April 27 & 28 - Sinners & More Sinners

[Extended Play]

I. Like 'Studio Tan', 'Orchestral Favorites', & 'Sleep Dirt', Frank Zappa's 'Zappa In New York' ('78) is one of the seperated pieces of the master-set Läther that Warner Brothers squashed before it ever got released. Recorded at New York City's Palladium in December 1976, this album features one of Zappa's best bands playing some of his most interesting music. It even has Don Pardo!

The one thing I consistently ask myself about Frank Zappa's long career is "How could he record that much music, much less write it?" This album, along with his other live work, adds the question of how in the hell he could get people to perform the music to his exacting standards?

Just watching Terry Bozzio perform the Black Page drum solo is exhausting (and exhillirating). At the same time, you have the other half of the live content like Illinois Enema Bandit, Punky Whips, or Tittles and Beer to liven up the set. As much as I like the instrumentals, you do need a break every once in a while. That's where songs like the excellent interpretation of Cruising For Burgers and Sofa come in. This is yet another great place to get introduced to Frank.

note: There are quite a few 'naughty bits' here. Shoo away the kiddies and bosses, lest you be put to the question![list=1][*]Titties and Beer (Zappa) - 7:35 [*]Cruisin' for Burgers (Zappa) - 9:12 [*]I Promise Not to Come in Your Mouth - 3:31 [*]Punky's Whips (Zappa) - 10:50 [*]Honey, Don't You Want a Man Like Me? (Zappa) - 4:11 [*]The Illinois Enema Bandit (Zappa) - 12:42 [*]I'm the Slime (Zappa) - 4:24 [*]Pound for a Brown (Zappa) - 3:40 [*]Manx Needs Women (Zappa) - 1:50 [*]The Black Page Drum Solo/Black Page #1 (Zappa) - 3:50 [*]Big Leg Emma (Zappa) - 2:17 [*]Sofa (Zappa) - 2:56 [*]Black Page #2 (Zappa) - 5:35 [*]The Torture Never Stops (Zappa) - 12:34 [*]The Purple Lagoon/Approximate (Zappa) - 16:41 [/LIST=1]
II. Following the late 80s and early 90s reformation of Pink Floyd, keyboardist Richard Wright rekindled his desire for writing and recording. This led to his second album, 'Broken China' ('96). While lacking the loose conceptual ties of Pink Floyd's music, this album keeps a consistent mood while displaying Rick Wright's dark side. Rick gets help on the album from Sinead O'Connor, Manu Katche, Tim Renwick, and Pino Palladino on the album.

Although I've been through the album several times, it still hasn't settled fully in my mind. Understandably, 'Broken China' contains some very similar elements to Pink Floyd's 'Division Bell' of two years earlier. In fact, I'd go so far as to call this its sister album in spirit. Rick's emphasis on virtual canvases of sound remains, along with his excellent simple piano work and droll vocals. While it doesn't quite feel like a complete thought, you quickly get the sense the there's a quite a bit just going on right below the surface of the music. It's certianly a pity that Rick didn't get involved enough to lay out everything.

However, he's supposedly been at work on a follow-up album for a few years. When last I heard, Rick Wakeman was to be involved in some way. Oh well, we'll find out some day.[list=1][*]Breaking Water (Moore/Wright) - 2:28 [*]Night of a Thousand Furry Toys (Moore/Wright) - 4:22 [*]Hidden Fear (Gordon/Wright) - 3:28 [*]Runaway (Moore) - 4:00 [*]Unfair Ground (Wright) - 2:21 [*]Satellite (Wright) - 4:06 [*]Woman of Custom (Wright) - 3:44 [*]Interlude (Moore) - 1:16 [*]Black Cloud (Wright) - 3:19 [*]Far from the Harbour Wall (Moore/Wright) - 6:09 [*]Drowning (Wright) - 1:38 [*]Reaching for the Rail (Moore/Wright) - 6:30 [*]Blue Room in Venice (Gordon/Wright) - 2:47 [*]Sweet July (Wright) - 4:13 [*]Along the Shoreline (Moore/Wright) - 4:36 [*]Breakthrough (Moore/Wright) - 4:19 [/LIST=1]