Frank Zappa & The Mothers of Invention - Burnt Weeny Sandwich
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Artist: Frank Zappa & The Mothers of InventionBrand: ZAPPA,FRANK
Edition: Music CD
Format: Original recording remastered
CD Release Date: 1995-05-02
Music Label: Zappa Records
Soundtracks:
- WPLJ
- Igor's Boogie, Phase One
- Overture to a Holiday in Berlin
- Theme from Burnt Weeny Sandwich
- Igor's Boogie, Phase Two
- Holiday in Berlin, Full Blown
- Aybe Sea
- Little House I Used to Live In
- Valarie
Free Music Notes for Burnt Weeny Sandwich
Free Music Review: A favorite meal
Hit: 5 Stars
I've been a Zappa fan for a very long time. I've owned Burnt Weeny Sandwich (on LP) for a long time. The odd thing is that I didn't figure out until just recently that Burnt Weeny Sandwich is one of my favorite Zappa albums. I think that part of the problem is that I didn't really understand the album when I was a kid--although I certainly didn't dislike it. It was one of the last ones I picked up on CD, so that after not really hearing it for years, I mostly heard a song at a time in isolation with the disc in my CD changers on random shuffle.
But as someone else mentioned, this is really a concept album of sorts, and needs to be listened to in its entirety to "get it". It's an odd concept, because it's not linked by lyrics or music so much as it is by a structural meta-concept--that of a sandwich. The first and last tracks, two pseudo-doo-wop songs, serve as the bread. All the songs up to "Little House I Used to Live In" are the toppings, condiments, and so on, and "Little House I Used to Live In" is the meat . . . well, er, the big burnt weeny. What's remarkable is that the basic tracks consisted of Mothers of Invention "outtakes", but Zappa, being a skilled Dadaist/collagist, could turn "outtakes" into beautiful, cohesive, seemingly composed from scratch works faster than you can say "Max Ernst". At any rate, let's look at the tracks.
Track 1: "WPLJ" 5/5
This has been performed live on a number of occasions--it appears on the Does Humor Belong in Music? disc, for example--but without a doubt, this is my favorite version of the song. Zappa achieves an appropriate 1950s-sounding production, including the female backup singers, and the music has a great, grooving looseness, including the horns. Roy Estrada's falsetto makes it even better, as does the Cheech-Marin sounding chicano dialogue over the end.
Track 2: "Igor's Boogie, Phase One" 5/5
No one, not even Zappa, loves/loved Stravinsky more than I do, plus I love Zappa just as much, so this "L'Histoire du Soldat" tribute/spoof works brilliantly for me.
Track 3: "Overture to a Holiday in Berlin" 5/5
. . . and it leads beautifully to this severely bent-intonation wonder. God I love that brief sax solo. And the outtro melody is gorgeous and orchestrated gorgeously.
Track 4: "Theme from Burnt Weeny Sandwich" 5/5
It begins as a guitar solo track, but with an extension of the orchestration from the previous track creating multiple layers underneath. It segues to some tape-speed manipulation percussion, ala that heard accompanying the Bruce Bickford animation in Baby Snakes. There it piqued your interest, but here it grows perfectly, organically out of the composition until it consumes everything in its path. Something like a melodic Tony Williams-on-a-ton-of-acid-and-speed drum solo.
Track 5: "Igor's Boogie, Phase Two" 5/5
The bookend (within a larger bookended work) that matches Track 2. Shorter, but just as good, and not just because of the added honking, although that rocks.
Track 6: "Holiday in Berlin, Full Blown" 5/5
Later used again on 200 Motels. Here it's a bit like "Peaches en Regalia's" mellow cousin. Gorgeous melodies, wondrous orchestration, and an amazing soprano sax solo leading to more tape-speed manipulation percussion. It ties a lot of the elements of tracks 2 through 5 together very nicely, then moves to one of Zappa's more lyrical extended solos.
Track 7: "Aybe Sea" 5/5
Speaking of lyrical guitar work, this is a mostly delicate, almost kinda traditional classical piece for guitars, keyboards and a bit of percussion. Of course, there's lots of twentieth century stuff in there, too, and in a surprising change for this album, the piano solo that closes it gets pretty quiet, sparse, and not so surprisingly, increasingly "outside", as it segues to--
Track 8: "Little House I Used to Live in" 5/5
In a very smooth transition, the continuing solo piano is suddenly more jazzy--kind of a cross between Gershwin and Copland's (underrated) piano pieces. It's contemplative and moving. Then the whole band joins in a Zappa-ish fusion groove. After the drum break, there's a great 11/8 groove that turns into some wicked carousel orchestration. Then more complex, fusiony, uptempo 3/4 stuff becomes some extremely skilled interplay between Zappa and his drummer (probably Art Tripp) before the extended, burning and soulful Don "Sugarcane" Harris violin solo, interpolated by a typically odd Don Preston piano solo. There is a couple of short, interesting "stomping" vamps to listen for here--one halfway between 3/4 and 5/8, one halfway between 4/4 and 7/8. I love those kinds of "in-between" grooves. It's difficult to say how intentional they were here, but they work. The end of this track becomes composed 20th Century classical again. The transition between a melancholic hurdy-gurdy block chord structure and a spastic carnival-gone-haywire groove is primo. Although the ending pretty much remains in 4/4, there is a lot of creative rhythmic and playing-with-tempo stuff between the keyboards and drums. After the track is over, we get the Zappa's infamous quote, "Everybody in this room is wearing a uniform, and don't kid yourself".
Track 9: "Valarie" 5/5
This is the bottom piece of bread, the second pseudo doo-wop song. It has an appropriate and enjoyable lazy, sloppy--maybe even "skanky"--groove, enhanced by the guitar fluttering through Leslie speakers. Especially with the vocals, it sometimes sounds like we're trudging through molasses. In other words, holy cow we're pleasantly stuffed after eating all of that Burnt Weeny Sandwich!
Burnt Weeny Sandwich Poster
Limited Edition Japanese pressing of this 1970 album comes housed in a miniature LP sleeve. Columbia. 2008.Alternative Rock Music CDs
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