Released a mere two months
after Act I, the double album Joe’s Garage Acts II and III completed
the tragic story of Joe, as told by the Central Scrutinizer. While Act I was mainly harmless fun, Act II is not for the squeamish, and Act III contains some of Zappa’s
angriest and most beautiful work, sitting side by side. Again, the songs were
written before the story, but it’s the unfolding concept that gives this
material its genuine emotional weight, something very few Zappa albums aspire
to.
Of course, it’s all wrapped
up in a silly cautionary tale, still being narrated by the whispering Central
Scrutinizer, voice of a world in which music has been outlawed. When last we
left Joe, he had contracted a venereal disease from a woman named Lucille, and
had fallen in with L. Ron Hoover’s First Church of Appliantology, an obvious
swipe at Scientology. In Act II, Joe
gets deeper into the world of machine sex, finds a willing robot named Sy Borg,
and has very rough sex with him (introducing a new Zappa word, "plook"), to the point where Sy is irreparably damaged.
Joe cannot pay for the robot, and is sent to jail with all the former music
industry executives, who rape him repeatedly.
He is set free at the end of Act II, and in Act III, he wanders the music-less landscape aimlessly, hearing
imaginary guitar solos in his head. He imagines a whole world for himself, one
in which he achieved his dream of music stardom, but in the end realizes that
it’s all an illusion. He imagines one final guitar solo, then puts away his
dreams and takes a job frosting muffins. Though the story ends there, one
imagines that Joe dies unfulfilled, and the possible scofflaws watching the
Central Scrutinizer’s story are sufficiently frightened away from the world of
music.
It’s a bleak story, but the
bright and shiny music that accompanies it is consistently enjoyable. While Act I mainly contented itself with
relatively simple rock songs, Acts II and
III show off the phenomenal skill of Zappa’s late-‘70s band. Drummer Vinnie
Colaiuta in particular shines on complex numbers like “Stick It Out” and “Keep
It Greasey,” and Arthur Barrow’s bass work is impeccable. Zappa saves the
spotlight for himself more often on these two records, particularly on Act III, and uses Joe’s Garage as his final proof of concept for xenochrony – most of
the lengthy guitar solos were lifted from live performances of other songs, and
the new studio tracks constructed around them.
While Joe’s Garage is remarkably cohesive, Act II begins with two tracks that betray the fact that the songs
came first. “A Token of My Extreme” had been around in instrumental form since
1974, and featured often in concerts by the Roxy and Elsewhere band, and “Stick
It Out” hails from as early as 1970, when it was part of the Flo and Eddie
band’s “Sofa” routine. In their new forms, these songs detail Joe’s association
with L. Ron Hoover and his realization that he is a latent appliance fetishist,
coming around to the idea that “sexual gratification can only be achieved
through the use of machines.” This is Zappa’s wry commentary on sex toys,
similar to “Penguin in Bondage,” and his slap across the face to L. Ron
Hubbard.
It could certainly be argued
that the Central Scrutinizer would want to show Joe’s descent into sexual
deviancy in the greatest detail, to dissuade the tender souls watching his
cautionary film. Whether that in-story device excuses the content of Act II is up to the individual listener.
It is the most sexually explicit set of songs in Zappa’s catalog to date,
beginning with “Stick It Out,” a rhythmically complex song in which Joe
propositions a robot named Sy Borg: “Fuck me, you ugly son of a bitch,” “stick
out your hot curly weenie,” “make it go fast, in and out, magical pig, till it
squirts, squirts.” Later he warns Sy not to “get no jizz on that sofa.” (Note
the monologue from “Jewish Princess” near the end, delivered in Sy’s robotic
monotone.)
“Sy Borg” is a nine-minute
slow-jam reggae number that follows Joe and Sy back to Joe’s apartment. “I
never plooked a tiny chrome-plated machine that looks like a magical pig with
marital aids stuck all over it, such as yourself before,” Ike Willis sings, as
ever throwing himself into the character of Joe. “Gimme that blow job,” he
pleads, and later Sy requests he “plook me now, you savage rascal.” The song
treads the line between ridiculous and uncomfortable for its entire running
time. (Special mention should be made of Peter Wolf’s synthesizer solo, which
is terrific.)
At the end of “Sy Borg,” Joe
kills his electronic paramour by “plooking too hard,” and he is taken to jail
with “all the other criminals from the music business” who “take turns snorting
detergent and plooking each other.” “Dong Work for Yuda” is the most
tangentially related of these songs – it purports to give the listener an idea
of prison life, but is really about John Smothers, Zappa’s bodyguard, who had a
distinct pattern of speech. Terry Bozzio mimics it for this song: “This girl
must be pracketing richcraft!” The song makes special mention of John’s “iron
sausage,” which serves not only as a prison rape reference, but a conceptual
continuity clue – the original title of “The Torture Never Stops” was “The
Night of the Iron Sausage.”
“Yuda” is an interlude before
the onslaught of the eight-minute “Keep It Greasey,” which is entirely about the
aforementioned prison rape. “Keep it greasey so it’ll go down easy, roll it
over and grease it down, I’ll drive you through the heart of town…” It’s one of
the most complex pieces on the album, putting Coliauta and Barrow through their
astonishing paces, and showcasing Zappa’s xenochrony technique – the band
improvised on a tricky groove behind a long, previously recorded guitar solo.
That technique is used again on “Outside Now,” the devastating closer to Act II, in which Joe dreams up his first
imaginary guitar solo while waiting for release.
The imaginary solos make up
the bulk of Act III, and they
represent what the world has lost. Even the xenochrony technique adds to this
theme – the solos are literally from the past, even as the band plays around
them. Joe is let out of prison at the start of “He Used to Cut the Grass,” and
spends the entire song walking around “in a semi-catatonic state,” thinking of
guitar notes. Zappa weaves in the voice of the angry neighbor from “Joe’s Garage,”
giving the song its title, and completes the running gag of the Central
Scrutinizer’s loading zone announcements – “The white zone is for loading and
unloading only.” None of this sounds like it would be emotionally affecting,
but it is.
Zappa’s playing is remarkable
here, lyrical in “Grass” and sharp and angry in “Packard Goose,” his 11-minute
riposte to music reviewers. It’s another song that clearly did not originate
with the Joe’s Garage concept, and it
feels shoehorned in, but it allows Joe one last burst of anger. Coliauta and
Barrow are superb here, improvising some insanely complex rhythms behind
Zappa’s solo (taken from a performance of “Easy Meat” from March 1979).
The transcendent moment of
“Packard Goose” arrives with the return of Mary, from Act I. Mary delivers a philosophical monologue that has gone on to
be a Zappa calling card: “Information is not knowledge, knowledge is not
wisdom, wisdom is not truth, truth is not beauty, beauty is not love, love is
not music. Music is the best.”
This leads into “Watermelon
in Easter Hay,” arguably the most beautiful nine minutes Zappa ever committed
to tape. The dream-like instrumental takes the form of Joe’s final imaginary
guitar solo, his last escape from the real world, and Zappa’s tone and playing
have never been more emotional. It’s sad, sure, but it’s also angry, reminding
the listener of what the world would lose, should the dystopia of Joe’s Garage come to pass. The band
keeps things simple (well, as simple as a song in 9/4 could be), and Zappa
soars – “Watermelon” is the album’s only guitar solo played live in the studio.
Zappa himself named it one of his signature pieces (alongside “Black Napkins”
and “Zoot Allures”). It’s a highlight not only of this album, but of Zappa’s
collection.
Unable to let things end on
such a wistful note, Zappa concludes Joe’s
Garage with “A Little Green Rosetta,” a song intended (in much shorter
form) for Lather. The jokey number
follows Joe as he hocks his imaginary guitar and gets a job at the Utility
Muffin Research Kitchen, adorning muffins with green frosting. (“A little green
rosetta, makes a muffin better…”) As the Central Scrutinizer puts down his megaphone,
the closing-credits singalong becomes Zappa’s final admission that all of this
is just a little stupid. In some ways, “A Little Green Rosetta” devalues the
genuine feeling and incisive points made earlier in the record, but Zappa
doesn’t care: “This is a stupid song, and that’s the way I like it,” he sings.
But look past the closing
minutes, and the reliance on sexual imagery (which here more than ever act as a
distraction from the musicianship and the intelligence on display), and Joe’s Garage is a masterpiece. In fact,
even with those things, it stands as one of Zappa’s very best works, containing
everything there is to admire and detest about the man’s music. If new
listeners are ambitious, starting here would offer a fine summation of the
wonder and frustration of being a Zappa fan.
One thing the album
undoubtedly gets right, though: music is the best.
Rating:
Essential.
Which version to buy: The three acts of Joe’s
Garage are not available separately on CD. The 2012 Zappa/Universal double
album collecting Acts I, II and III
is pristine. It’s only a slight improvement over the previous CD versions, but
enough of one.
Next week: Tinseltown Rebellion.