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Like Zappa – who constantly blurred boundaries, or contrasted, perceived high and low art music, e.g. doo-wop and classical on BWS, and delivered it under the rock idiom - the range of genre specific and genre non-specific styles included are broad and the artists varyingly rework, re-compose, restructure, reinterpret, remix or use samples from some, or all, tracks on Zappa’s album. It could be almost described as an album of two halves, the first being more experimental and avant garde classicism with the second half more rockier and jazzier, but then you’ll find elements of the first half in the second and vice versa. Alongside BWS fragments, some incorporate the work of others: Carl, Fraz and Ed’s “Jimmy Chile” leans heavily on Hendrix and also claws in the Beatles and Mother’s drummer, Jimmy Carl Black. Caballero Reynaldo covers “Aybe Sea” - in a countrified manner – brilliantly. In Uniform’s “BerEenich” seems to favour the doo-wop, where The FrazKnapp Fusion Project uses free and acid jazz in their piece, “The Weenie Zapp”. The final track (available via download only) is Pete Brunelli paying homage to homage by mixing extracts from the previous 20 tracks, but if one track could exemplify what (or what not) to expect, I’d choose DOOT!’s “Radiouverture“ which, from it’s opening drone work, turns to noise-out, then to overdubbed sample of “WPLJ” and returns to string ensemble. Inventive and shape shifting stuff, a perfect tribute to Zappa and the Mothers’ legacy. |
