ZAPPA

Talking with Dweezil about Zappa Plays Zappa

By Stephen A. Fish | Friday, November 9, 2007, 05:29 PM

Dweezil Zappa is on the road with “Zappa Plays Zappa,” his way to keep the musical legacy of his father, Frank Zappa, alive. He’ll play Tuesday in Austin (details here), along with Steve Vai, Napoleon Murphy Brock, Terry Bozzio and other musicians. We talked with Zappa about what Austin means to him, his expectations for the Austin show and his experiences playing his father’s music:

American-Statesman: Have you been to Austin?

Zappa: I’ve actually been to Austin several times for several different reasons. I recorded music with Eric Johnson at one point; I’ve been down there to play golf. It’s a great city to visit.

Did anything about Austin stand out to you?

The feel that Austin has to it is like no other. The food, the little river scene; I actually dated a girl whose family owned a boat on the river, and anyone who has had the privilege of going out there is lucky.

What are your expectations about playing ‘Zappa Plays Zappa’ in Austin? I know you guys didn’t play here last year.

Yeah, last year we played Dallas and Houston, and I think the real difference about Austin is that Frank has folklore-related times in Austin. His album “Bongo Furry” was actually recorded in Austin and makes references to the Guacamole Queen. It is also where the term “Good night Austin, wherever you are” was born.

What has been your favorite venue to play and why?

To me, the crowd is the aspect of the show that is always most memorable. One venue we played up in Montreal, the Metropolis, is the most memorable venue I’ve played. The place is set up so the entire crowd can see the stage and for some reason, the sound in there is amplified so that it sounds like twice as many people, and the place seems twice as big.

How difficult has it been to adjust your playing style to suit the needs of Frank’s music?

His music is very sophisticated. He played things on the guitar that were never meant to be played, and I had to sit down for two years to learn his style of playing. I had to make drastic changes in my stylistic approach to accommodate to his playing, especially in the technical sense. I have been playing guitar for 26 years now, and I think that learning his music is something most guitarists would give up on because they are so set in their way of playing. I would play one passage for six or seven hours a day, a passage that would only last a second during a song, and my wife would go crazy hearing me play the same passage over and over and over and over.

Whatever happened to the Hendrix guitar you restored?

I actually have it sitting in a corner in my home.

Do you ever play it?

I do, but not that frequently. I’ve actually considered selling it a few times. It’s a very valuable guitar, and I just know some lunatic with dot-com money would love to have it at the center of their home or studio.

How do you think the younger generation has accepted your father’s music, and in turn, your performance of his music?

I do not think that the younger generation, ages 14-25, has a great deal of exposure to Frank’s music. That is what I am trying to target and expose to a generation unfamiliar with his music. Frank has a quote, from the early ’80s, “Music has become wallpaper for your lifestyle.” Many people live their lives according to the music they listen to, especially younger kids. They are more content with watching their music or getting it for free, which takes away from the artistic integrity and merit of music. Kids these days are used to one-hit wonders, bands that if they have the right tattoos, bounce around and know how to play a 2-4 are becoming radio sensations. Radio music is too formulaic; it doesn’t take chances. And with Frank’s music, I am trying to show a generation of kids music that no one ever thought was possible.