For some reason, I love this show. The setlist leaves a lot to be desired, consisting mostly of 1988 standards, and like the two previous shows, the onstage antics and humour is kept at a minimum. But many of the songs are here performed with an intensity and inspiration that I haven't heard earlier this tour. Especially FZ, who delivers some of the best solos of the tour.
The first part of the show is the weakest, though "Black Page" comes with a good, high-energy solo, and "Any Kind Of Pain" is (as I've written so many times before) beautiful as always. Ike gets a chance to solo in "Cosmik Debris," and well, let's just say that he's developed quite a lot as a guitar player since then, as his efforts with various cover bands have proven.
"Inca Roads" is played incredibly well tonight, though the guitar solo is not one of the most remarkable of the tour. The sax solo, however, is terrific, and one of the many treats with the European tour is that the soloist (usually Paul Carmen) here is allowed to take a lengthy solo.
Only one Monster Song tonight, but it's really a scary one. "The Eric Dolphy Memorial BBQ," which offers an improvisational part that's difficult to describe. Much of it can be heard on TBBYNHIYL (e.g the "Blue Danube" Variations), and it gives a hint of what level of madness they were opearting at. A little bit of everything in a mish-mash, and ridiculously well-performed.
The second set starts off calmly with "Eat That Question" and "Black Napkins." The latter is the TBBYNHIYL version, though with the guitar solo (only remnants of which can be heard on the record) intact. Next comes the Trouble/Penguin/Green Hotel Medley, in what might be its ultimate rendition. The "13" solo on "Trouble Every Day" is splendid, with highly inspired playing by FZ, and Chad freaking out in Vinnie-ish style over the complex vamp. "Penguin In Bondage" features Keneally on lead guitar, in a cool solo, before FZ once again enters the spotlight for "Hot Plate Heaven" - possibly the highlight of the show. The "free" nature of the vamp gives both FZ and the rhythm section lots of space to drift away, and when they're all as inspired as tonight, things can hardly go wrong. Excellent!
The rest of the show goes on in the same style: unremarkable songs, with remarkably good solos. Even "City Of Tiny Lites," which I don't think I've praised at all in my previous reviews, manages to tangle my spine - a four minute high-intensity solo. The closing of the show is weird - Bobby's usual vocal gymnastics turns into a dialogue between him and Ed's sick vocal samples - quite amusing.
I'll say it again: I love this show. The suite of shows between (roughly) 4/20-5/9 must be one of FZ's strongest ever, and absolutely where most of the best 1988 playing can be found (as reflected on the official releases).
- JN
This is one of the more well balanced, consistent, musically solid from start to finish shows of the '88 tour. Excellent set list (with a rare collection of excellent encores), aggressive FZ solos, mucho horn excursions, a vast collection of Secret Words, and smooth segue after smooth segue after smooth segue.
"Stinkfoot" opens the show in its usual "this bodes well for the show" fashion, seeing Frank in a good mood and immediately establishing a Secret Word for the night- mudshark. "What's New in Baltimore?" works well in the number two position, while "Heavy Duty Judy" continues to kick ass despite not being in the opening slot. "Find Her Finer" finds the band grooving along solidly, before delving off into the Monster Extravaganza of the night- "Big Swifty". This is the MAJNH version in its entirety (well, minus 6 seconds of percussion filler before the closing theme). The lengthy horn solos, the classical quotes, the Synclavier jam, and the inexplicable arising of "Ayee", the second Secret Word of the night- it is all here, and oh is it delicious. The "More Penguin Hotel" medley follows, with Frank keeping the energy alive by whipping out two better-than-average solos in "More Trouble" and "Hot Plate Heaven". "More Trouble Every Day" is especially sweet thanks to the excellent segue into the 13 vamp. "Zomby Woof" finds Frank taking a what-could-be-mistaken-for-an-'82 solo (distorted tone, aggressive, lots of pyrotechnics), while "King Kong"- in a not-so-monstrous version- gives us McGettrick's simply unbeatable MAJNH sax solo (low and funky), and a lengthy, straight-ahead rock 'n' roll Keneally solo. Putting the finishing touches on an already satisfying meal, Frank serves up the OSFA medley, followed by a short (but still better than "Sofa") "Cruisin for Burgers". The solo is really of no consequence in this performance, but the segue from "Inca Roads" into this is much better than the what I-have-always-thought-was-very-weak segue into "Sofa."
For the encores, Frank does what he very rarely did, and treats us to some unusual song selections. "Rhymin' Man" followed by the horn filled "Dupree's Paradise" followed by the guitar-solo vehicle "Let's Move To Cleveland" sets us up for what may be the musical highlight of the tour. After a standard "I Am the Walrus," Dweezil and Frank stir up a guitar orgy coda, creating a dark, densely chorded affair, quietly building but never getting louder, all the while snaking their way around the rhythm section's thickly laid groove. Simply beautiful, only to be topped by the "now-this-is-a-good-segue" "Sofa" closer.
This is an all-around excellent show. Good Frank solos, lots of chances for the horns to step up, Secret Words galore (mudshark, AYEE, suit, moo-ah, pressed minnows), consistently inspired song choices *and* placement, and one of the undeniable musical highlights of the tour in the "I Am The Walrus" coda.
- JG
Jon Naurin mentioned in his last review that the run of shows from the last week of April through May 9th consisted of some of the all-around best performances of the '88 band. Agreeing with him wholeheartedly, I must add that while the May 11th show is not as solid as many of the others, it is nonetheless a highly entertaining affair.
Things do start off rather slowly, however, with memories of the US leg haunting the corners of the first several songs. "The Black Page"-> "Packard Goose" opening hints at a somewhat standard show, and with the string of overplayed songs following, it looks as if the band is going to be happy to sit back and rest for a night. Frank manages to keep things fairly interesting with some aggressive if rather faceless solos, but for roughly the first third of the show, nothing special happens.
Then, with the arrival of the Europe-only "Dupree's Paradise," the excitement level starts to pick up. The horn players finally get into the action, with the now standard "Let's Move to Cleveland"-follower continuing to increase the interest level. Frank chooses to take a set break at this point, but fortunately, this new-found momentum is maintained into the second set. "More Trouble Every Day" contains yet another inspired 13 solo, and showing that he is not afraid to shake things up a little, Frank makes an excellent choice and whips out a "City of Tiny Lites" in place of "Penguin/Hotel". This sets the stage for the musical highlight of the night- a dark, murky, almost swamp-ish "Pound for A Brown". Mann begins the Monster festivities, entertaining us with a noise filled percussion solo. This bounces along quite nicely, before getting taken over by the horn section playing a series of elongated, dense chords. This leads us into a thick soup of swirling noise- Synclavier, drum samples, random horn parts- out of which arises a happy, almost festive sax solo. The murky chords cannot be beaten, however, forcing the saxophone solo back down into the pit of noise. Another horn player steps forth in an attempt to overcome the noise, this time with the aid of an assertive Wackerman, but unfortunately, the ugly chords once again dominate. Finally, McGettrick attempts to fight fire with fire, whipping out one of his low and dirty baritone solos, but again, he is no match for the Frank-conducted ugliness. It literally sounds as if each horn player is fighting for his life, eventually failing and disappearing into the swirling muck. Beautiful.
The remainder of the show cruises along without much trouble, highlighted by an inventive and multi-textured "Torture" solo. The Secret Word of the night- paiste (referring to a cymbal manufacturer, and resulting in many cymbal-related Secret Word references)- provides a number of laughs throughout the remaining songs, resulting in a particularly funny "Lonesome Cowboy Burt", and an its-the-end-of-the-show-let's-let-loose "Illinois Enema Bandit" lyrical ambush. Things never become as outrageous as in the "Ring of Fire" or "rehearsal" shows, but there is enough vocal tomfoolery to keep a smile on your face.
This may not be one of the best shows of the European tour, but it is better than the majority of the US concerts, and contains enough solid performances to make this a worthy addition in any tape collection.
- JG
This is the first of two '88 shows (the other being 5/23 Strausborg) not to be represented by a circulating audience recording. That's a shame, since this show's "baseball" theme (evident briefly in the MAJNH "Advance Romance" as well as "Take Me Out To The Ball Game" on YCDTOSA 4) may have provoked some amusing moments. Still, this seems like a good time to give kudos to the tapers that documented all of the other shows, mostly in very good to excellent quality. Many thanks to all of them.
- PB
Dr. Jekyll, meet Mr. Hyde.
This two hour show may be one of the most lopsided, where-did-that-energy-come-from shows in Frank's entire touring career. What starts out as the blandest and most uninspired show of a tour filled with bland and uninspired shows magically transforms into one of the funniest and most entertaining shows of a three-week jaunt filled with incredibly funny and highly entertaining shows.
The first hour is outright dull. Frank throws us a handful of overplayed songs, lacking anything close to resembling a Secret Word, and offering nothing in the way of guitar or improvisational energy. "Big Swifty", the supposed Monster song of the night, is frankly pathetic, consisting of Bruce, Ed, Robert, Scott, and Albert solos, none of which lasts longer than a minute. Frank does toss us a couple of classical quotes (none of which I can name off the top of my head), but these fail to compensate for the disappointing feeling that no one in the band seems to give a hoot about what is being played.
But then, in "Cosmik Debris" of all places, something strange happens, and all of a sudden it seems as if we are in the midst of a whole new show. Secret Words begin running rampant, detailing the airline difficulties the band had in their attempt to get to Spain. "Cosmik Debris" becomes "Airline Debris." "Inca Roads" receives the most serious lyrical sabotage I have ever heard this OSFA track fall victim to. Ike begins "flying for Sharleena", looking for someone to "send my airplane home to me". "Oh No" is now a song about "the meaning of flight" (every instance of the word 'love' is replaced with 'flight'). And "Whippin' Post" finds Bobby moaning because "she took all my money (and) gave me no plane". The Secret Words literally work themselves into every nook and cranny of the remaining songs, resulting in the most clever and impressive display of lyrical sabotage I have yet to hear.
The best part about it is that as the humor quotient skyrockets, so does the musical quotient. Frank's solos suddenly display an aggression that was completely invisible early in the show, while Chad and Scott kick things into overdrive to fuel this fire. Frank's "Sharleena" solo finds him scaling heights more reminiscent of pre-88 "Sharleena's", bringing the show to what seems like a natural peak. Amazingly enough, the seemingly out-of-place "Bamboozled by Love" follows, closing the set and once again igniting Frank's guitar into wonderfully heavy flights. The encores sustain this energy, thanks to a nice mix of tunes ranging from the bluesy "Crew Slut" to the lyrically ambushed "The Closer You Are" to the keep-playing-that-guitar treats of "Oh No" and "Whippin' Post".
If you get to choose, skip out on the first hour of this show. Start with "Cosmik Debris," and enjoy one of the most surprisingly strong sixty minute sets of music that the '88 band performed.
- JG
Frank's second to last show in Spain ranks somewhere near the middle of the European leg quality list. It is nothing more than your average '88 Europe show, but unlike the average shows of the US leg, it manages to please nonetheless.
While nothing really special happens during the course of the concert, there are enough good Zappa solos, a handful of solid Secret Word laughs, and a nice mix of songs that keep the interest level sufficiently high. "Let's Move to Cleveland" provides the guitar treat of the night, which finds Zappa taking the time to create a lengthy and experimental solo. We also get a sadly infrequent Monster Song solo in "Pound for a Brown," and although it really does not do much, it is nonetheless entertaining thanks to the rather calm loop which it is over.
The Secret Word usage is rather sporadic tonight, with the band getting some more mileage out of the airline fiasco (see previous show), and introducing a new subject for lyrical mutation concerning Harry's kneecaps (don't ask-I have no idea).
Finally, while the set list is nothing all that special, it contains enough diversity to prevent boredom from settling in. The second song "Inca Roads" is a nice choice, and the performance of "Elvis Has Just Left the Building" finds the song in an early version, exhibiting a much sleazier feel thanks to Bobby's organ. While the encores contain nothing we have not heard before, there are quite a lot of them, and they are all performed solidly.
This is not one of those shows that you must rush out and acquire. If (and when) you do, however, I am sure that you will find enough music within that will bring a smile to your face.
- JG