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PostPosted: Sat Jun 27, 2020 4:23 pm 
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Came across a link to old stereo review Mag- thought it would be interesting to look a old Zappa LP review- we know how much he disliked them and the Music press and these probably show why.........

https://worldradiohistory.com/Archive-All-Audio/Archive-HiFI-Stereo/80s/HiFi-Stereo-Review-1983-11.pdf

Here is the November 1983 Stereo Review issue. Here's their thoughts about Zappa's The Man from Utopia album & The London Symphony's album "Zappa, Volume I, (page 102 in the magazine, page 105 in the PDF,

The London Symphony's album-Volume I
Quote:
The London Symphony's new album
"Zappa, Volume I," on Zappa's own Barking Pumpkin label, is the most lavish and
flattering presentation of his orchestral music to date. It reveals his remarkable
strengths as an arranger and scorer as well
as his complete lack of interest in conventional melodic values-an unconcern that
plagues much of contemporary music. The
pieces here have no unifying structure (I
don't care what's written in the score) that
is discernible to the average-or above-average-ear. Rather, they are vast, linear expanses of sound, series of spliced -together
patterns of notes that could conceivably be
called melodies but instantly dissolve in a
cacophony of horn blasts or drum rolls


The Man from Utopia
Quote:
In his latest straight rock album, however,
Zappa is simply insufferable. Never one
to dodge the tough issues, on "The Man
from Utopia" he mounts his soap box once
again to tell us exactly what's wrong with
our sick society: executive suites reeking
with recreational drugs, corrupt labor -
union bosses sealing deals with the Mafia,
eighteen -year -old coeds who rediscover the
word "no," after five years of voracious sex.
just as the band rolls into town, and an
alarming, widespread lack of interest in basic
kitchen sanitation. Let me add a couple
of things about this society that "The Man
from Utopia" reminded me that I object to:
self-righteous harpies who don't apply the
same moral standards to a horny bass
player as to teenage girls; and pompous,
self-important artists who've forgotten what
it's like to have an original idea.

Zappa may be the only person left who
still thinks grade -B monster movies from
the Fifties are a fresh subject for parody.
This album could have been called "Blah
blah blah," so shopworn and perfunctory
are its themes. The only new wrinkle is Zap -
pa's latest vocal mannerism-a droning,
half-witted, atonal delivery that is, to put it
plainly, unbearable. There are three fairly
interesting instrumentals buried here, but
the chances are exceedingly slim that you'll
be able to endure the rest of the garbage to
get to them. Zappa the serious composer
leaves me uneasy, but Zappa the rocker just
turns me off.


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