I picked this up a couple years ago when it was treed on the TUF list.
It's one of the most interesting FZ shows I've ever heard and it's almost
a unique recording, only one other of this band out there.
Everybody should get this one while they can.
Here's the text that came with mine:
I am not offering a "remastered" miracle here. You'll get
this show as is. It is not the prettiest recording (see John Naurin's notes
below) but it is almost complete (a couple small cuts) unlike the old LP
boot "Frank Zappa & Hot Rats At The
Olympic". It is also a very rare recording. There are only 2 known
recordings of this band. This and 02-28-70 San Diego. And this is the better
Here are the details from John Naurin's excellent site.
==Hot Rats line-up, March 1970 ==
FZ, Max Bennett, Aynsley Dunbar, Sugarcane Harris, Ian Underwood
7-Mar 1970, Olympic Auditorium, Los Angeles, CA
71 min, Aud, B+
Sharleena, Twinkle Tits, Interlude, Directly From My Heart To You, Chunga's
Revenge, Willie The Pimp
Some more reading material to entice you. Note that his times differ from
mine. Mine are track times from the disc.
>From the "We're Only In It For The Touring" website:
Los Angeles, 3/7
SHARLEENA (9:31)- This premiere performance of this eventual guitar solo
classic appears essentially as it would on "Lost Episodes". This version, or
at least this recording of this version, has a harder guitar edge, but
nevertheless bounces along at the same frantic pace. Harris and Frank both
take solos, with Frank contributing some heavy rhythm support during Harris'
violin workout and during a short full-band jam in the midst of these solos.
Harris takes the longer of the two solos, though Frank's wah-wah tinged
effort still satisfies. This is a worthy performance, and just as enjoyable
as the revelatory "lost episode".
TWINKLE TITS/INTERLUDE (9:57)- This one-time only performance- a waltz!-
resembles a light-hearted version of "Little House I Used To Live In". While
actual pieces of "Little House" are found in this extended instrumental, new
pieces of music are found in the opening theme. After the short intro, Frank
takes a one minute solo, after which the song begins toying with the
borrowed themes as noted above. Approximately two and a half minutes into
the song, we enter the solo zone, with Harris, Underwood, and the rhythm
section getting an opportunity to display their chops. Again, Frank's rhythm
work is awesome throughout (this is the great fault of FZ shows from the
mid-70's on-> no Frank playing rhythm). Frank eventually takes a second
solo, during which there is an interesting cut in the tape. At 7:29 into the
song, the tape edits out of the solo into a composed piece of music known as
"Interlude", previously performed by the '60's Mothers. This tune is
reminiscent of "Little House" but is an entirely new piece of music. After
the cut, the remaining portion of this track consists of "Interlude",
without returning to the "Twinkle Tits" theme. While these are definitely
two different tracks, it is possible that they were joined together here as
a medley. [David Lynch, who helped with info on this track, writes: "The
coda was performed by the '69 Mothers under the title "Interlude". I have
two separate '69 recordings of this piece, which is more or less complete on
the Hot Rats recording. That having been said, they may still have been
performed together during this concert, as the Hot Rats were wont to run
together tunes in medleys, and Zappa mentions the Hot Rats band knowing
"three tunes, maybe five" at the beginning of this concert."]
DIRECTLY FROM MY HEART TO YOU (5:40)- Without a doubt, the greatest cover
song Frank ever performed. There is honest emotion in this piece (a Frank
rarity!), thanks to some impassioned playing and singing by the
why-couldn't-he-have-stayed-around-longer Harris. This is essentially
performed as on "Weasels Ripped My Flesh", with an intensity that only comes
with performing live. Excellent.
CHUNGA'S REVENGE (24:12)- In seven days, Frank took a mangled piece of music
known as "Bolero in G" and transformed it into the instrumental powerhouse
known as "Chunga's Revenge". This performance is as powerful as always, with
the strong opening theme, followed by a series of equally strong solos.
Frank extends this early performance beyond its solo-vehicle expectancy, and
churns out some thoroughly exciting and spine- tingling music. The first
series of solos runs about 13 minutes, containing an Underwood saxophone
solo, a Harris keyboard solo, and a jazzy, melodical Frank solo. These solos
are all great, and made even more so by Bennet's ever-shifting bass lines,
and Dunbar's thunderous drumming. After the obligatory drum solo, Bennet
returns to the "Chunga's" theme with a slow, death march take on the main
riff. Frank abruptly enters the scene, with a full-blown psychedelic
mangling of the theme. The bass player continues with his methodical
plodding, leading the jam with a slow, walking bass line, gradually building
in intensity thanks to the impetus of Frank's rhythm. Over this, Harris
whips out the violin solo of his life, producing musical blasphemy for four
exhausting minutes. The sounds Sugarcane wrangles out of his violin must be
heard to be believed. The whole band eventually coalesces back into one,
before Frank takes off for yet another solo, exploring the stratosphere for
three more minutes. Finally, 24 minutes after the insanity began, the music
stops, and everyone scrambles to find their minds. Heaven.
WILLIE THE PIMP- Unfortunately, my tape of the 3/7 show does not contain
this song; thus, Charles Ulrich will describe this for you-> "My copy of
3/7/70 has "Willie The Pimp" after "Chunga's Revenge". There is no edit
between the songs. FZ introduces the song as "Willie The Pimp", regrets that
Beefheart isn't there to sing it, and recites some of the lyrics. Sugar Cane
Harris plays violin on it. There's a guitar solo, an organ solo, a bass
solo, then an edit to the ending. The whole thing is about twelve minutes
long (plus whatever has been edited out, of course)." David Lynch adds: "I
have a tape of the March 7 show that DOES include Willie the Pimp. It's an
instrumental run-through of the tune, comparable in quality to the rest of
the recordings of this band, that lasts 11 and a half minutes- after the
opening theme, Frank lets loose with a 2 1/2 minute solo, followed by a 2
minute 21 second violin solo, followed by a three minute keyboard solo,
followed by a bass solo that lasts for 1 minute 21 seconds before there's a
splice to the closing theme. The "Willie the Pimp" vamp is heard prominently
throughout the performance."