Stravinsky, Titties and Beer
Läther, a simultaneously exhilarating, hilarious, frustrating,
and indulgent project, is a mammoth, three-disc, two-and-a-half hour piece
of work originally conceived by late iconoclast Frank Zappa in the late
'70s, but has disemboweled and repackaged as a series of separate
recordings; now, for the first time (save for a pirate radio show FZ
dee-jayed at a particularly spiteful moment one Sunday in December '77)
the album is available in its completion. More than any other single
recording, Läther both contains and fully explores facets of
virtually every style that had cause to pique Zappa's ceaselessly
voracious musical curiosity: orchestral compositions; guitar-hero
histrionics; Dr. Demento, locker-room antics; lounge posing; and
fast-and-furious rockabilly boogies-- just to name a few--tied together by
a connective tissue of group virtuosity. With his split-second shifts of
mood and style, Zappa is sometimes (rightfully) accused of letting his
imagination wander a little too much: instead of exploring the
nuances of a certain style, he'll do little more than show off a riff-like
fluency before hyper-kinetically moving onto something else.
Not so on Läther. While Zappa characteristically moves with
frenetic speed from violin scores to spastic synthesizers to a host
sardonic wise-cracks, from live to studio recordings, from sputtering
xylophone explosions to mournful guitar cries, Läther takes
care to fully explore the many approaches it attempts to tackle, and in
doing so is one of the most satisfying, full, and complete work of
Zappa's seemingly endless oeuvre. Indeed, it's not hard to see why
Warner Brothers refused to release Läther as a four-record set
(most of the material Zappa intended for the album subsequently appeared
on Live in New York, Studio Tan, Sleep Dirt, and
Orchestral Favorites).
There were four albums worth of peak Zappa work on the table, so why waste
them all with a giant concept package, the size of which had never been
attempted before? Rearranged and pieced together by Joe Travers,
according to what he interpreted to be Zappa's wishes (Zappa died in 1992
of prostate cancer), Läther shows Zappa at both his musical
and post-modern best. Stravinsky pops up as frequently as titties and beer
in the frequent asides that are sprinkled throughout, and Zappa seems much
more aware of other modern composers and artists than of pop's mind-frame:
always exploring methods of cutting and pasting, Zappa, taking clues more
from Glass (Philip) more than Glitter (Gary), brings his lifelong
obsession of the blurring of lines between "high" and "low" art to its
most satisfying conclusion on Läther. (Indeed, I've often
wondered if Zappa's self-consciously juvenile, if not ironic, were a
pointed attempt at proving that despite his compositional sophistication,
Zappa was determined to keep his feet firmly planted in both camps.)
Still, as is the case with all of Zappa's best work, despite all of its
theoretical implications, the heart of Läther lies in its
musicality. Recorded between 1974 and 1976, Läther contains
some of the best musicians to play with Zappa and the Mothers: drummers
Terry Bozzio and Chester Thompson (who also made their mark with Missing
Persons and Weather Report, respectively), keyboardist George Duke, and
brass-brothers Randy and Mike Brecker are just some of the better-known
names that comprise Läther's personnel. While some reviews of
Läther have used the not infrequent sexual asides that seem to
come naturally to Zappa and Co. whenever they're not smack in the middle
of a mind-boggling jam (and occasionally when they are) to once again
accuse Zappa of everything from violent mysonginism to plain stupidity,
Läther, much like fellow Zappa masterpieces Apostrophe
and Overnight Sensation, must be appreciated for the musical
heights it scales. (As for the accusations levelled against Zappa, his
critics, as always, fail to take notice that regardless of musical
content, Zappa incessantly employs irony, and, while he might not be a
Lenny Bruce when it comes to social commentary, Zappa's trying to say as
much about sexually depraved men as the women who become their victims in
songs such as the Don Pardo narrated "The Illinois Enema Bandit.") Most
spectacular of all is Zappa's consistently startling guitar playing.
Longtime Zappa fans will recognize elements of his best album in
Läther--the boogie-down fun of Apostrophe and
Overnight Sensation, the jazz-funk aspect of Hot Rats and
Waka Jawaka, the on-a-dime recombinant shifts of Thing Fish.
Many of the tracks are pieced together by manic drum and synthesizer
spurts or snippets of conversation squeezed so tightly into the mix that
they often float in and out of a person's subconscious before they can be
fully retained.
Also, a number of longtime Zappa collaborators will be recognized: raving
vocalist Ricky Lancelotti ("50/50 Chance") and deadpan gross-out man Ray
White (featured on the Live at the Fillemore East
prominent appearances, as does long-time percussionist Terry Bozzio and
keyboardist George Duke.