We come to my seventieth review, and since I have already done two Zappa reviews, I think I should finally talk about the band that started it all, and that’s none other than the greatest American band (until Van Halen), The Mothers Of Invention. And kicking off this two parter, let’s talk about this amazing band and their amazing leader.

Featured on this album and the next is the lineup of Frank on lead guitar and vocals, Don Preston on keyboards, Bunk Gardner on tenor sax and wind instruments, Ian Underwood on alto sax/wind instruments/keyboards, Motorhead Sherwood on baritone sax and tambourine, Bunk’s brother Buzz on trumpet and brass, Roy Estrada on bass and vocals, Jimmy Carl Black (Indian Of The Group) and Art Tripp on drums and percussion, and Lowell George on rhythm guitar and vocals (yes, that Lowell George).

First, we have Burnt Weeny Sandwich, the sixth studio album by the Mothers Of Invention, The seventh overall release by them, and the tenth entry into the Zappa canon. Released February 9, 1970 on Bizarre Records, this marked the first of two “posthumous” albums released after the Mothers’ disbanding in 1969.

1. “WPLJ” (Ray Dobart/Luther McDaniel):

https://m.youtube.com/watch?v=F6vszkazRyk

We open with an old doo-wop tune by The Four Deuces, and the track features Bunk and Buzz’s friend John Balkin on bass as well as Janet Ferguson on backing vocals.

Oh man, what a fun song. I’m a sucker for when Frank does a throwback to the Doo-Wop of his youth, there’s such a joyous feeling that one does not normally associate with Zappa, Mothers or solo. And I know Frank thought very little of his voice (in fairness, when you have the likes of Ray Collins, Napoleon Murphy Brock, Ray White, and Ike Willis, I can understand seeing yourself as mediocre by comparison), but frankly (ha!), I love Frank’s voice. One of a kind voice, and he can do some really great vocals when the occasion calls for it, and this is a perfect example.

I can remember clearly listening to this album one summer day, and I shit you not, right as the little Spanish rap started, an ice cream truck started driving by. I was like “damn, is Roy Estrada out already?” And then I wondered, how did he get an ice cream truck? I guess those Zappa and Little Feat royalties were more than I thought.

Well, back to “WPLJ”, it’s a fun song and a nice way of settling listeners into the record.

2. “Igor’s Boogie, Phase One” (Frank Zappa):

https://m.youtube.com/watch?v=AR3LcUYCmDA

Here we have Phase One of “Igor’s Boogie”, featuring some classical work by Ian, Art, and the Gardner brothers. It’s half a minute, it’s cool, it goes as fast as it comes, so let’s move to the next track.

3. “Overture To A Holiday In Berlin” (Zappa):

https://m.youtube.com/watch?v=VKtJxWtM2xY

How about a trip to Berlin? This is the second track on here to feature John Balkin, who is credited here with “string bass”.

There’s something something kind of “off” about the track as the instrumentation is played slightly out of tune. There’s something very sloppy yet very precise as a result, and Balkin’s string bass (which sounds like a cello if my ears are hearing properly) adds a resonant character to the track. Overall, I get the feeling of being in a lounge with the music filtered through an alcoholic haze, not unlike “America Drinks And Goes Home” off Absolutely Free.

This is another very solid track off the album, and now we must proceed with….

4. “Theme From Burnt Weeny Sandwich” (Zappa):

https://m.youtube.com/watch?v=vB-PYif7Fek

….”Theme From Burnt Weeny Sandwich”, the title track for all intents and purposes. The basic track was cut in 1967 and as a result, it may or may not feature Billy Mundi on drums alongside Jimmy, though Art Tripp still performs all the percussion on the track.

The way the track begins, you feel like you’re entering an abandoned factory, the cold industrial ambience setting a tone of unease. As you come in closer, this colorful sound starts to grow slowly then exponentially. Frank’s guitar bending and stretching into this strange substance. Don Preston’s organ gives off a weird carnie vibe to it, while Roy and Jimmy(/Billy?) lock into place. I love Frank and Don on here, but to me, the star of this track is The Man With the Green Mustache himself, Arthur Dyer Tripp III, aka Ed Marimba, aka Ted Cactus, aka That Guy Who Changed His Name When He Joined The Magic Band Despite His Real Name Already Being Pretty Beefheart Like To Begin With. His percussion truly cements the surrealist nature of the track, sounding not so much like percussion as an army of toys in varying states of functionality, like you’re in Geppetto’s workshop. A lot of people forget that Art was the first trained percussionist that played in Frank’s band, before Ruth, before Ed Mann. Of course Ruth is awesome, and hell, Ed Mann is awesome, he gets sort of overlooked due to being Ruth’s replacement, but he’s a fantastic percussionist in his own right. After all, he made it into Frank’s band, and their working relationship lasted on and off for roughly a decade. But back to Art, huge part of the stuff the Mothers did in their last year, and also an awesome drummer.

One of the finest tracks on the album, and one of the finest Mothers tunes or Zappa tunes.

5. “Igor’s Boogie, Phase Two” (Zappa):

https://m.youtube.com/watch?v=mrMmtpbpEfg

We return to Igor and his boogie, which now sounds like demented cartoon music. Then again, that describes a lot of Frank’s classical works, doesn’t it? I’m reminded of Tweedle Dee and Tweedle from Alice In Wonderland, the Disney version. I loved that movie growing up when my sister and I had all of the Disney VHS tapes. I didn’t revisit it until I got Disney+, and wow, that really is a weird, trippy movie. No wonder the hippies were into it. I’ve never touched acid in my life, but that occasionally made me feel like taking acid.

Come to think of it, I can’t help but wonder what Zappa or The Mothers sound like when you’re on acid. I imagine it’s like reading the manual while having additional sensory, achieving another level of consciousness that makes you question your mere existence. Why are we here? What is the meaning of life? The answers are through the doors of perception, as you slowly wind down towards it, and as you carefully put your hands on the knob, and then leave.

And that is “Igor’s Boogie”, Phase Two.

6. “Holiday In Berlin, Full Blown” (Zappa):

https://m.youtube.com/watch?v=FccwMLnWPls

Oh man, we finally have the full blown “Holiday In Berlin”, and what an amazing piece of music.

This is what I think of when I think of Burnt Weeny Sandwich, the sort of jazz/classical personality that I’ve always associated with this album. The wind word is so exquisitely constructed and delivered, Bunk and Ian give off such a beautiful, sensitive touch on the alto and tenor saxophones, Frank’s solo is so subdued and lyrical, Art’s drums and percussion work is almost orchestral in its execution. This track goes through so many moods and just hits the sweet spot on each and every one of them. It’s quite likely one of Frank’s most moving pieces of music, and certainly one of his finest solos on record, another reminder of why he’s my favorite guitar player of all time.

7. “Aybe Sea” (Zappa):

https://m.youtube.com/watch?v=TsyzKrCk6mc

Here, we have just Frank and Ian playing this cool little piece, which is rather baroque like.

It’s a very pretty piece, with a certain level of complexity yet still feeling very off the cuff. While I will have plenty of chances to talk about Mr Ian Underwood in other Zappa reviews, this one really reminds me of how well he and Frank played off of each other. If any Mother was the Becker to Frank’s Fagan, it would be Ian, who really was the glue of this band. Generally, I think of Frank as the brains, Jimmy Carl Black, Indian Of The Group as the heart, and Ray Collins as its soul, but Ian really did a lot to hold this band together both musically and personally, so let’s give a warm shout out to the Straight Member Of The Group.

I love this track and it perfectly leads into….

8. “The Little House I Used To Live In” (Zappa):

https://m.youtube.com/watch?v=XduaWFznN5s

The epic of the album, beginning with some beautiful classical piano by Mr Ian Underwood himself, all in a quiet hall, totally lost in the piece. The house is all empty, and Ian is just free to let the music take him wherever. This is what I imagine Ian doing before rehearsals begin.

Then BAM! The full band kicks in, Art tearing into the kit like there’s no tomorrow, the horn section on full power, Don unleashes his keyboard madness, the music so dense and maddening, yet it’s controlled chaos.

Next up, Frank and Art are shredding on their instruments. Holy fuck nuggets! And as good as they are, it’s nothing compared to what comes next.

Mr. Don “Sugarcane” Harris, unleashing Hellish fury upon us all. This makes “Devil Went Down To Georgia” sound like Pat Boone. He truly is playing like his life and soul depend on it, you hear every bit of blood, sweat, and tears throughout each note, all while Roy and Jimmy deliver a driving, muscular beat to back him up. And let’s not forget Mr Don Preston, who follows up with a stellar piano solo. He sometimes gets overlooked, but Don is a phenomenal player, not just on the synth but also on normal keyboards, as well as being a hugely important figure in the Mothers’ sound.

Capping it off is Frank on the organ while backed by Roy and Art, and it’s a nice madcap way to conclude my favorite song from the Mothers Of Invention And Zappa’s career as whole.

9. “Valerie” (Sam M. Lewis/Bobby Robinson):

https://m.youtube.com/watch?v=ceFjrDiXTlI

We end the album with another Doo wop tune, this one being a cover of a song performed by Jackie and The Starlites. Apparently, this was intended to be a single backed by “My Guitar Wants To Kill Your Mama”, but ended up being pulled for whatever reason.

Against “Little House”, it’s not really much, but it’s still a fun song, with a wonderful vocal by Frank, very tender and heartfelt. Yes, I’m describing Frank Zappa as tender and heartfelt. Hey, I made two Disney references even though Frank was probably more of a Looney Tunes guy. Well, I love this song, but then again I love almost everything the Mothers did in their four or five years together.

Well that concludes our broadcast. Tune in next week for the exciting conclusion!