to a Mono mix of We’re Only In It For The Money. When I heard that such a thing existed I was immediately intrigued, as for me Money is such a wonderful example of late 1960’s adventures in stereo sound. The Mono is an interesting and most enjoyable listen: Interesting due to the very very subtle differences in the mix (some instruments are turned up louder on this mix than on the stereo version) – and enjoyable because Money is another one of Frank’s masterpieces, and this isn’t solely dependant on the mix or speaker configuration.
   I can understand how many fans have seen the inclusion of the Mono mix as a blatant rip-off, as its differences are so slight; but I can also see the reasoning behind its release on this set: the Project/Object releases are really aimed at the “hard-core maniacs” who want Everything that Frank recorded, and as Frank especially put together a Mono mix of Money (probably to stop the record company from putting out a shoddy fold-down mono mix of the stereo version), then why not give the fans an opportunity to hear it….?

   Disc two fast-forwards to Frank’s final versions of these two works: the controversial 1984 remixes, which feature an entirely new rhythm section. Lumpy Gravy starts off in a manner you are not likely to forget in a hurry. The opening tune now has Thing-Fish style lyrics, as sung by Ike Willis and Ray White. Love it or hate it, it will take you days to rid your brain of this very catchy little ditty. Personally, I really don’t like the new bass and drum sounds where they have been used to replace the old ones; however Frank also uses the drums to accompany some of the spoken-word sections – which sounds great to my ears. As for the “Remix” aspect of this version, the definition is far greater during some sections- mostly in the bottom end eg: double bass, bassoons etc, although the various cymbals and gongs have also benefited.

   The 1984 Remix of Money has already been released on CD in the late 1980’s, so once again many fans will question its inclusion in this set, but I guess it does belong with these other recordings, so why not? (Well, cost for one)….I really don’t enjoy these out-of-context drums and bass on this album, although Chad Wackerman’s playing on Flower Punk is really great- he handles the changes from 7/8 to 5/8 to 4/4 and back again with real style. My main problem lies with the actual timbre of the new overdubs. The bass is turned up so loud, and it is usually doubled across both speakers, kind of swamping all of the other instruments, making them seem puny by comparison. And to me Chad Wackerman’s drums, on almost all of his recordings with Frank, are all so subtley tuned (especially the toms), that it is hard to define exactly what he is playing; so even if it is fantastic, my ears can’t hear it. Even so, Money is still an enjoyable listen, though not as impressive as the original version (which you can still buy on Ryko CD).

   Disc 3 rips away the curtain and allows us a glimpse behind the scenes. It kicks off with “How Did That Get In Here?”, a 25 minute piece recorded during the first session for Lumpy Gravy. It includes a few tiny snippets of material that was later added to the final version, but has a large amount of other stuff too. It’s great to hear more of the World’s Greatest Sinner soundtrack music (though there’s only about 45 seconds of that!), and it gives one the impression that Lumpy Gravy started off as being far more closely related to later works such as The Grand Wazoo. This track took me a few listens to appreciate, as there is a fair amount of mid-‘60’s noodling from the session musicians in a pseudo-blues setting, which I really don’t find appealing. However, when these guys show off their jazz credentials, it is just as impressive as Frank’s 1988 touring band.

   With that mammoth track out of the way, we get a few short outtakes (including the original King Kong) and some spoken word segments which are either fascinating or hilarious – N Double A AA never fails to raise a belly laugh every time I hear it.

   Some of the Money outtakes really come across as scraping the bottom of the barrel (like some of the Beatles Anthology stuff); I’m thinking here of “Absolutely Free”, “What’s The Ugliest Part Of Your Body?” and especially the totally pointless snippet of “Take Your Clothes Off When You Dance”. However, the other outtakes are absolutely essential Zappa; “Idiot Bastard Son”, “Lonely Little Girl” and “Who Needs The Peace Corps?” have a real beauty about them. The sound of these recordings is wonderful.

   So, all in all, I think this set is excellent; obviously still below the very high standards of the original albums themselves though. It provides a real glimpse into Frank’s obsessive working methodology – everything was always in a state of flux.

   About the packaging: it includes Frank’s original story for the liner notes of Lumpy Gravy – in writing so small there is no way anybody can read it. Totally Pointless. The same goes for the Lumpy Gravy musician credits, I’d love to know who those wonderful players are. Some guy gets to write an article telling us how important these albums were. Ian Underwood gets to share only one sentence of his experience of working with Frank on Money. The Mothers are not credited at all. What a missed opportunity.

8. I’d have to agree with all the comments here, very pointed discussion… I’d get into everything about mixes/new material, but most of it’s already been said before.
   About the mono mix, I’ve spent alot of time transcribing certain tracks from WOIIFTM, the stereo version I mean, that to hear a version that bumps up certain parts that “didn’t really make the cut” is astounding. For instance, during “What’s the Ugliest Part of Your Body?”, there’s a guitar part I never even knew existed. Amazing stuff.
   The same could be said about the 1984 version… ok, so it’s a piece of shit, but it’s a piece of shit with some love mixed in, and it’s so incredibly different than the original version it actually is an interesting listen…
   Kind of like if George Lucas decided to redo all the original ‘Star Wars’ (as he did), but thought, “hey, everyone seems to hate JarJar a whole bunch… why don’t we redo the originals, and stick him in every fucking scene?”
   Much like the lumpy mix, the opening tune says it all. For anyone who is attached to the original product, this ain’t it.
   But, there is some upside in the new mix of ‘Money’… same as the mono mix, thought the tone of the bass is awful, certain parts that are buried in the original are clear as day here… it’s all a matter of trying to consolidate Zappa’s intent through the various “stages”.
   That’s if you’re into learning the music and that sort of thing. Otherwise, there’s very little of interest for casual fans.
   Still pretty amazed at the way the ZFT manages to put out things most listeners would hate, but makes die-hards salivate.

9. To me this is a perfect way to celebrate a release (two releases): everybody can find his/her favorite version, and there are some real surprises here and there.

   Surprisingly enoght the biggest surprise and joy to me is (lo and behold:) the ’84 version… Yes, the re-mixed, reorchestrated one: to me it’s full of surprises, some really nice bass themes and anyway: nice and (in a way) NEW MUSIC. I just couldn’t stop laughing when I’ve heard the first few seconds of Lumpy Gravy – and then the opening theme: „What??? FZ totally reorchestrated this classic? With Ike Willis? :-)

   For one this is beautiful music, and we still have the original music as well, but on the other hand it shows me (again) the main thinking method of FZ: he was always thinking of NOW, of the present, thinking of MUSIC to make – and forgetting everything about „originality” and all these stuff. His work is not a museum – its a living thing, and most of the time he had a possipility to publish, orchestrate, perform a piece, he almost always changed it. For fun, for exploring new possibilities, etc. And at the same time it also helps us to forget about thinking of albums as „musical museums” or „memorabilia” – these are pieces of MUSIC: living, always changing, fun-to-listen music. And this is a really good thing. :-)

   Much better than for example the remix of Sleep Dirt – I REALLY like this ’84 version. Just like 3rd CD: the tiny concert is exciting and fine, the alternate versions are also fun to listen to.

   One thing i do not like: the titles of the segments of the „original” Lumpy Gravy (it’s hard to find out which one is Oh No, etc.), and the title of that new 25 min. piece. A better one would fit there more. I only have this one in mp3, but at one point of time I’ll surely buy this.

10. The Varese influence is in full effect on disc 1. Also the beautiful interlude in Mother People is here in in all its glory on disc 1. What a Melody!!

11. Does anybody else have problems with the mono mix on Lumpy Gravy (Primordial)? I have checked it with several equipment setups and it always gives me “buzzing in the ears”. There are definately phase problems. I can’t listen to that.

    Who did the mono mix? I bet this is simply a mono folddown done without much care.

    The mono version of WOIIFTM is ok because it is not a folddown but a skilled real mono mix (as written in the liner notes). No ear-buzzing involved.

    Th.

12. Conclusion. After having purchased this one finally at http://www.jpc.com for as much as 79.99 € and having listenend to it all the way thru several times for the last two days: if you already have the last editions of WOIIFTM and LG on CD plus the 80s twofer CD and probably the original vinyl and have been familiar with this material for decades, you won’t miss much if you don’t have LM.

    Th.

13. http://www.jpc.com should read http://www.jpc.de. Sorry!

14. Don’t buy it,dowload it!
    this is what an honest “Family Trust” would GIVE as a bonus on a regular CD
    really…………….

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