- This lively Zappa pressing boasts two excellent Double Plus (A++) sides – one of the better copies we played in our recent shootout!
- All Analog Tubey Magical sound from 1970, with a spacious, three-dimensional soundstage and a big bottom end
- Clear, high-rez sound, crucial to making sense of this complex music – exceptionally QUIET vinyl too
- “Zappa’s anything-goes approach and the distance between his extremes are what make Weasels Ripped My Flesh ultimately invigorating.”
The sound is big and bold throughout with excellent clarity, presence, and wonderful transparency.
If you’re not already a Zappa fan, be warned that experimental song structures, feedback, dirty lyrics, avant-garde jazz freakouts and gas mask solos (yes, you read that right) all figure into the mix here. I don’t know of anyone other than Frank Zappa who could shape that all into one amazing, fairly cohesive LP.
40 Years and Counting
I’ve been listening to Weasels Ripped My Flesh since I was in high school. It’s still remarkably fresh and original even now. This is not music for the faint of heart. Audiophiles who prefer a steady diet of Patricia Barber and the like will find little of interest here.
But for those of you who want to explore something completely original and a bit “out there,” this should be right up your alley — and if that’s the case, be sure to check out Zappa’s Big Band Masterpiece: Waka Jawaka.
What outstanding sides such as these have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1970
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We’re Listening For on Weasels Ripped My Flesh
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Didja Get Any Onya?
Directly From My Heart To You (R.W. Penniman)
Prelude To The Afternoon Of A Sexually Aroused Gas Mask
Toads Of The Short Forest
Get A Little
The Eric Dolphy Memorial Barbecue
Dwarf Nebula Processional March & Dwarf Nebula
My Guitar Wants To Kill Your Mama
The Orange County Lumber Truck
Weasels Ripped My Flesh
A fascinating collection of mostly instrumental live and studio material recorded by the original Mothers of Invention, complete with horn section, from 1967-1969, Weasels Ripped My Flesh segues unpredictably between arty experimentation and traditional song structures. Without pretension, Zappa blurs the normally sharp line between intellectual concept music and the visceral immediacy of rock and R&B. Zappa’s anything-goes approach and the distance between his extremes are what make Weasels Ripped My Flesh ultimately invigorating; they also even make the closing title track — a minute and a half of squalling feedback, followed by applause — perfectly logical in the album’s context.