It's that time again, folks. Zappa's 1984 tour was, without a shadow of a doubt, his most controversial ever. With the combination of an abundance of
Thing-Fish material, ludicrous rearrangements of his revered classics, Zappa's first use of percussive samples on the road and a band that (to put it mildly) knew how to rock out, this group consistently managed to pull off sounding funny, demented and energetic all at the same time.
Which one is most important, and whether that is a good or a bad thing, has been debated by Zappa fans for the past 30 years, and it's rare to find someone who doesn't either love or hate this tour. Whatever your opinion of it, it's definitely not one that is quickly forgotten.
Meet the bandRay White (vocals, guitar)
A veteran of Zappa's touring ensemble, this would be Ray's last year on the road with Frank. He definitely goes out with a bang; apart from reprising his well-established lead vocal part in songs like City of Tiny Lights and Advance Romance, he is a vital part of this band's vocal harmonies (one of its biggest strengths), as well as more than filling Napoleon's shoes in late-tour renditions of The Evil Prince.
Chad Wackerman (drums)
The straight member of the group. Chad was, is, and would continue to be the rock underpinning most of Frank's studio and live work in the '80s, and his is the first year in which he gets a regular solo spot. It is also the first year in which he has pads rather than real drums at his disposal, resulting in some of the most bizarre-sounding drum solos you'll ever hear, including weird dissonant chiming noises and fake handclaps.
Scott Thunes (bass)
The other half of Frank's steady rhythm section, Scott also contributes to this tour with his eccentric sense of humour. He would occasionally yell something half-intelligible into Ike or Ray's microphone, and generally give audiences humorous antics on stage to accompany the music -- incredible, when you consider that he keeps a steady bass line going the entire time.
Alan Zavod (keyboards)
Alan is an Australian pianist, and this would be his only tour with Frank. He is best known in Zappa circles for his "volcano" keyboard solos, so called because he would give the exact same style of performance every night for this five-month tour, in a very dramatic style that his bandmates likened to a volcano erupting. While impressive and awe-inspiring to audiences, these performances would have been very repetitive to the band members he toured with.
Bobby Martin (keyboards, alto saxophone, vocals)
Back on the road after his distinguished success with Frank in 1982, Bobby frequently takes on the falsetto part of this band's exceptional vocal harmonies, and does a magnificent job of such. His instrumental duties this time around are largely accompaniment only, but when he gets his chance to shine with a lead vocal here or there, he makes the best of it.
Ike Willis (vocals, guitar, kazoo, tambourine)
Ike has returned since disappearing at the end of 1980, and is stronger than ever. A key part of this band's vocal harmonies, he is also one of the biggest contributors to its humour, its other biggest strength. He would frequently interject at seemingly arbitrary moments with secret words and other assorted insanity, creating an interesting deviation in even the most frequently performed songs from time to time.
Napoleon Murphy Brock (vocals, tenor saxophone)
Napoleon was only with this band for the first two weeks, but in those two weeks, they had (in this reporter's opinion) the best vocal harmonies of any Zappa band ever. Put Ray, Bobby, Ike, Napoleon and Frank all together in the one band, and you have a recipe for pure, unadulterated vocal supremacy. This is the sort of band He's So Gay was written for, a band that makes Carol You Fool seem to meld together into one quintitimbral masterpiece. Those two weeks aren't this band's high point, as they are still finding their sweet spot, but they do offer a special something that no other Zappa band ever has.
Frank Zappa (conducting, guitar, vocals)
The one and only. This tour, Frank's sense of humour has overtaken his guitar playing -- he does crank out the occasional masterpiece on guitar, but for the most part, his playing isn't up to his usual standard. He makes up for it with secret words and silly arrangements in abundance. This isn't Frank at his best, but it is Frank at his funniest.
See you tomorrow for the first show.