Notes & Comments - You Can't Do That On Stage Anymore vol 5

July 1992, 141:11 min

You Can't Do That On Stage Anymore vol 5
  1. The Downtown Talent Scout (4:01)
  2. Charles Ives (4:38)
  3. Here Lies Love (Martin/Dobard) (2:45)
  4. Piano/Drum Duet (1:57)
  5. Mozart Ballet - Piano Sonata in B flat (Mozart) (4:05)
  6. Chocolate Halvah (Zappa/George/Estrada) (3:25)
  7. JCB & Kansas On The Bus #1 (Kanzus/Black/Kunc/Barber) (1:04)
  8. Run Home Slow: Main Title Theme (1:17)
  9. The Little March (1:21)
 10. Right There (Zappa/Estrada) (5:07)
 11. Where Is Johnny Velvet? (0:52)
 12. Return Of The Hunch-Back Duke (1:44)
 13. Trouble Every Day (4:07)
 14. Proto-Minimalism (1:40)
 15. JCB & Kansas On The Bus #2 (Kanzus/Black/Kunc/Barber) (1:11)
 16. My Head? (Mothers Of Invention) (1:22)
 17. Meow (1:24)
 18. Baked-Bean Boogie (3:27)
 19. Where's Our Equipment? (2:29)
 20. F.Z./JCB Drum Duet (4:27)
 21. No Waiting For The Peanuts To Dissolve (4:45)
 22. A Game Of Cards (Zappa/Sherwood/Tripp/Underwood) (0:46)
 23. Underground Freak-Out Music (3:52)
 24. German Lunch (Mothers Of Invention) (6:43)
 25. My Guitar Wants To Kill Your Mama (2:12)
 26. Easy Meat (7:39)
 27. The Dead Girls Of London (Zappa/Shankar) (2:29)
 28. Shall We Take Ourselves Seriously? (1:45)
 29. What's New In Baltimore? (5:04)
 30. Moggio (2:29)
 31. Dancin' Fool (3:13)
 32. RDNZL (7:59)
 33. Advance Romance (7:01)
 34. City Of Tiny Lites (10:38)
 35. A Pound For A Brown (On The Bus) (8:39)
 36. Doreen (1:59)
 37. The Black Page #2 (9:57)
 38. Geneva Farewell (1:38)

General note to disc two: Bolzano, an Italian town, is mispelled in the
booklet (it says "Balzano").


14. Proto-Minimalism
    Tan Mitsugu wrote:

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      From: a930m14m@eds.ecip.nagoya-u.ac.jp (Tan Mitsugu)
      Date: 17 Jul 1995

        Dave Samuels should be added to the personnel. In 'You Call
      That Music' on Vol.4, he is credited as 'guest vibe player'.
      However, you can assume the other possiblity that FZ played vibes
      on this tune. I think Dave is more likely.
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19. Where's Our Equipment?
    Tan Mitsugu wrote:

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      From: a930m14m@eds.ecip.nagoya-u.ac.jp (Tan Mitsugu)
      Date: 17 Jul 1995

        I guess it is from the same concert as 'Ian Underwood Whips It
      Out' on Uncle Meat. Then, the unknown record engineer can be
      suspected as 'Mike' (see UM liner notes). (All above is guess
      work. Who confirms it?).
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24. German Lunch
    Bootleg(s) in which this version has appeared:
    "Remington Electric Razor" (LP).
    In this bootleg "My name is Fritz" is an excerpt from GL.

25. My Guitar Wants To Kill Your Mama
    Bootleg(s) in which this version has appeared:
    "Vitamin Deficiency" (2 LP).

28. Shall We Take Ourselves Seriously?
    Here is the true story of this song:

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      From: berger@uran.informatik.uni-bonn.de (Carl Berger)
      Date: 28 Jun 1994 13:15:08 GMT

      This is the story of "Shall we take ourselve seriously ?" It
      happened at the show in K/"oln, 21st of May 1982. (The same show
      where "When no one was no one" and "But who was Fulcanelli" from
      the Guitar album were recorded).

      This is the preamble to the song by Frank Zappa on that night.

      	"Ok Ladies and Gentlemen, this is something special. Come up
      to the microphone, Peter" (A guy walks onto the stage and
      transtalted that stuff into german) "The last time we played here
      in Cologne, something happened after the show that was
      unbelievable. As you know, there is a company here in the
      fatherland, that promotes concerts all over the place. And the
      man, who runs this company, his name is Fritz Rau. We have know
      Fritz for a long time.  But the last time we played here, he put
      on a performance, that was incredible. If you can imagine, grown
      man, sitting in the box office at 3 o'clock in the morning,
      argueing, because the roadies got to eat asparagus. Now, this was
      so amazing, that I had to write a song about it. Tonight, Peter
      is going to play the featured role of Fritz Rau. Now give'em the
      first part of Fritz's big speech."
      	
      	Peter now gave the audience an imitation of Rau's german
      dialect. Pretty funny that was. I transcriped that from a tape
      recorded that night. I was 14 years old, standing first row. One
      of my first concerst (after Genesis and Supertramp :) The other
      guy mentioned in the song, Mike Scheller, is a concert promoter
      as well.
	
      Carl
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    Part of the May 21, 1982 show (including the premiere recordings
    of SWTOS) is available in the "Volare" bootleg.

    In his "The Poodle Bites! or Repudiating The Poodle"
    (http://psy.ucsd.edu/~scott/keneally17.html#notes) Mike
    Keneally give as further details on this song:

      [...] the song is about German promoter Fritz Rau's
      contention that asparagus should not be offered to just
      anyone backstage, causing him to throw some sort of
      unseemly fit, which Frank of course immortalized in song.
      [...] [the line] "shall we weep in the box-office dawn"
      [...] and the falsetto passage that follows is a quote from
      the Frankie Valli/Four Seasons song "Dawn"; the line is
      "Dawn, go away, I'm no good for you". Get it?

33. Advance Romance
    The guitar solo is a different edit of "Jim & Tammy's Upper
    Room" from "Guitar". The date for J&TUR was corrected in the
    YCDTOSA 2 booklet, so at the end we have: June 31, 1982,
    Bordeaux, France. However the booklet of this volume does not
    mention this location for any track for the '82 disc two.
    Questions, questions, questions ...

37. The Black Page #2
    The last part of the solo (from 6:09) has been released also
    as "Which One Is It?" on the "Guitar" album. Pat Buzby observes
    that presumably the entire track comes from Munich since this
    is the location for "Which One Is It?" according to the "Guitar"
    liner notes.
    
    And a CC clue from Alek:
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      From: alek@best.com (DownerMan)
      Date: 19 Sep 1995
        
        Preamble: did I RTFFAQ?  No.
        
        At 2:51 into the tune, in the right channel, begins the
        distinctive (one might say monotonous) riff from Ya Hozna, and
        it continues pretty much throughout the rest of the song.
        
        [snip]
        
        Mmmm... minutiae...
        
        Alek
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