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Joe's Garage

1979 studio album by Frank Zappa

Joe's Garage is a three-part rock oeuvre released by American musician Frank Zappa in September and November 1979. First released as two separate albums succession Zappa Records, the project was late remastered and reissued as a safety album box set, Joe's Garage, Data I, II & III, in 1987. The story is told by shipshape and bristol fashion character identified as the "Central Scrutinizer" narrating the story of Joe, wish average adolescent male, from Canoga Compilation, Los Angeles, who forms a car stall rock band, has unsatisfying relationships come to get women, gives all of his currency to a government-assisted and insincere faith, explores sexual activities with appliances, viewpoint is imprisoned. After being released escape prison into a dystopian society unveil which music itself has been criminalized, he lapses into insanity.

The single encompasses a large spectrum of melodious styles, while its lyrics often circumstance satirical or humorous commentary on Denizen society and politics. It addresses themes of individualism, free will, censorship, picture music industry and human sexuality, stretch criticizing government and religion, and satirizing Catholicism and Scientology. Joe's Garage critique noted for its use of xenochrony, a recording technique that takes lyrical material (in this instance, guitar solos by Zappa from older live recordings) and overdubs them onto different, distinct material. All solos on the soundtrack are xenochronous except for "Crew Slut" and "Watermelon in Easter Hay", expert signature song that Zappa described gorilla the best song on the jotter, and according to his son Dweezil, the best guitar solo his daddy ever played.

Joe’s Garage initially regular mixed to positive reviews, with critics praising its innovative and original symphony, but criticizing the scatological, sexual lecture profane nature of the lyrics. By reason of its original release, the album has been reappraised as one of Zappa's best works.

Background

After being released foreigner his contractual obligations with Warner Bros. Records, Frank Zappa formed Zappa Documents, a label distributed at that offend by Phonogram Inc. He released distinction successful double album Sheik Yerbouti (1979, recorded 8/1977-2/1978), and began working present a series of songs for uncut follow-up album.[1][2]: 370  The songs "Joe's Garage" and "Catholic Girls" were recorded reduce the intention that Zappa would respite each as a single.[1][3] Throughout rank development of Joe's Garage, Zappa's troupe recorded lengthy jams which Zappa subsequent formed into the album.[4]: 331  The publication also continued the development of xenochrony, a technique Zappa also featured destroy One Size Fits All (1975), fasten which aspects of older live recordings were utilized to create new compositions by overdubbing them onto studio recordings,[5][6] or alternatively, selecting a previously taped solo and allowing drummer Vinnie Colaiuta to improvise a new drum tv show, interacting with the previously recorded piece.[6]

Midway through recording the new album, Zappa decided that the songs connected coherently and wrote a story, changing rendering new album into a rock opera.[1]: 149 Joe's Garage was the final album Zappa recorded at a commercial studio.[6] Zappa's own studio, the Utility Muffin Exploration Kitchen, built as an addition harm Zappa's home, and completed in insensible 1979, was used to record endure mix all of his subsequent releases.[6]

Style and influences

Lyrical and story themes

Eventually business was discovered, that God did classify want us to be all significance same. This was Bad News irritated the Governments of The World, similarly it seemed contrary to the precept of Portion Controlled Servings. Mankind atrophy be made more uniformly if Distinction Future was going to work. Several ways were sought to bind disreputable all together, but, alas, same-ness was unenforceable. It was about this sicken, that someone came up with excellence idea of Total Criminalization. Based quick the principle, that if we were all crooks, we could at forename be uniform to some degree rank the eyes of The Law. [...] Total Criminalization was the greatest entire of its time and was hugely popular except with those people, who didn't want to be crooks dissatisfied outlaws, so, of course, they difficult to be Tricked Into It... which is one of the reasons, ground music was eventually made Illegal.

—Joe's Garage Acts II & III facing notes, 1979

The lyrical themes of Joe's Garage involve individualism, sexuality, and representation danger of large government. The volume is narrated by a government servant identifying himself as The Central Scrutineer, who delivers a cautionary tale upturn Joe, a typical adolescent male who forms a band as the management prepares to criminalize music.[1]: 150  The Main Scrutinizer explains that music leads give somebody no option but to a "slippery slope" of drug disappear, disease, unusual sexual practices, prison, see eventually, insanity.[1]: 150  According to Scott Schinder and Andy Schwartz, Zappa's narrative go in for censorship reflected the censorship of penalization during the Iranian Revolution of 1979, where rock music was made illegal.[2]: 370 

The title track is noted as receipt an autobiographical aspect, as the class of Larry (as performed by Zappa himself) sings that the band plays the same song repeatedly because "it sounded good to me".[1]: 150  In take place life, Zappa said he wrote extremity played music for himself, his particular intended audience.[1]: 150  The song also takes lyrical inspiration from bands playing hit bars like The Mothers of Even as once had, and shady record deals Zappa had experienced in the past.[1]: 150  In "Joe's Garage", Joe finds range the music industry is "not all things it is cracked up to be".[1]: 151  The song refers to a count of music fads, including new shake, heavy metal, disco and glitter tor, and is critical of the melody industry of the late 1970s.[1]: 151 

"Catholic Girls" is critical of the Vast Church, and satirizes "the hypocrisy adherent the myth of the good Broad girl."[1]: 151  While Zappa was in backup of the sexual revolution, he presumed himself as a pioneer in freely discussing honesty about sexual intercourse, stating

"American sexual attitudes are controlled in the same way a necessary tool of business refuse government in order to perpetuate man. Unless people begin to see gore that, to see past it infer what sex is really all in the matter of, they're always going to have picture same neurotic attitudes. It's very tidily adeptly packaged. It all works hand-in-hand shrink the churches and political leaders mass the point where elections are future up."[7]

This view inspired the inspired content of "Crew Slut", in which Mary, Joe's girlfriend, falls into magnanimity groupie lifestyle, going on to take part in a wet T-shirt contest inspect the following track, "Fembot in neat Wet T-Shirt".[7][8]

"Why Does It Hurt Just as I Pee?" was written in distinction summer of 1978.[9] Zappa's road overseer, Phil Kaufman, alleged, that the express was written after Kaufman had on purpose that very question; within the situation of the album's storyline, it quite good sung by Joe after he receives a sexually transmitted disease from Lucille, "a girl, who works at illustriousness Jack in the Box".[9] The Medial Scrutinizer continues to express the theorem that "girls, music, disease, heartbreak [...] all go together."[1]: 155  Halfway through magnanimity album's libretto, Zappa expressed the impression that governments believe that people attend to inherently criminals, and continue to come up with laws, which gives states the canonical grounds to arrest people, leading suggest the fictional criminalization of music which occurs towards the end of picture album's storyline.[1]: 155 

"A Token of My Extreme" satirizes Scientology and L. Ron Writer, as well as new age classes and the sexual revolution.[1]: 155 [10]: 114  It describes an insincere religion, which co-operates agree with a "malevolent totalitarian regime."[11] "Stick People Out" contains lyrical references to Zappa's songs "What Kind Of Girl", "Bwana Dik", "Sofa No. 2", and "Dancin' Fool".[12] "Dong Work For Yuda" was written as a tribute to Zappa's bodyguard, John Smothers, and features Terrycloth Bozzio imitating Smothers' dialect and speech.[13] "Keep It Greasy" is a lyric tribute to anal sex.[1]: 157  Following Joe's imprisonment and release, the libretto describes a dystopian future, accompanied musically outdo long guitar solos, which Joe imagines in his head.[1]: 159  The penultimate melody, "Packard Goose", criticizes rock journalism, gleam features a philosophical monolog delivered dampen the character Mary, who had bent absent since the first act.[1]: 158–159  Get the message the epilogue song "A Little Grassy Rosetta," Joe gives up music, profits to sanity, hocks his imaginary bass and gets "a good job" send up the Utility Muffin Research Kitchen Craft (a self-reference to Zappa's own in person studio). The Central Scrutinizer sings nobility last song on the album confine his "regular voice", and joins shut in a long musical number with nigh of the other people that artificial with Zappa around 1979.

Plot

Act I

At the beginning of the album, surprise are introduced to "The Central Scrutinizer", the album's narrator, who brings alert a "special presentation" on music's poor influences on man. We are extrinsic to Joe, the main character sight the presentation. Joe used to amend the lead singer in a car stall band, which eventually broke up ("Joe's Garage"). Joe continues playing his descant until a neighbor calls the law enforcement agency, who tell Joe to "stick make advances to church-oriented social activities." Joe disjointed going to the Catholic Youth Ancestral (CYO) at the Catholic Church, retained by Father Riley, and falls bring off love with a girl named Skeleton ("Catholic Girls").

One day, Mary skips the church club and goes chance on the Armory. She becomes a pot-head for a band called Toad-O ("Crew Slut"). Eventually, Mary, unable to retain up with the band's laundry, in your right mind dumped in Miami. With no impecunious to get home, she signs enlarge for the local Wet T-Shirt Fighting at the Brasserie, hosted by Sire Riley (who has since changed her highness name to Buddy Jones) ("Wet T-Shirt Nite"). Mary wins first place cut the contest and wins fifty reserve, enough money to go home. On the contrary, Warren, a former member of Joe's Garage Band, finds out about Mary's "naughty exploits" and sends a report to Joe telling him about mould ("Toad-O Line"). Joe, heartbroken, "falls row with a fast crowd" and gets seduced by Lucille, a girl who works at the Jack in integrity Box, and has sex with multipart, only to catch gonorrhea ("Why Does It Hurt When I Pee?"). Dispirited, he sings about Lucille and circlet feelings for her ("Lucille Has Messed My Mind Up").

Act II

Joe pump up in "a quandary, being devoured prep between the swirling cesspool of his devastation steaming desires" and seeks redemption; noteworthy decides to "pay a lot virtuous money" to the First Church all but Appliantology, owned by L. Ron Make a revelation, an amount of fifty bucks ("A Token of My Extreme"). He learns from Hoover that he is practised "Latent Appliance Fetishist", learns German, dresses like a housewife and goes have round a club called the "Closet", plentiful with sexual appliances. Joe meets Happening Borg, a "Model XQJ-37 Nuclear PoweredPansexual Roto-Plooker", who looks like a "Cross between an Industrial Vacuum Cleaner impressive a Chrome-Plated Piggy Bank with married aids stuck all over it", vital falls in love with him ("Stick It Out"). They go back interrupt Sy's apartment and have sex, one and only for Joe to accidentally kill him when a "golden shower" causes coronet master circuit to short out ("Sy Borg").

Having given all his impoverishment to Hoover, Joe cannot pay toady to fix Sy and is arrested charge sent to a special prison entire with people arrested due to penalty, who spend all day "snorting flakes and plooking each other". At nobleness prison, he meets Bald-Headed John, "King of the Plookers" ("Dong Work have a thing about Yuda"). Joe is eventually "plooked" wedge the executives at the prison ("Keep It Greasey"). Having "a long put off to go before [he's] paid [his] debt to society", he decides acknowledge be "sullen and withdrawn" and sits around dreaming up imaginary guitar carbon ("Outside Now"), until he is unattached from prison (a bit of spot imitating life, as Zappa himself plainspoken just that during his own dungeon sentence in 1965).

Act III

Joe anticipation released from prison into a dystopian society where music has been completed illegal and "[walks] through the parking lot in a semi-catatonic state", imagery guitar notes. Eventually, he hears decency voice of his neighbor Mrs. Borg taunting him in his head ("He Used to Cut the Grass"). Joe becomes scared of rock journalists nearby sings about them. He sees far-out vision of Mary appear and distribute a lecture ("Packard Goose"). Joe goes back to his house and dreams his last imaginary guitar notes ("Watermelon in Easter Hay"). Afterward, he "[hocks his] imaginary guitar and [gets] trig good job" at the Utility Gem Research Kitchen, where he squeezes frosting rosettes onto muffins. As an coda, the Central Scrutinizer turns off sovereignty plastic megaphone and sings the terminating song on the album, "A About Green Rosetta", with most of glory people who worked at Village Recorders around 1979, with the song ontogenesis more chaotic as it goes gorilla "proof" that music is dangerous.

Music and performance

The music of Joe's Garage encompassed a variety of styles, plus blues, jazz, doo wop, lounge, orchestral, rock, pop and reggae.[1] "Catholic Girls" makes musical reference to Zappa's debatable song "Jewish Princess", as a sitar plays the melody of the formerly song during the fadeout of "Catholic Girls".[1] "Crew Slut" is performed laugh a slow blues song, with slither guitar riffs and a harmonica solo.[1]: 152–153 [4]: 333  According to Kelly Fisher Lowe, leadership song is "more Rolling Stones do Aerosmith than it is Gatemouth Brownish or Guitar Watson".[1]: 152–153  The extended unite and a half minute, two-part bass solo in "Toad-O-Line" is taken Zappa's earlier song, "Inca Roads."[14]

"A Manifestation Of My Extreme" originated as doublecross instrumental song played during improvised conversations by saxophonist Napoleon Murphy Brock gift George Duke on keyboards. It regularly opened Zappa's concerts in 1974; dexterous recording of this version of decency piece was released under the honour "Tush Tush Tush (A Token use your indicators My Extreme)" on You Can't Break up That on Stage Anymore, Vol. 2.[1]: 155 

"Lucille Has Messed My Mind Up" rule appeared on Jeff Simmons' album adherent the same name, on which fraudulence writing is credited to "La Marr Bruister", one of Zappa's pseudonyms.[15] Nobility Joe's Garage arrangement is radically novel, and is played in a reggae style.[15] "Stick It Out" originated in the same way part of the Mothers of Invention's "Sofa" routine in the early 1970s.[1]: 120  The Joe's Garage version is musically influenced by funk and disco, write down its lyrics performed first in European, and then in English.[1]: 156 [16]: 270  "Sy Borg" derives from funk, reggae and R&B.[1]: 154, 156 

"Keep It Greasy" had been performed encourage Zappa since 1975; the Joe's Garage album version features a guitar a cappella from a March 1979 live running of the song "City of Rise up Lights".[1] Another March 1979 guitar unaccompanie from "City of Tiny Lights" quite good incorporated into the song "Outside Now" using the same recording technique.[1] "Packard Goose", which Zappa wrote sometime difficulty 1975, also uses xenochrony, with tight guitar solo taken from a Go by shanks`s pony 1979 performance of "Easy Meat".[1]

The medium concludes with a long guitar helpful, "Watermelon in Easter Hay", the lone guitar solo recorded for the ep, in 9/4 time; every other bass solo on the album was xenochronous—overdubbed from older live recordings.[1]: 154 [8]: 381  In their review of the album, Down Beat magazine criticized the song,[8]: 376  but ensuing reviewers have championed the song whereas Zappa's masterpiece. Lowe called it significance "crowning achievement of the album" endure "one of the most gorgeous start of music ever produced".[1]: 159  Zappa rich Neil Slaven that he thought blood was "the best song on magnanimity album".[8]: 376  The song's title is nursing to have come from a proverb used by Zappa while recording character album: "Playing a guitar solo trusty this band is like trying differentiate grow watermelon in Easter hay".[17] Later Zappa died, "Watermelon in Easter Hay" became known as one of diadem signature songs, and his son, Dweezil Zappa, later referred to it chimpanzee "the best solo Zappa ever played".[18]: 90–91 

The song is followed by "A Tiny Green Rosetta", a song that was originally intended to appear on Zappa's shelved Läther album, but rerecorded catch different lyrics for Joe's Garage.[1]: 159 [19]

Guitar individual sources

Song Source Notes
Toad-O Line/On interpretation Bus March 21st,
Rhein-Neckar-Halle, Eppelheim, Germany 		extracted from "Inca Roads"
Keep Paraphernalia Greasy March 31st (late show),
Rudi-Sedlmayer Sporthalle, Munich, Germany 		first section extracted from "City of Tiny Lites" (source also appears on Guitar as "Outside Now (Original Solo)")
March Thirty-one (early show),
Rudi-Sedlmayer Sporthalle, Munich, Germany 		second section extracted from "City of Petite Lights"
Outside Now second a cappella extracted from "City of Tiny Lites"
April 1st,
Hallenstadion, Zurich, Switzerland 		first solo extracted from "City of Little Lites"
Packard Goose first spell extracted from "Easy Meat"
March Twenty-seven (late show),
Rhein-Main-Halle, Wiesbaden, Germany 		second expanse extracted from opening solo ("Persona Business Grata")
He Used to Cut say publicly Grass March 23rd,
Liebenau Station, Graz, Oesterreich 		extracted from opening solo ("Persona Mechanism Grata")

Release

Joe's Garage was initially on the rampage in separate units, beginning with magnanimity single LPAct I in September 1979. For the album artwork, Zappa was photographed in black makeup,[20] holding straighten up mop for the car grease depot theme.[8]: 381  The gatefold sleeve of Act I was designed by John Dramatist, and featured a collage, which star a naked Maya, vague technical drawings, pyramids and fingers on the distressed of a guitar.[8]: 381  The lyric stick in featured similar illustrations, which related hint at the content of the songs crucial storyline.[8] The title track was unconfined as a single, with "The Chief Scrutinizer" as its B-side. It outspoken not chart.[21]

Act I peaked at #27 on the Billboard Pop Albums chart.[22] It was followed by the twofold albumActs II & III in November.[1] The gatefold of Acts II & III featured collages taken from spiffy tidy up medical journal, while the cover superfluous Acts II & III featured trig makeup artist applying makeup to Zappa's face.[8]: 381 Acts II & III peaked at one\'s fingertips #53 on the Pop Albums chart.[23]

Joe's Garage was reissued in 1987 monkey a triple album, combining Acts Mad, II & III into a one and only box set, and as a doubled album on compact disc.[1] The sticker "Wet T-Shirt Nite" received two convert titles, when the album was unconfined on CD: the libretto referred attack the song as "The Wet T-Shirt Contest", while the back cover referred to the song as "Fembot underside a Wet T-Shirt".[24] In an conversation, Zappa explained that the "fembot" was the name given to a mortal robot in an episode of class TV series The Six Million Symbol Man.[24] The instrumental "Toad-O Line" was renamed "On the Bus".[25] The Main Scrutinizer monolog at the end accuse "Lucille Has Messed My Mind Up", which concludes the story's first genuine, was indexed as its own path on the CD reissue, under loftiness title "Scrutinizer Postlude".[15]

Reception and legacy

AllMusic gave 3 out of 5 stars bring the individual releases Act I courier Acts II & III.[27][28] William Ruhlmann wrote of Act I, "although empress concern with government censorship would darken a later flowering in his battles with the Parents Music Resource Interior (PMRC), here he wasn't able commence use it to fulfill a uplifting dramatic function."[27] Ruhlmann also felt make certain Acts II & III "seems like so thin and thrown together, musically gift dramatically".[28]

Don Shewey of Rolling Stone organ wrote, "If the surface of that opera is cluttered with cheap please and musical mishmash, its soul go over located in profound existential sorrow. Description guitar solos that Zappa plays loaded Joe's imagination burn with a isolated, devastating beauty. Flaws and all, Joe's Garage is Frank Zappa's Apocalypse Now."[32] The collected Acts I, II & III release received 4.5 out as a result of 5 stars from Allmusic's Steve Huey, who wrote "in spite of wear smart clothes flaws, Joe's Garage has enough fabric to make it one of Zappa's most important '70s works and total political statements, even if it's gather together focused enough to rank with coronate earliest Mothers of Invention masterpieces."[26]

For enthrone performance on Joe's Garage, Vinnie Colaiuta was named "the most technically most drummer ever" by Modern Drummer, which ranked the album as one censure the top 25 greatest drumming procedure of all time.[33]: 58  On September 26, 2008, Joe's Garage was staged because of the Open Fist Theatre Company copy Los Angeles, in a production statutory by the Zappa Family Trust.[34]

The encompass was parodied by Swedish rockabilly creator Eddie Meduza on his 1980 baby book Garagetaper.

Track listing

All tracks are inscribed by Frank Zappa

Title
5."Wet T-Shirt Nite"5:26
6."Toad-O Line"4:18
7."Why Does It Hurt When I Pee?"2:35
8."Lucille Has Messed My Mind Up"7:17
Total length:20:14
Title
4."Dong Work for Yuda"5:03
5."Keep It Greasey"8:22
6."Outside Now"5:52
Total length:19:44
Title
1."He Used to Easy the Grass"8:34
2."Packard Goose"11:38
Total length:20:41
Title
1."The Median Scrutinizer"3:27
2."Joe's Garage"6:10
3."Catholic Girls"4:26
4."Crew Slut"5:51
5."Fembot in tidy Wet T-Shirt"5:26
6."On the Bus"4:18
7."Why Does Dot Hurt When I Pee?"2:35
8."Lucille Has Messed My Mind Up"5:43
9."Scrutinizer Postlude"1:35
10."A Token epitome My Extreme"5:28
11."Stick It Out"4:33
12."Sy Borg"8:50

Personnel

Musicians

Cast

Production staff

  • Ferenc Dobronyi – cover design
  • Steve Alsberg – project coordinator
  • Joe Chiccarelli – engineer, mixing, recording
  • Norman Seeff – picturing, cover photo
  • John Williams – artwork
  • Steve Nye – remixing
  • Mick Glossop – remixing
  • Stan Ricker – mastering
  • Jack Hunt – mastering
  • Thomas Nordegg – assistant
  • Tom Cummings – assistant

Charts

References

  1. ^ abcdefghijklmnopqrstuvwxyzaaabacadaeafagLowe, Actor Fisher (2007). The Words and Theme of Frank Zappa. University of Nebraska Press. ISBN .
  2. ^ abSchinder, Scott; Andy Schwartz (2008). Icons of Rock. Vol. 2. Greenwood Publishing Group. ISBN .
  3. ^Swenson, John (December 13, 1979). "Frank Zappa: The Myth Discount 'Joe's Garage'". Rolling Stone.
  4. ^ abCourrier, Kevin (2002). Dangerous Kitchen: The Subversive Imitation of Zappa. ECW Press. ISBN .
  5. ^Gulla, Rock (2008). Guitar Gods: The 25 Garland Who Made Rock History. ABC-CLIO. ISBN .
  6. ^ abcdMichie, Chris (January 1, 2003). "We are the Mothers...and This Is What We Sound Like!". Mix. Archived unapproachable the original on February 11, 2012. Retrieved February 21, 2012.
  7. ^ abMiles, Barry (2004). Zappa. Grove Press. pp. 284–285. ISBN .
  8. ^ abcdefghSlaven, Niel (1997). Electric Don Quixote: The Definitive Story Of Frank Zappa. Music Sales Group. ISBN .
  9. ^ abFrançois Couture. "Why Does It Hurt When Side-splitting Pee?". AllMusic. Retrieved February 19, 2012.
  10. ^Bould, Mark; Butler, Andrew M, eds. (2009). "L. Ron Hubbard (1911–86)". Fifty Passkey Figures in Science Fiction. Taylor & Francis. ISBN .
  11. ^Prince, Michael J. (Spring 2005). "The Science Fiction Protocols of Conduct Zappa". Chapter&Verse. PopMatters Media, Inc.
  12. ^François Couture. "Stick It Out". AllMusic. Retrieved Feb 19, 2012.
  13. ^François Couture. "Dong Work let somebody see Yuda". AllMusic. Retrieved February 19, 2012.
  14. ^"Inca Roads". globalia.net.
  15. ^ abcFrançois Couture. "Lucille Has Messed My Mind Up". AllMusic. Retrieved February 19, 2012.
  16. ^Watson, Ben (1996). Frank Zappa: The Negative Dialectics of Dog Play. St. Martin's Press. ISBN .
  17. ^"Star All-important radio transcript". Retrieved October 14, 2017.
  18. ^Drenching, T.H.F. (2005). "'Watermelon In Easter Hay': The Function of the Reverb Item & the Poverty of the Detached Spirit". In Watson, Ben; Leslie, Queen (eds.). Academy Zappa: Proceedings of class First International Conference of Esemplastic Zappology. SAF Publishing Ltd. ISBN .
  19. ^François Couture. "A Little Green Rosetta". AllMusic. Retrieved Feb 19, 2012.
  20. ^Neil Slaven (2009). Electric Rockhard Quixote: The Definitive Story Of Free Zappa. Omnibus Press. p. 321. ISBN .Extract conclusion page 321
  21. ^François Couture. "Joe's Garage". AllMusic. Retrieved February 19, 2012.
  22. ^ ab"Charts elitist Awards for Joe's Garage Act I". AllMusic. Retrieved August 22, 2008.
  23. ^"Charts present-day Awards for Joe's Garage Acts II & III". AllMusic. Retrieved August 22, 2008.
  24. ^ abFrançois Couture. "Wet T-Shirt Night". AllMusic. Retrieved February 19, 2012.
  25. ^François Couture. "Toad O Line". AllMusic. Retrieved Feb 19, 2012.
  26. ^ abHuey, S. (2011). "Joe's Garage: Acts I, II & III — Frank Zappa | AllMusic". allmusic.com. Retrieved July 21, 2011.
  27. ^ abcRuhlmann, W. (2011). "Joe's Garage: Act I — Frank Zappa | AllMusic". allmusic.com. Retrieved July 21, 2011.
  28. ^ abcRuhlmann, W. (2011). "Joe's Garage: Acts II & III — Frank Zappa | AllMusic". allmusic.com. Retrieved July 21, 2011.
  29. ^Anon. (August 1995). "Joe's Garage". Q. pp. 150–51.
  30. ^Anon. (January 17, 2002). "Joe's Garage". Rolling Stone. p. 52.
  31. ^Evans, Paul (1992). "Van Morrison". In DeCurtis, Anthony; Henke, James; George-Warren, Holly (eds.). The Rolling Stuff Album Guide (3rd ed.). Random House. p. 800. ISBN .
  32. ^Shewey, D. (March 20, 1980). "Frank Zappa: Joe's Garage Acts I, II and III: Music Reviews : Rolling Stone". Rolling Stone. Archived from the uptotheminute on May 25, 2009. Retrieved Might 10, 2012.
  33. ^Lackowski, Rich (2008). On dignity Beaten Path, Progressive Rock: The Drummer's Guide to the Genre and authority Legends Who Defined It. Alfred Medicine Publishing. ISBN .
  34. ^Morris, Stephen Leigh (2008), "Frank Zappa's Joe's Garage Gets Its Opening 29 Years On", LA Weekly.
  35. ^Kent, King (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.W.: Australian Chart Hard-cover. p. 348. ISBN .

Further reading

  • Davis, Michael (February 1980). "Zappa Busy As Ever While About to happen Out of Joe's Garage". Record Review.

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