Have you noticed that some tribute bands are actually out-drawing the artists they’re paying tribute to? Funny world, huh? Nevertheless, the glut of tributes continue to invade casinos, county fairs, and arenas at an alarming rate. While some merely go through the motions, playing the songs as close to the originals as possible; others go to extremes, replicating an artist’s live show, right down to the costumes and props. This is especially true in the case of bands that stage Pink Floyd and Genesis tributes. But perhaps the most loving tribute of all is Zappa Plays Zappa, led by Frank Zappa’s son Dweezil. Tackling the music of Frank Zappa is indeed no small task, but Dweezil and his band have done an outstanding job recreating the complexities, nuances and musicianship with surefire conviction and tons of heart. Return Of The Son O… takes
one step further down the long, scraggily road and pulls out a plum or two in the process.
In a recent interview with Dweezil Zappa, the guitarist explained that the driving impetus of this live album is the guitar. No wonder he starts the set off with “The Deathless Horsie” from 1981’s Shut Up ‘n Play Yer Guitar Some More. The rest of Zappa Plays Zappa — drummer Joe Travers, multi-instrumentalist Scheila Gonzales, bassist Pete Griffin, guitarist Jamie Kime, percussionist Billy Hulting, vocalist Ben Thomas, keyboardist Aaron Arntz, and special guest vocalist Ray White (who played with Frank Zappa in the 70s and 80s) — quickly fall in and fill the gaps where and when the music requires it, which is practically always. Who couldn’t be swayed by “Magic Fingers” and slightly amused, yet swept up by the undercurrent of “Broken Hearts Are For Assholes.” Indeed, these and the two-disc set’s other tunes are realized in their most infinite, pristine state.
The musicianship of each player convalesces to a blinding shine on “King Kong,” from 1969’s Uncle Meat. “Montana,” “Inca Road” and “Dirty Love,” frequent residents on the Zappa Plays Zappa set, list roll off the line as if Frank himself was leading the charge. The take of “Zomby Woof” would certainly make the master proud. The centerpiece, however, may well be “Billy The Mountain,” an extended mini-opera overflowing with irreverent humor, inside jokes, commentary and instrumental mayhem. Its’ been said Zappa and the Mothers never realized this piece to its full fruition. But like everything else on Return Of The Son Of…, Zappa Plays Zappa takes the intricate arrangements and full-blown execution to an entirely different level. As a whole, this set deserves a place of honor next to other distinguished Zappa titles. Time to expand…
~ Shawn Perry
