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PostPosted: Wed Oct 25, 2017 4:34 pm 
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Anyone else having trouble playing the USB in a car? Plays fine on my home stereo but the car stereo says no files?!


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PostPosted: Wed Oct 25, 2017 5:26 pm 
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Shrewnews wrote:
Trivia question: What is the house music heard after "Black Napkins" on the Halloween show? :wink:


I want to say it sounds familiar but I can't think of it. I give up.


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PostPosted: Wed Oct 25, 2017 10:18 pm 
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Mine arrived today. First show sounds awesome.

Nicely done Joe and Ahmet!


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PostPosted: Thu Oct 26, 2017 5:42 am 
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Dog Meat wrote:
Anyone else having trouble playing the USB in a car? Plays fine on my home stereo but the car stereo says no files?!


my car audio system will only play wav or mp3 files. are the files on the usb compatible with your system?


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PostPosted: Thu Oct 26, 2017 5:49 am 
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Max Lobster wrote:
Dog Meat wrote:
Anyone else having trouble playing the USB in a car? Plays fine on my home stereo but the car stereo says no files?!


my car audio system will only play wav or mp3 files. are the files on the usb compatible with your system?



I guess not. These files are WAV...are they different from the WAV files on a CD? I'm stupid about this stuff...as well as many other fields. :mrgreen:


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PostPosted: Thu Oct 26, 2017 9:05 am 
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Dog Meat wrote:
I guess not. These files are WAV...are they different from the WAV files on a CD? I'm stupid about this stuff...as well as many other fields. :mrgreen:


These files are 24-bit WAV. CD files are 16-bit WAV. Not compatible.

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PostPosted: Thu Oct 26, 2017 9:11 am 
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Has anybody had any luck getting the individual show artwork off of the pdf digital booklet, and if so, can you share it here?


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PostPosted: Thu Oct 26, 2017 4:52 pm 
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bracton wrote:
Shrewnews wrote:
Trivia question: What is the house music heard after "Black Napkins" on the Halloween show? :wink:


I want to say it sounds familiar but I can't think of it. I give up.


Chabrier's España à la Moog.

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PostPosted: Thu Oct 26, 2017 5:17 pm 
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Sure, now that you say it, it's obvious, hahaha!

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PostPosted: Thu Oct 26, 2017 6:45 pm 
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SPACEBROTHER wrote:
Has anybody had any luck getting the individual show artwork off of the pdf digital booklet, and if so, can you share it here?


It took me a while to figure it out. I hope this will make sense.

Assuming you use iTunes . . .

When I imported into iTunes for some reason it grabbed the pdf file and artwork of something I had in iBooks (a guide book for Jasper National Park). I had to make sure I also imported the Halloween pdf file with the music files. In the song list under the album in iTunes, I saw both the Halloween pdf and the iBook pdf. I deleted the pdf file it had grabbed from iBooks and it automatically replaced it with the cover of the Halloween pdf. It took a couple seconds lag time for this to happen. I also changed the media setting in Album info > Options to music from mixed media. Don't know if this last part is necessary or not.

Hope this helps!


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PostPosted: Fri Oct 27, 2017 7:46 am 
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usapalu wrote:
SPACEBROTHER wrote:
Has anybody had any luck getting the individual show artwork off of the pdf digital booklet, and if so, can you share it here?


It took me a while to figure it out. I hope this will make sense.

Assuming you use iTunes . . .

When I imported into iTunes for some reason it grabbed the pdf file and artwork of something I had in iBooks (a guide book for Jasper National Park). I had to make sure I also imported the Halloween pdf file with the music files. In the song list under the album in iTunes, I saw both the Halloween pdf and the iBook pdf. I deleted the pdf file it had grabbed from iBooks and it automatically replaced it with the cover of the Halloween pdf. It took a couple seconds lag time for this to happen. I also changed the media setting in Album info > Options to music from mixed media. Don't know if this last part is necessary or not.

Hope this helps!


Thanks for the info. I haven't had any luck with that so far.

Can somebody post the individual Halloween '77 show artwork here?


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PostPosted: Fri Oct 27, 2017 6:40 pm 
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Dog Meat wrote:
Max Lobster wrote:
Dog Meat wrote:
Anyone else having trouble playing the USB in a car? Plays fine on my home stereo but the car stereo says no files?!


my car audio system will only play wav or mp3 files. are the files on the usb compatible with your system?



I guess not. These files are WAV...are they different from the WAV files on a CD? I'm stupid about this stuff...as well as many other fields. :mrgreen:


You can get an audio converter and turn those files into a file that will play in your car.


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PostPosted: Sun Oct 29, 2017 10:12 pm 
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Ordered the box set (FZ mask + plastic "poncho" + memory stick) through Zappa.com via HiFi24/7 on: September the 29th.....arrived today, which was a nice surprise, as I hadn't received a notification that my order had been shipped.

Like others, no go through the car audio.....Plays fine through the PC, and the smart TV, I'll attempt to get the liner notes up in due course.

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PostPosted: Mon Oct 30, 2017 1:53 am 
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It's a bit rough, but here are the liner notes

10-28-77 Show 1 Start/Introductions 3:28 © 20172. Peaches En Regalia 2:42 © 19693. The Torture Never Stops 13:05 © 19764. Tryin’ To Grow A Chin 3:37 © 19795. City Of Tiny Lites 6:04 © 19796. Pound For A Brown 8:05 ©19697. Bobby Brown Goes Down 4:33 ©19798. Conehead (Instrumental) 9:19 ©20179. Flakes 4:03 © 197910. Big Leg Emma 1:47 ©196711. Envelopes 2:29 ©198212. Terry’s Solo # 1 4:42 © 201713. Disco Boy 3:53 © 197614. Läther 3:36 © 197715. Wild Love 24:05 ©197916. Titties ‘N Beer 7:16 ©1977 17. Audience Participation #1 :48 © 201718. The Black Page # 2 3:02 © 197719. Jones Crusher 2:48 © 1979 20. Broken Hearts Are For Assholes 3:52 © 197921. Punky’s Whips 9:43 © 197722. Encore Audience #1 1:21 ©201723. Dinah-Moe Humm 4:55 © 197324. Camarillo Brillo 3:35 ©1973 25. Muffin Man 4:36 © 1975
1. 10-28-77 Show 2 Start/Introductions 3:13 © 20172. Peaches En Regalia 2:42 © 19693. The Torture Never Stops 12:33 ©19764. Tryin’ To Grow A Chin 3:37 © 19795. City Of Tiny Lites 8:00 © 19796. Pound For A Brown 9:19 ©19697. Bobby Brown Goes Down 5:36 ©19798. Conehead (Instrumental) 9:18 ©20179. Flakes 4:10 © 1979 10. Big Leg Emma 1:48 © 196711. Envelopes 2:33 © 198212. Terry’s Solo #2 4:17 ©201713. Disco Boy 3:54 © 197614. Läther 3:42 © 197715. Wild Love 26:01 ©197916. Titties ‘N Beer 7:50 ©197717. Audience Participation #2 2:37 © 201718. The Black Page # 2 3:14 © 197719. Jones Crusher 2:58 © 1979 20. Broken Hearts Are For Assholes 3:54 © 197921. Punky’s Whips 9:51 © 197722. Encore Audience #2 2:13 ©201723. Dinah-Moe Humm 4:01 © 197324. Camarillo Brillo 3:36 ©1973 25. Muffin Man 6:20 © 1975

1. 10-29-77 Show 1 Start/Introductions 4:06 © 20172. Peaches En Regalia 2:42 © 19693. The Torture Never Stops 12:59 ©19764. Tryin’ To Grow A Chin 3:34 © 19795. City Of Tiny Lites 7:15 © 19796. Pound For A Brown 8:26 ©19697. Bobby Brown Goes Down 6:06 ©19798. Conehead (Instrumental) 5:50 ©20179. Flakes 3:53 © 1979 10. Big Leg Emma 1:52 © 196711. Envelopes 2:42 © 198212. Terry’s Solo #3 3:51 ©201713. Disco Boy 3:57 © 197614. Läther 3:40 ©197715. Wild Love 22:51 ©197916. Titties ‘N Beer 6:01 ©1977 17. Audience Participation #3 2:42 © 201718. The Black Page # 2 3:05 © 197719. Jones Crusher 2:53 © 1979 20. Broken Hearts Are For Assholes 3:50 © 197921. Punky’s Whips 9:18 © 197722. Encore Audience #3 1:46 ©201723. Dinah-Moe Humm 5:12 © 197324. Camarillo Brillo 3:29 ©197325. Muffin Man 5:09 © 1975
1. 10-29-77 Show 2 Start/Introductions 4:21 © 20172. Peaches En Regalia 2:42 © 19693. The Torture Never Stops 11:30 ©19764. Tryin’ To Grow A Chin 3:36 © 19795. City Of Tiny Lites 7:01 © 19796. Pound For A Brown 9:05 ©19697. Bobby Brown Goes Down 9:12 ©19798. Conehead (Instrumental) 6:29 ©20179. Flakes 3:28 © 1979 10. Big Leg Emma 1:49 © 196711. Envelopes 2:52 © 198212. Terry’s Solo #4 4:07 ©201713. Disco Boy 3:54 ©197614. Läther 3:56 © 197715. Wild Love 27:33 ©197916. Titties ‘N Beer 8:12 ©1977 17. Audience Participation #4 5:02 © 201718. The Black Page # 2 2:57 © 197719. Jones Crusher 2:49 © 1979 20. Broken Hearts Are For Assholes 3:48 © 197921. Punky’s Whips 9:36 © 197722. Encore Audience #4 2:23 ©201723. Dinah-Moe Humm 6:19 © 197324. Camarillo Brillo 3:30 ©197325. Muffin Man 6:02 © 1975
1. 10-30-77 Show Start 1:40 © 20172. Stink-Foot 7:45 © 1974 3. The Poodle Lecture 5:10 © 19924. Dirty Love 2:32 © 1973 5. Peaches En Regalia 2:40 © 19696. The Torture Never Stops 12:53 ©19767. Tryin’ To Grow A Chin 3:32 © 19798. City Of Tiny Lites 7:36 © 19799. Pound For A Brown 10:03 ©196910. I Have Been In You 8:35 © 1979 11. Dancin’ Fool (World Premiere) 4:50 © 197912. Jewish Princess (Prototype) 4:41 ©197913. King Kong 8:45 © 196914. Terry’s Solo #5 5:07 ©201715. Disco Boy 4:01 © 197616. Envelopes 2:19 ©1982 17. A Halloween Treat with Thomas Nordegg 6:17 © 201718. Läther 3:47 © 197719. Wild Love 25:19 ©197920. Titties ‘N Beer 7:01 ©1977 21. Audience Participation #5 8:28 © 201722. The Black Page # 2 2:59 © 197723. Jones Crusher 2:53 © 1979 24. Broken Hearts Are For Assholes 3:52 © 197925. Punky’s Whips 12:36 © 197726. Encore Rap 1:11 © 201727. Dinah-Moe Humm 6:06 ©197328. Camarillo Brillo 3:27 © 197329. Muffin Man 5:18 © 197530. San Ber’dino 6:20 ©1975
1. Halloween 1977 Show Start/Introductions 3:11 © 20172. Peaches En Regalia 2:42 © 19693. The Torture Never Stops 13:54 ©19764. Tryin’ To Grow A Chin 3:35 © 19795. City Of Tiny Lites 8:17 © 19796. Pound For A Brown 13:40 ©19697. The Demise Of The Imported Rubber Goods Mask 8:33 ©2017 8. Bobby Brown Goes Down 3:49 © 19799. Conehead (Instrumental) 8:21 ©201710. Flakes 3:04 © 197911. Big Leg Emma 1:58 ©196712. Envelopes 2:25 ©1982 13. Terry’s Halloween Solo 4:38 © 201714. Disco Boy 3:55 © 197615. Läther 3:58 © 197716. Wild Love 30:11 ©197917. Titties ’N Beer 7:24 ©1977 18. Halloween Audience Participation 7:04 © 201719. The Black Page # 2 2:55 © 197720. Jones Crusher 2:58 © 1979 21. Broken Hearts Are For Assholes 3:52 © 197922. Punky’s Whips 11:23 © 1977 23. Halloween Encore Audience 2:07 © 201724. Dinah-Moe Humm 6:41 © 197325. Camarillo Brillo 3:24 ©1973 26. Muffin Man 5:21 © 197527. San Ber’dino 5:01 ©197528. Black Napkins 9:19 ©1976
Players: Frank Zappa – Guitar, Vocals Adrian Belew – Guitar, Vocals Tommy Mars – Keyboards, Vocals Peter Wolf – Keyboards Ed Mann – Percussion Patrick O’Hearn – Bass, Vocals Terry Bozzio – Drums, Vocals Special Guests: Roy Estrada Thomas Nordegg Phil Kaufman and New York’s Finest Crazy Persons
Original Recordings Produced by Frank Zappa Produced for release by Ahmet Zappa & Joe Travers Original Recording Medium: Scotch 3M 2 inch 24 Track Analog Tape Original Recording Engineer: Kerry McNabb Remote Facility: RCA Mobile Truck Digital Transfers by Joe Travers 2016 Re-Mix, Audio Restoration and Mastering Engineer: Craig Parker Adams Assistant Engineer: Nicole Lexi Davis Facility: Winslow Ct Studio, Los Angeles, CA Photography courtesy of The Vault Polaroids and Scrapbook: Phil Kaufman Liner Notes: Adrian Belew, Thomas Nordegg, Phil Kaufman, Ed Mann and Janet “The Planet” Walley Package Design: Michael Mesker Mask & Costume Artwork: David Calcano Pumpkin Logo: John Williams Production Manager: Melanie Starks Special thanks to Phil Kaufman for contributing his amazing Polaroids and scrapbook, and to Adrian, Thomas, Ed and Janet for sharing their memories.
For those of you who may not know, Halloween was Frank Zappa’s favorite holiday. Over his years of touring, Halloween shows had become a tradition. Around 1972, these special events would become annual, first starting in Passaic, NJ and Chicago, Ill. By 1974, Halloween shows would move and stay in New York City. NYC and it’s audience had become a special place for Frank and the synchronization of Halloween in NYC proved to be the perfect match. By 1977, things were reaching a peak. Frank had one of his most rocking teenage combos at his disposal, featuring the likes of Terry Bozzio on drums, who by now had been with FZ for two years. The double-headed keyboard monster of Tommy Mars and Peter Wolf proved to strengthen the arrangements while Adrian Belew was a significant new addition on guitar and vocals. Along with Ed Mann on percussion and Patrick O’Hearn on bass, this band could really BURN. Typically taking advantage of the situation, Frank arranged to record the entire 1977 Halloween shows to 24-track tape while having 4 of the 6 shows filmed. The film footage went on to make up the mammoth movie project “Baby Snakes,” released in 1979. A few years before Gail Zappa’s passing, we had discussed the possibility of a “Halloween Series”- showcasing the elements that existed in FZ’s extensive Vault. Sadly, Frank did not record every time he played the holiday, more than likely because of the union costs. Case in point, during 1976 he utilized the show at the Spectrum Theater in Philadelphia on October 29th to be the big Halloween recording event of that year. The results can be heard on the release “Philly ’76” (2009).
But by 1977, the budgets were there, the band was tight, the venue was now The Palladium in New York and Ron Delsener had scheduled a multiple-day run of shows from October 28th through the 31st. The shows were initially sold out, so additional shows were added on the 28th and 29th, with the final total of shows at 6. The tapes were not without their problems. There were inherent issues with the kick drum on one of the two recording machines in the RCA Mobile Truck. There was also some erroneous patching which caused enormous amounts of ambient bleed on Ed Mann’s percussion track, making his contributions hard to detail without altering the entire mix. Peter Wolf’s electric piano on the first show suffered a bad left channel, rendering it un-useable. So that keyboard track had to be mono. Craig Parker Adams did an amazing job at restoring and fine tuning these technical issues along with re-mixing the entire shows from scratch using fresh transfers from the master multi-track tapes. The tapes all had to be heat treated for transfer. So now, we bring you the Halloween show run of 1977 in it’s entirety, presented to you as it happened with no overdubs or additional tinkering. As FZ always said, we here at the Utility Muffin Research Kitchen feel it is our duty. Enjoy these historical performances and Happy Halloween! Joe Travers Vaultmeister

“when I was first asked to write liner notes for this massive collection there was one thing I decided not to do; explain the unexplainable: Frank’s music. it speaks loudly enough for itself. instead I determined to outline a quick overview of my involvement and give a personal glimpse into what it was like to be there. so what was it like working with Frank Zappa? if I only had a dollar for all the times... for me it was like deciding to run off and join the circus. like deciding to become a high-wire trapeze artist. the first flight of my life was to Hollywood to audition for the position. roadie Tex Abel picked me at the airport and frantically whisked me through the LA traffic to Trapeze School, also known as Frank’s basement. I felt so out of place in midst of the chaotic activity it took two scary auditions, but eventually Frank shook my hand and congratulated me. the high-wire act was already taken but I was offered the job of stunt guitarist. the circus analogy had only just begun to come true. I moved my meager belongings from Nashville to LA. and rented a small apartment beneath the HOLLYWOOD sign. I had no car and one guitar. what followed was months of intense training (as any circus performer will attest). I lived and breathed Frank’s legendary musical universe 24/7 for three months before ever stepping on a stage. by then I knew five hours of his music and had begun to be ingrained into some of the legacy. I was the only autodidact (non-reader) in the band, so after each long week of rehearsal on friday nights I would get in Frank’s car and stay over the weekend at his house. there he would help me learn upcoming parts by rote. one night back at the basement Frank was showing me a new song he was planning to teach the band. it had a kind of bad folk song aroma. just to be funny I started singing it like Bob Dylan. Frank grinned, “that’s going in the show”.
along with my guitar duties I was asked to sing in different styles and I certainly didn’t mind hamming it up. it must have been oh so obvious to Frank how gullible and green I was. need someone to wear a flashing helmet and bounce around like a robot? how about Adrian? need someone to wear a dress onstage? there’s always Adrian. Frank once said to me that HE wasn’t crazy and didn’t do wild things but he gathered characters around him who were and did. take for example, our road manager Phil Kaufman (aka the road mangler). his mouth-trombone solo is just the tip of the madcap humor he was blessed with. it was his idea to find the perfect WAC outfit/halloween costume to match the paratrooper jumpsuit I normally donned. and wouldn’t you know, it fit perfectly! I remember having just slipped into the WAC uniform for the first time, about to bound onstage in front of hundreds of crazed fans, I suddenly thought, “what if this isn’t funny?” no need for concern, it was a Zappa audience after all. which brings us to the Ringmaster himself. onstage I had a difficult time taking my eyes off Frank. he was always in control. everything emanated from him. I was fascinated by his confidence, his laser beam language, his absolute command over his “orchestra” and the moment itself. you never knew when he might signal something impromptu. there were places in the music in which I did not play and I marveled at watching him conduct this air-tight ensemble through the minefield of odd time signatures built into his compositions. other times he would go about creating a guitar solo like Michelangelo with a jackhammer, or go out to the front of the stage for a no-holds barred social engagement of his audience. his use of language amazed me. his choice of words. even the way he held his cigarette had a certain authority. he and I were utterly different as people go and yet I felt a symbiosis with him because of the role I was given. Frank either played or sang, never both at the same time, so ultimately my role became covering his parts. when he sang I played his guitar part. when he played I sang his vocal part. maybe that’s why despite the difference in our personalities and backgrounds, I always felt he got me and I certainly understood him.
each of Frank’s band evolved a unique personality. our particular line-up had of course some of the most talented players money could buy but it’s personality was somewhat theatrical. uniquely suited for halloween shows. Terry Bozzio’s insane devil mask was the perfect way to disguise a teenaged-looking drummer who could play seemingly impossible things even the most seasoned “old master” could never approach. Patrick O’Hearn’s gleeful boyish looks belied his serious one-liner poop chute zingers tossed out while effortlessly playing in odd time signatures on the ever-difficult fretless bass. it appeared Tommy Mars , the hep-cat of the unit, with his jazz-peppered lingo could play anything! on tour one very early morning in vienna while we were waiting to leave for the airport he sat down at the hotel lobby grand piano and casually ripped off a string of astonishing classical pieces. and then yawned. the same could be said for Peter Wolf, the self-proclaimed beethoven of the band who could tear holes in the ceiling on a synthesizer. supremely gifted and just a bit more serious than the rest of us. well, he is austrian. and is there any position in a band more daunting than that of percussionist for Zappa? Ed Mann made it look like crazy fun running back and forth between a garage of instruments beating on things. his stage manner always reminded me of Harpo. he had the hair, all he needed was the long coat full of bicycle horns and water pistols. Zappa at the Palladium Theater. Halloween in New York City. sounds like a circus, doesn’t it? that’s because it was. and like a circus, it was a decade-old tradition. we played two 3-hour nonstop shows for two nights running, then a single 3-hour show for the next two nights. on top of the performance workload we were there early every day doing two and three-hour sound checks which were thinly-disguised recording sessions. most likely at least some of my performances on Sheik Yerbouti were actually recorded at those sound checks. it would exhaust a normal musician, but Frank was the hardest working artist I have ever known, fueled by constant caffeine and cigarettes, and we tried our best to keep up with him. I don’t remember seeing anything in new york city except the inside of the crumbling old Palladium!
to picture the experience of being there when this music was made imagine the Palladium, an historic large old creaky dame of a building with a big high ceiling. she must have been a beauty in her day, but by 1978 her make up was decidedly running. the paint in her metal stairwell’s looked about twenty coats deep, she’d been propped up so often. most likely it was cold outside but inside it was a bit sweltering. filled with cacophony and music. there were blaring lights and smoke everywhere to facilitate the making of the film Baby Snakes. onstage there were camera men crawling at your feet. the sound of the band was huge. Peaches en Regalia. I loved playing that solo note for note with Frank. then odd things started happening. Tex Abel came out and began feverishly pluking a sex doll around the stage while Phil pphhrrted his crazed mouth-trombone solo. another of Frank’s most reliable clowns Roy Estrada appears and the circus has now fully engaged its most important player: the audience itself. a throbbing undulating swelter of halloween-garnished creatures from the outlying planets (mostly Jersey). Frank begins fishing them out of the crowd to dance awkwardly onstage and then launches straight into another daunting composition. three hours non-stop. by the end of a performance I remember that happily-drained feeling. no more to give... I must have a thousand snapshots of moments that happened in my short time in Frank’s circus. those memories fly through my mind like gnats on holiday. sometimes I’m quick enough to grab one. here’s one last gem I just remembered. after finishing the last of our three nights as we left out the side theatre door to the alley in the back, a throng of Zappa fans were surging around us in the corridor. they were more wildly excited than ever. I was unexpectedly thrust into the back seat of a beautiful black limousine between Frank and his big bodyguard John. I’m not certain who else might have been in the car, but I sure wasn’t supposed to be there. all of a sudden the limo started to bounce. the interior darkened and the shouting faces getting smashed into the windows got real ugly.
it turned out the beautiful car was owned by its driver, a gray-haired older gentleman who sat paralyzed in the front seat. it was beatlemania!! the driver sat frozen despite our yelling for him to go! he kept saying,” my car, my car! look what they’re doing to my car!” I seriously thought we were in real physical danger and nearly had a panic attack. it was absolutely claustrophobic! finally our shouting brought the driver back to his senses, he hit the gas, and his bruised black beauty lurched down the alleyway, fans running and screaming behind. at the next intersection our driver nearly jumped out to survey the damages and we had to scream at him yet again to get him back in the car. I felt sorry for the old guy, but my heart was pounding. phew! the circus had finally left town. but the evidence of its existence remains here in this music born from the mind of one of the true musical geniuses of our time, performed by some of the most capable musicians of the time, and enjoyed by people who do stuff that is not normal. we miss you Frank.” adrian belew feb. 2017

When invited by trusted FZ Vaultmeister, Joe Travers, to share memories and thoughts from my first FZ Tour in 1977, I felt not only honored, but truly humbled to actually have the opportunity to express my feelings and my passion for THE one person in my life who showed me by example what I am capable of and how to be a ‘good person’ as well in every aspect of life! Coming from Vienna Austria and being an early-on concert goer, I saw ‘The Mothers Of Invention’ at the Vienna Konzert Haus during the 60’s. I don’t remember the exact date, but then I saw them again on December 12, 1970, and many times thereafter. I recall being so impressed by everything that came off that stage all those nights, that it left me speechless and forever intrigued about the true genius and brilliant personality and attitude of Frank Zappa! After my first exodus to the U.S., in ’72, managing a Gypsy guitarist from Vienna who couldn’t read or write, I returned to Austria and then finally made it back to L.A., the alleged ‘Music Capital’, this time with the Austrian keyboard player Peter Wolf. From the very beginning of our Los Angeles residency, we hung out daily at the Guitar Center on the Sunset Strip, the only one in existence at that time, trying out the latest gear, and fervently exchanging phone numbers. One of those numbers belonged to Andre Lewis, aka Mandré, keyboardist with FZ after George Duke. Then a phone call came in and the voice on the other end said loud and clear : “Hi, this is Frank Zappa, can I talk to Peter Wolf?!” Well, this was, and will be, the most life-changing phone call in my 71 years! Peter and I drove right over to Woodrow Wilson Drive, Zappa Land, and met Frank and Gail. Having already been a Zappa fan for decades, and now meeting him up close, this was THE defining moment of my life.
Although I was feeling somewhat intimidated, his appearance and radiant personality left me awestruck and fascinated. Unforgettable. Peter auditioned for 2 days and was hired, with me as tech, to start 8 weeks rehearsals, followed by a U.S. Tour. So here I was, my first big-time U.S. Rock Tour with Frank Zappa who, in my book, was the undisputed Godfather of contemporary music. The Tour started with quite a dramatic day three, when our tour manager took his life in Las Vegas! A very sobering beginning. The show went on, and since Frank owned his own sound system and lighting rig, everybody in the crew took part in setting up lights, sound, and the band’s gear. Hands on, I learned the many facets of touring, whereas typically all positions are departmentalized. Another thing that I will be thankful for, to Frank, for the rest of my days! Further on, Frank was totally supportive of my passion for engaging in video recording the concerts and he allowed me to be on stage all night long documenting well over 100 shows with a hand-held camera. My video feed was sent to FZ’s recording truck and had quality audio mixed live by his engineer. Frank set the highest standards in all matters, and was so ahead of the curve in so many ways, with a work ethic second to none. He will forever be an inspiration to me and so many others fortunate enough to have crossed his path. In conclusion, every Frank Zappa show was the grandest event for all audiences and performers. That included the traditional NYC Palladium ZAPPA Halloween shows. My first time in New York with FZ, beginning Friday 28 October through Monday 31 October, 1977. It was mindblowing. Every second ecstatically fueled by the hard core NY crowd. I remember how the band had to memorize a repertoire of about 80 songs, ready to be called upon by the man, without ‘warning’! Frank Zappa entertained basically the best ‘Music Conservatory’ on the planet, and if you qualified, you were ready for any gig out there, as Frank’s ‘seal of approval’ was, and still is, the gold standard for any musician to this day.
Through Frank I met many excellent musicians, too many to count. Warren Cuccurullo, Vinnie Colaiuta, who became my roommate when he was hired by Frank (what a treat!), and of course ‘Little Italian Virtuoso’ Steve Vai, as FZ amicably called him, and with whom I still work today. I also drove all the Zappa kids, as Gail lovingly called them, ‘Munchkins,’ to school and bought all of Diva’s diapers for Gail, how ‘bout that! And before Diva was around, Ahmet was my hero, as he was the ‘original’ Bart Simpson, the son I never had, way before Matt Groening created ‘Bartman’… And believe it or not, I even had the privilege to drive FZ to Dweezil’s Little League practice!! And for all I know, meeting and being around Frank for those 6 years were the absolute BEST TIMES of my life, that can’t be topped by anything, period! Listening to Frank talk today, with content decades old, but as to-the-point to our World then and now, makes me wonder what FZ would have to say about today’s state of affairs? And as this is quite apropos, I still have my Bumper Sticker, that still holds up: ‘DON’T BLAME ME, I VOTED FOR ZAPPA’ And who knows, we may meet again? I sure hope so. . .– Thomas Nordegg May 2017
For a Zappa fan in the 1970s, New York was a pretty terrific place. But to be at The Palladium in 1977 for one of Frank Zappa’s Halloween shows, there was simply no better place on Earth. The Palladium had 3,500 seats and every show that year was a sellout. Frank always had great musicians in his band, and when the lights went down and they hit the stage, you knew right away that you were in for it. You also knew to make yourself comfortable because it was going to be a long night – WHICH WAS THE WHOLE IDEA. You were also guaranteed to have your face ripped off by any number of blistering guitar solos during the course of the night. After going to the first two shows I was totally psyched for Halloween night. But I didn’t have a ticket for the early show. So I called my friend Donna U Wanna, we headed to Union Square and scalped two tickets. When we finally got to our seats they were in the NEXT TO THE LAST ROW OF THE REAR BALCONY -- which was never going to work. So we bullshitted our way through every level of security at the Palladium, finally reached the main floor, and were allowed to stand behind the center orchestra section for the rest of the show. Things were definitely looking up! About two hours into the show it was audience participation time, and I remember thinking: “I could never get on stage in front of 3,500 people” … A split-second later Frank points to me from the stage and says, “Hi there. You’re a cute girl. Come on up here.” So I made my way to the stage and pretty soon I was face to face with my idol -- and he wasn’t wearing a shirt! How lucky can a girl be? Later Frank hands me a pitchfork, gives Donna a bullwhip, and if you’ve seen BABY SNAKES you know the rest. Fast-forward to Halloween 1978 at the Palladium. After going to two or three shows I thought I’d try to actually meet Frank and maybe get an autograph. So I was waiting by the stage door with about 30 other Zappa fans, when Frank steps out the door, walks right up to me and says: “Hi. I’m so glad you’re here. You’re fantastic in my new movie. Can you hang around? I’d like to talk with you.” Of course, I was able to find some time in my busy teenage schedule! The next night after the show I got to meet the band. And the rest, as they say, is history. The moral of the story being MUSIC IS THE BEST. Through my love of music, and Frank Zappa’s music specifically, I met the love of my life, Denny Walley. And it just doesn’t get any better than that. – Janet “The Planet” Walley
Memories Of A Zappa Tour I received a call just after finishing an Emmylou Harris tour, that Frank Zappa needed a tour mgr. s t a t….as in right now. His current tour mgr had committed suicide in Las Vegas… had to do with drugs and $$$. (I had met Frank several years before. I was working with the Stones and Mick Jagger wanted to talk with Frank about some musical ideas….the meeting was short….Mick had been drinking and Frank cut the meeting shorter.) So I picked up Frank’s tour in Phoenix and off we went….. We did several more gigs around the U.S. It was a very strange experience going from C&W to Zappa. The crew was less than excited to have me as they were pals with last guy. We did a European tour and that’s when I gave Frank the “why does it hurt when I pee” line used in Joe’s Garage album. When we did the Halloween show in NY, he asked me to help outfit the band..We went to a costume house and they picked out their costumes…I dressed Adrian Belew as an army wac. Smothers, Franks’s large bald body guard dressed in a judo gi. He would stand on stage left with a broken hockey stick and look out for little red lights that would signal recording devices and keep the peace on stage. I dressed exactly like him wth a bald cap and imitated his exact move…much to his dislike. Here are few snippets from show etc. – Phil Kaufman
Greetings Phil! Memories of Halloween ’77: A time when audience members came into the Zappa fold. David Ditkowich (seen in BABY SNAKES in outrageous full white tux, hat, and monster mask) went on to do Frank’s merchandising in 1981. Al Malkin aka ‘Butsis’ became part of the Zappa mythology. Guitarist Warren Cucurullo was a quiet, conservatively dressed guy who hung around with the band at the hotel, and became part of the band in 1979. Janet the Planet and friend Jack became part of Frank’s circle of friends. I was surprised when Frank announced he was going to film those shows. The band was mostly new and we had only been on the road for a short time. Frank wanted me to dress as Ruth. “Ed, I want you to wear a big frizzy wig and fake boobs for the filming.” I really didn’t want to do that, but he was insistent. Finally I found my way out, by telling Frank the truth: I’m not used to viewing the marimba over a set of boobs, and I didn’t want to risk inaccurate performance. Bingo! No boobs. Frank countered with “well wear something that isn’t like anyone else in the band. We settled on the yellow tights outfit. Tommy Mars and I, who had played together since 1973, were in disbelief that all of this was really happening... it was a great band! The sound checks were massive. Frank was in amazing form and NYC was his crowd. And of course I remember you, Phil. You added flavor and spice, and made sure that whatever else was going on, there was always lots of fun in the air. And so, I salute you, O Great Road Mangler!– Ed Mann May, 2017


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hey punk, where you going with that presidential pardon in your pocket? I, I don't recall.....


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PostPosted: Mon Oct 30, 2017 6:22 am 
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Got a nice note from Amazon that they knocked $14.99 off the price of the box at shipping time.

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PostPosted: Mon Oct 30, 2017 1:13 pm 
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Shrewnews wrote:
Got a nice note from Amazon that they knocked $14.99 off the price of the box at shipping time.

I got a nice note, from Amazon, saying they tried to deliver it, today, but no answer, so they'll try again next business day.

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PostPosted: Mon Oct 30, 2017 3:35 pm 
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just plain doug wrote:
I got a nice note, from Amazon, saying they tried to deliver it, today, but no answer, so they'll try again next business day.


You should sign up for that new service where if you have a smart lock on your front door it gives the Amazon courier access to leave the package inside. I might do that if I also had the door fitted with surveillance cameras and remote-control artillery.

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PostPosted: Mon Oct 30, 2017 7:31 pm 
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Shrewnews wrote:
just plain doug wrote:
I got a nice note, from Amazon, saying they tried to deliver it, today, but no answer, so they'll try again next business day.


You should sign up for that new service where if you have a smart lock on your front door it gives the Amazon courier access to leave the package inside. I might do that if I also had the door fitted with surveillance cameras and remote-control artillery.

I just have my stuff delivered to work. :idea:


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PostPosted: Tue Oct 31, 2017 7:26 am 
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SPACEBROTHER wrote:
Can somebody post the individual Halloween '77 show artwork here?

These?

ImageImage
ImageImage
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PostPosted: Tue Oct 31, 2017 9:34 am 
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Awesome! Thanks IB!


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PostPosted: Tue Oct 31, 2017 10:57 am 
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My box says "Limited Edition #4045 of 5000". And that's after ordering it as soon as it appeared on Amazon.ca

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PostPosted: Tue Oct 31, 2017 5:28 pm 
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2343 of 5000. So far I'm up to the 3rd show. Might skip ahead to the Halloween show just for the occasion.


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PostPosted: Tue Oct 31, 2017 6:51 pm 
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Got the 3cd set today and currently enjoying on Halloween eve 40 years to the day. The costume box arrives Friday. I imagine just plugging that stick into the car and listening non-stop for a month or so.


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PostPosted: Tue Oct 31, 2017 11:21 pm 
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KUIII wrote:
Got the 3cd set today and currently enjoying on Halloween eve 40 years to the day. The costume box arrives Friday. I imagine just plugging that stick into the car and listening non-stop for a month or so.


My "box number" is: 4965

The mask was great for the lil halloweeners that dared to knock on the crazy old guy of the neighborhood's door.

I hope you car audio system can play the stick KU, mine tells me there are no files :P

works fine in my PC which is connected to a pair of reasonable Logitech speakers and the smart tv which gets it to the home theatre with magnificent results.....Now I just need a couple of weeks to take it all in.....

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PostPosted: Tue Oct 31, 2017 11:39 pm 
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just plain doug wrote:
Shrewnews wrote:
Got a nice note from Amazon that they knocked $14.99 off the price of the box at shipping time.

I got a nice note, from Amazon, saying they tried to deliver it, today, but no answer, so they'll try again next business day.


Mine was delivered 9 AM Sunday - which I thought odd

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