Jimmy Carl Black is way cool... WAY WAY WAY fuckin' cool

from: pasa las nalgas
04:33:11 AM

I always liked that steady ride cymbal style he's really got down, I'd be very curious to ask him a few questions about his drum kits, what he prefers to use, and why. I'm talkin' is that a 20" inch ride cymbal? Who makes it? What's your favorite ride cymbal? Why do you like it? Why does your ride cymbal playing stand out so much, I don't mean the volume, I mean the way the rhythm sounds, its very metered and steady. I LOVE the drumming on FREAK OUT! Side Four is still the BEST! The drumming on that is patented JCB, although I realize there are 2 drummers. JCB's ride cymbal always had a way of drawing my attention even when there was an uncountable amount of drummers. I've heard JCB by himself, and he really lays into the ride cymbal with what I'm talkin' about. Return Of The Son Of Monster Magnet, with its drums, its overdubbed oscillators, and its wonderful gibberish lead vocals by Motorhead Sherwood, is still my favorite GET DOWN Zappa song. Listen to the drums. Does it remind you of anything you've heard recently? Let your ears open up to the beat and rid your head of preconceptions about marketing and demographics and genres. Listen to the drum pattern. Its layered R&B beats, with the trademark snare and kick ripple on every other measure. boom-whack-a boom boom-whack, boom whack a-digga boom whack, repeating exactly like that the whole song. its two loops of the same beat layered together, instead of two samples, its two live drumers, but they are playing the same 2 bar phrase with the rippled kick and snare every other bar that RAP MUSIC and HIP HOP are based on. There is freestyled vocal over the top, with instrumental idioms from a whole collage of styles, including rock and roll, funk, R&B, classical, jazz, blues, and don't forget... CRAZY!!!!! Crazy is the glue that holds it all together, crazy is why it makes sense! I'm not bullshitting. Frank had that whole side charted out on a huge roll of brown paper that he got somewhere, and he talked the record company into springing for $500 to rent a whole shitload of percussion instruments for an after hours session that a bunch of people showed up to check it out and jam on it. Just about everyone except Frank Zappa was on acid, and he was directing the whole piece according to the massive score he had prepared. That session was the "freak out" the album was named for. Certain sections of the most intense rhythm and vocal freak outs were thru the echo, and there are splices from that jam sprinkled thru out the rest of the album, two examples: the ending of Ain't Got No Heart, also the next song, Who Are the Brain Police? The "screaming monkeys in hell" parts. They come in towards the end, kind of an alternate nested rhythm like Zappa was always known for. these were echo beat walls of repeating delays and syncronized electronic mayhem (just like Reaktor makes). These spices from the fina; jam represent the "freak out" theme, which is interwoven thru out the whole 4 sided concept album, the FIRST one in rock music. The Beatles got the idea for Sgt, Pepper from Freak Out. And the beat on Side 4 is the same beat we have dominating the industry today, and its used the same way, too. A big layered beat over which ANY recordable sound is flown, in or out of rhythm and or pitch. This is also called "polyphonic improvisation using indeterminite pitch", with many people playing their thing how they feel it, on percussion instruments, and the central beat is symbolic of the philosophy of the community its being banged out by, and of course it boils down to the POLITICS of SEXUALITY as it pertains to the tribe that is bangin' it out.

I hate to bum everybody out but its an indisputable FACT of musical science, the freak out beat and its evolution thru that album is the storyline of what rock and roll is supposedly about, and here's the amazing part... it is a microcosm of the whole histroy of rock and roll as a recorded artform, by this I mean TECHNICALLY, its not just the social phenomenon of LSD and free love, even better, its the blueprint for where rock music started, (silly love songs) and where it ended up, (electronic sounds from all cultures and planets, mixed on top of a massive jungle beat that never ends...).with uninhibited vocals that sound like people being fucked until they explode into orgasm, which is just the TRIGGER that starts a hypnotic dance rhythm that lasts until dawn (like a rave), and this whole ritual is called a FREAK OUT, its purpose is to liberate its participants on every known or unknown level.

Now, zone in on the syncronized core of this multilayered protoplasmic amoeba, listen to the nucleus, listen to the high frequency treble double time propelling the beat on top, the "propellars" if you like, what do you hear?

Jimmy Carl motherfucking Black, laying that ride cymbal down with that indescribable drive, it comes from the steadiness being applied to the MECHANICS of how its played. I love this! It is spiritually charged music for sure, it better be, but the part that turns me on is its not just spiritual, its not just symbolic, its also PHYSICAL, a specific beat, at a specific density, at a certain accelerating rate over a certain time, for a specific location, to be heard and played by a specific crowd of people, and the whole system is SPECIFIED by the composer on a large leftover roll of industrial paper rescued from the dumpster, and transformed into a magic map for musical performance, then performed live in the studio by a whole shitload of people, listened to by even more people, and it achieved its intended purpose beautifully. It stands now a permanent monument in American musical history, it tells you its message spiritually and technically at the same time, using one encoded micro language to express two macro movements of large forces on the move in the culture it springs from, namely the SEX... and most important of all... the MONEY. The money keep s the sex up and rollin', the rhythm feeds the energy, and the LSD deprograms any footdragging bullshit that tries to alter the course of its changes, instead of being enslaved by outdated traditions, it imposes its own idea of destiny on the powers that be... they try to resist it, they DON'T LIKE change of any kind, that's TOO BAD, whoever has the strongest beat wins, regardless of the politics and religion, the money will call the tune, and the sex will insure that the rhythm is reproduced, stronger with each wave of its physical manifestation, that's the sound of those echoes piling up into a resonated mass that conjures up magnetic pulsations that exceed the limitsof the system that spawned it, hence it must FREAK OUT!, or it will die from a lack of nookie.

I have just given the barebones explanation of the purpose and meaning behind what is commonly, but not always, referred to as "rock and roll", and of course, that purpose and meaning is to get laid.

But its STRICTLY FOR MEDICINAL PURPOSES! Its only the mere'st samplin', just a taste of the ol' pocket knife , from right down there on the tip of the sharp point, where all the real chopping gets done. It tastes nasty at first, like the screaming hhaaaaaaaaahaaaaahh and the science fiction oscillator at the beginning of FREAK OUT, but it becomes an aquired taste... the nasty part ends up being your favorite thing... that's the lifesaving anticipation that gives you the necessary hope to keep plugging away, waiting for the merest sample gives you the spunk to achieve the ever elusive Last Drop of Spunk before the Elvis Hot Air Balloon releases its gas bag of fart vapors over a slow blue flame, sending geysers of pyrotechnical jizzum over the thatched roofs of CHICKENSHIT lamerz in the music biz, trying to STOP people like popeye-x from destrying the known world with dangerous, forbidden rhythms of mass destruction. Then the whole thing starts over from scratch. gey iy? SCRATCH. That's the rap beat thing I've been trying to impart to you. Quit being prejudiced and free your mind, your genitals will follow, the drumbeat doesn't lie!!!

That's why lamerz can't fake the rhythm, no matter how hard they try, they can't STEAL what they can't FEEL, sorry you lilly livered punks, the beat belongs to ME and I'm keeping it. Maybe Jimmy Carl Black will lend you some of his, he's got a lot, but he probably need it to replenish his own tribe, so kindly GET YOUR OWN, or go without. In case any of you lamerz like Taylor or Cox or Cureton were wondering why you can't get laid except by extreme psychos and half wit retards... its your rhythm, or lack thereof. You don't know the FIRST THING about pussy, or any other sweet thing, the problem is you have no feeling in you to give.... all you do is take... and you always come up empty, because you have no genuine love in you. Its entirely your own fault, you know, you chose to be the way you are... but you only ended up cheating yourself because you're the only one left who is still believing that tired old bullshit you've clinged to all these years. You simply refuse to FREAK OUT. You think you're too good for anything that includes everybody else. You only wanna do things that make you look big, instead of everyone else being big instead of you. You will NEVER be noticed the way you want to, why should you? Noticed for what? You don't contribute a goddamn thing to anybody, you only try desperately to stop the beat, or slow it down, so its going dlow enough for you to hop on the bandwagon. If you're gonna hop, you gotta be hip, look in the mirror, you look even stupider than you act. It comes with the territory. Please kill yourself so I do't have to go to the trouble. Thank you.



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