Friday Mix: Tweezer Glint – Part One

Approximately a month ago, Barry, our intrepid webmaster, passed on several suggestions for future KUR Mixtapes for me to consider. One such suggestion, from LRonHoover, was to compile concert versions of studio-ized solos. Quite the challenge, I thought, given Frank Zappa’s penchant for using live concert material in the majority of his albums (for instance, Joe’s Garage alone is made up almost entirely of tracks culled from live shows).

So, I spent most of April, and the first week of May, cross-referencing Zappa’s studio albums with my own collection of field recordings and bootlegs. The result is a four part compilation, starting today, entitled “Friday Mix: Tweezer Glint (Studio-ized Concert Versions) Part I“.

Parts Two, Three, and Four will each be posted on consecutive Fridays this May 15th, 22nd, and 29th, respectively.

Click here to listen to the mixtape.

12 Responses to “Friday Mix: Tweezer Glint – Part One”

  1. Barry's Imaginary Publisher says:

    Great job Urb! I know you put a LOT of work into this. :)

  2. Roland says:

    So this is the first Friday in a row of four, where we can say: Thank God it´s Friday! ;-)

  3. Thinman says:

    Now this is really something interesting. I enjoy this very much.
    Especially the ZINY tracks without all the overdubs and editing.

    Thanks for the phenomenal work!

    Th.

  4. Harry Barris says:

    Very nice selection! Seems to consist mostly of Halloween and winter time shows for this mix.

    On a mostly unrelated note, the website below has just posted this superb FM-quality Jean-Luc Ponty concert from 1976, with a band consisting of Tom Fowler on bass, Alan Zavod on keys, Darryl Stuermer on guitar and Mark Craney on drums (his first international tour, and playing incredibly well at 23)! I wasn’t familiar with this show, but it seems to have been around for awhile. This is definitely Ponty at his live peak, imo, with a writing and playing style that was greatly influenced by his two previous employers, FZ and John Mac. This performance has the jazzy odd-time complexities of ’73 Zappa along with the heavier Maha Orch attack; with a young american band eager to jam full-on.

    http://bigozine2.com/roio/?p=195

  5. Harry Barris says:

    (oops, Alan Zavod is Australian. My apologies to Aussies.)

  6. LRonHoover says:

    dude you the best!! thanks for the honorable mention, and much much more thanks for all the hard work you did in assembling this, the idea took me about 8.3 seconds to cough up, much less than what went into putting this together. cheers yo!

  7. Thinman says:

    The biggest surprise is the prominence of Eddie’s violin on The Black Page #1!

    Th.

  8. Stompanato says:

    Hey, I know!

    Why don’t Barry and Urbangraffito
    get together and create a KUR video
    podcast??? Some mikes, some cheap
    video cams, Skype…who knows?

    Then we can see and hear exactly
    what the MAIN ZAPPA FANS ON EARTH
    look and sound like.

    Awesome!!! You guys are AWESOME!!!

  9. Bálint says:

    Harry Barris – thanks for the Ponty links! I listen to those for days now. Great music, great solos, fine arrangements and great energy. Now I tend to be interested in Ponty’s works… And: TOM FOWLER is just fantastic on it, too!

    Thanks again!!!

    BTW: Allan Zavod sounds really good here as well, one might say that even better then in ’84… Who knows?… I really like his accompaniments and solos here, and his electric sound.

  10. xorg says:

    Thanks Mr Urbang!

    I was wondering what the difference is between a field recording and a bootleg…

  11. urbangraffito says:

    A quote from xorg:

    Thanks Mr Urbang!

    I was wondering what the difference is between a field recording and a bootleg…

    Some would say there is no difference, Xorg. Yet, after collecting them for many years, and learning the history of many of the individual recordings (how some soundboards came to be in the hands of Zappa collectors), I have personally divided the recordings into two groupings: 1) bootlegs, which were usually sold and distributed for profit at the artist’s expense, and 2) field recordings, those recordings which were largely traded and shared freely between collectors (first by snail mail, then by torrent). Am I simply splitting hairs? Perhaps. I still believe the free exchange of field recordings between collectors (via sites like Zappateers) are the best way to stop bootleggers. And, above all, buy all official releases.

  12. metafunj says:

    yay i finally get to hear all of Coneheads!!! Thank you!!!

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