Label: Rykodisc - RCD 10164 • Format: CD Album, Club Edition, Reissue, Remastered • Country: Canada • Genre: Jazz, Rock • Style: Blues Rock, Avantgarde, Prog Rock
They had visited the Zappa concert in the L. Pauley Pavilion with Zubin Metha conducting the L. They were in legal conflicts with their manager and other band members and in a difficult working position. The contracts ruled out that they could perform as The Turtles; they even weren't allowed to use their own names as name for a duo.
Zappa offered them an opportunity to work with him and they chose to call themselves the Phlorescent Leech and Eddie, mostly shortened up as Flo and Eddie. They made their first appearance on "Chunga's Revenge" In Zappa was busy forming the second line up of the Mothers of Invention and restarted touring.
To give this band some new material of its own, "Chunga's Revenge" was released with a mixture of studio and live music. The album contains some more accessible material with for instance a traditional blues piece "Road ladies", the relaxed "Sharleena" and a riff-based song called "Tell me you love". Right: FZ, ca. Originally "Transylvania boogie" was a composed instrumental instead of the largely improvised version of this song on "Chunga's revenge". Here Zappa is using various scales, among others gypsy type ones as already noticed at www.
The gypsy scale exists in a few variants, that have in common that they include one or two augmented seconds. It still has seven notes in it, as a diatonic scale, thus this augmented second gets compensated by extra minor seconds. Another feature of the "Ahead of their time" version is that it's using two meters simultaneously all through. On "Ahead of their time" you hear the band playing three themes, harmonised in various ways: - Theme I: pick-up Road Ladies - Frank Zappa - Chungas Revenge and bars of the first transcription.
When it returns after theme III has ended, it gets played at double speed. The bass is using an A as pedal note for most of this song, but here also turns to E. Because of the ongoing D chord and a secondary E in the bass line, the A of the bass at this point loses much of its function as a tonic for the whole. The first scale is a gypsy type one with an augmented second Bb-Cthe second is For Bill - David Hazeltine Trio - Alice In Wonderland self-created one.
It's thus likely that this reference to the gypsy scale is also responsable for the title of the song and the gypsy scene on the inside album cover by Cal Schenkel outtake to the right. Transylvania is a region in eastern Europe and most European gypsies live in eastern Europe. The vacuum cleaner from the album cover returns in " Motels" and the VPRO documentary, where it's shown how it can Inquisition - Witchburner - Blasphemic Assault used for "stimulating pies" televised on Dutch TV.
Here the augmented second happens with Ab-B. The bass continues with A natural, Road Ladies - Frank Zappa - Chungas Revenge it's getting a bit chromatic here. A lot more so when this theme gets harmonised. Then it's thus chromatic that you can't relate this version of the theme to a certain scale anymore. Transylvania boogie Ahead of their timethemes midi file. Transylvania boogie Chunga's revengeopening midi file. Transylvania boogie Ahead of their timethemes transcription.
Transylvania boogie Chunga's revengeopening transcription. On "Chunga's revenge" this song has become the album opener. It's mostly an improvised variation upon the "Ahead of their time" track. The transcription Girl Dont Tell Me - The Beach Boys - The Capitol Years the opening bars. The general construction of this song on "Chunga's revenge" goes as: - First block beginning with a variations upon theme I from above in barsalso beginning with a A-Bb-C movement.
Next Zappa continues to improvise in this gypsy type key. In bar 9 the G gets altered to G and in bar 11 the D becomes D. By adding these chromatic ingredients, it's becoming an even more exotic type of scale.
In bar 13 Zappa turns over to A Mixolydian with bass and keyboard forming the I chord. It can also be interpreted as E Dorian because the weigth of the bass line here lies on E. During most of the song it's A pedal. The D and G become natural again in bars 15 and The F from the A Mixolydian scale only first turns up atnot included in the transcription from above.
In the album liner notes Zappa calls all lyrics from "Chunga's revenge" a preview of the story from " Motels". Only "Road ladies" is directly related to the eventual " Motels" movie. Since not all scenes could be filmed, it's possible that other titles from "Chunga's revenge" are related to the movie script as well.
It's certain that this applies to songs from the next "Fillmore East" album, but these didn't make it to the movie neither. It couldn't be included anymore in the "Hot rats" album, but the quality of this composition required an appearance elsewhere.
Zappa decided not to record it anew with his new band, but to include the track as it was captured at first. This is a live recording from Touring with his newly formed band commenced in June,but most recordings with Diani-Beach-Percussion - G.E.N.E.
- MP3 Collection (1995-2000) CD 3 band stem from The next section from this study deals with the few live recordings from that existed before The gap was filled in in with "Road tapes, venue 3", with the two concerts at the Tyrone Guthrie theater in Minneapolis July, The "Nancy and Mary music" is a larger collage of solos from two pieces, as played during these gigs.
It contains two guitar solos by Zappa himself, in Eb en D Dorian. The Nancy and Mary music, till midi file. The Nancy and Mary music, till transcription. This example contains most of the joint sax and guitar improvisation, that starts at At bar 11 the sax stops and the guitar continues with a solo. The bass is playing around an Eb pedal during bars Next the bass continues with a one-bar-vamp during the beginning of the solo.
The example from above corresponds with minutes from Road tapes 3, track I. The emphasis in these bars lies upon playing around Eb at first, followed by ticking the Ab as 16th notes.
From bar 15 the solo continues in a standard manner. Road tapes 3, I. It gets repeated twice, the second time transposed up a fourth from Eb to Ab as starting point. This is where the transcription from above begins. Bars are the second repetition of the sequence. Bars contain the opening of the seguing guitar solo. As it comes to compositions, the new Mothers started where the earlier Mothers had stopped. The sound of the band on "Road tapes 3", however, goes pretty differently.
It's more dense with George Duke on keyboards and especially Aynsley Dunbar on drums photo to the right. Zappa described him as sounding like two Артель С.П.Б. - Артель С.П.Б. Even so things would change again soon when the groupie opera got constructed during the fall tour.
So, as more often in Zappa's career, "Chunga's revenge" and "Road tapes 3" are in their character and sound specific of only one year of recording and touring.
It's all "Chunga's revenge" during the latter track and not "The clap" as on the album, but possibly this was the original working title. Two stills from the Uncle Meat movie, takes.
Left: Zappa telling of his problem of how to shoot continuity shots when he couldn't get hold of the original Mothers with only a week of filming time. It got solved in a way by improvising things on the spot, like the Road Ladies - Frank Zappa - Chungas Revenge at the right, with Phillis Altenhaus and Aynsley Dunbar at a supermarket near Zappa's house.
Tell me you love me, opening midi file. Tell me you love me, opening transcription. Transcribed above is theme A. The structure of the total song goes as: Theme A. All five songs with lyrics on "Chunga's revenge" can be called regular pop-songs. The other three on the album - "Would you go all the way? As it comes to their lyrics, all tracks on "Changa's revenge" are for Zappa standards mild.
The same Flight Of Icarus - Iron Maiden - Live After Death (CD, Album, Album) for "Tears began to fall" on the next "Fillmore East" album, while everything else on that album goes into different directions.
The bass riff from "Chunga's revenge" was used for soloing during jam sessions with the new band in the studio. The album has Ian Underwood on distorted electric alto sax and Zappa on guitar. One of the recordings was used for experimenting with four track surround Road Ladies - Frank Zappa - Chungas Revengetoday much used in cinemas. Several other Road Ladies - Frank Zappa - Chungas Revenge such mixes were done in the seventies and the Zappa Family Trust Dweezil in this case released them as the "Quaudiophiliac" DVD of The "Chunga's basement" version of "Chunga's revenge" from "Quaudiophiliac" is included in the next Someday Well Look Back - Merle Haggard - Okie From Muskogee - The Most Wanted. Zappa referred to this technique with his line from "Camarillo Brillo": "she said her stereo was four way".
The relatively short theme from "Chunga's revenge" was Road Ladies - Frank Zappa - Chungas Revenge in the eighties for introducing a longer guitar solo as present on "Buffalo" and "Trance-Fusion".
Chunga's revenge, theme midi file. Chunga's revenge, theme transcription. With D being the lower opening note of both bar 1 and the riff, plus the central note of the main theme, the key is D Dorian. Bar 1 does the progression I-I-IV. Bar 5 incidentally begins with an F, bar 6 continues with the bass lick as it keeps Weenie Beenie - Foo Fighters - Foo Fighters repeated.
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