| Title |
Price |
GBP |
Media |
Condition |
Label |
| Uncle Meat |
37.69 |
|
2LP |
Near Mint (NM or M-)/Very Good Plus (VG+) |
Reprise Records 2MS2024 |
| Item Number: 2428182059 2038 |
ex+/nm/nm gatefold 369203
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Tracklist
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| A1 | Uncle Meat: Main Title Theme | 1:54 | | A2 | The Voice Of Cheese | 0:27 | | A3 | Nine Types Of Industrial Pollution | 5:56 | | A4 | Zolar Czakl | 0:57 | | A5 | Dog Breath, In The Year Of The Plague | 5:51 | | A6 | The Legend Of The Golden Arches | 1:24 | | A7 | Louie Louie (At The Royal Albert Hall In London) (Berry) | 2:28 | | A8 | The Dog Breath Variations | 1:36 | | B1 | Sleeping In A Jar | 0:49 | | B2 | Our Bizarre Relationship | 1:05 | | B3 | The Uncle Meat Variations | 4:40 | | B4 | Electric Aunt Jemima | 1:53 | | B5 | Prelude To King Kong | 3:24 | | B6 | God Bless America (Live At The Whisky A Go Go) (Berlin) | 1:22 | | B7 | A Pound For A Brown On The Bus | 1:29 | | B8 | Ian Underwood Whips It Out (Live On Stage In Copenhagen) | 5:08 | | C1 | Mr. Green Genes | 3:10 | | C2 | We Can Shoot You | 1:48 | | C3 | "If We'd All Been Living In California . . . " | 1:29 | | C4 | The Air | 2:57 | | C5 | Project X | 4:47 | | C6 | Cruising For Burgers | 2:19 | | D1 | King Kong Itself (As Played By The Mothers In A Studio) | 0:53 | | D2 | King Kong (Its Magnificence As Interpreted By Dom DeWild) | 1:15 | | D3 | King Kong (As Motorhead Explains It) | 1:44 | | D4 | King Kong (The Gardner Varieties) | 6:17 | | D5 | King Kong (As Played By 3 Deranged Good Humor Trucks) | 0:29 | | D6 | King Kong (Live On A Flat Bed Diesel In The Middle Of A Race Track At A Miami Pop Festival . . . The Underwood Ramifications) | 7:25 |
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Identifiers
Matrix / RunoutSide A [variation 1]: MS - 1 - 2024 WW 1
Matrix / RunoutSide B [variation 1]: MS - 2 - 2024 WW 1 # 2
Matrix / RunoutSide C [variation 1]: MS - 3 - 2024 WW 1
Matrix / RunoutSide D [variation 1]: MS - 4 - 2024 WW 1
Matrix / RunoutSide A [variation 2]: MS-1-2024 WW1 #2
Matrix / RunoutSide B [variation 2]: MS-2-2024 WW1 #3
Matrix / RunoutSide C [variation 2]: MS-3-2024 WW-1 #3
Matrix / RunoutSide D [variation 2]: MS-4-2024 WW-1 #2
Matrix / RunoutWinchester "rifle" etched on all sides: ─◁
Credits
Drums - Billy Mundi, Jimmy Carl Black
Drums, Timpani, Vibraphone, Marimba, Xylophone, Wood Block [Wood Blocks], Bells, Chimes [Small Chimes] - Art Tripp
Electric Bass - Roy Estrada
Electric Organ, Piano, Harpsichord, Celesta [Celeste], Flute, Clarinet, Alto Saxophone, Baritone Saxophone - Ian Underwood
Electric Piano - Don Preston
Engineer - Dick Kunc, Jerry Hansen
Guitar, Vocals, Percussion - Frank Zappa
Piccolo Flute [Piccolo], Flute, Clarinet, Bass Clarinet, Alto Saxophone, Soprano Saxophone, Tenor Saxophone, Bassoon - Bunk Gardner
Producer - Frank Zappa
Tenor Saxophone, Tambourine - Motorhead Sherwood
Vocals - Ray Collins
Notes
Comes in factory Warner/Reprise promotional inner sleeves
Recorded at Apostolic Studios, NYC
October 1967-February 1968
Percussion overdubs at Sunset Sound, LA
March-April, 1968
__________________________________________________
Original liner notes read...
THE MOTHERS at the time of this recording were:
FRANK ZAPPA - guitar, low grade vocals, percussion
RAY COLLINS - swell vocals
JIMMY CARL BLACK - drums, droll humor, poverty
ROY ESTRADA - electric bass, chesseburgers, Pachuco falsetto
DON (Dom De Wild) PRESTON - electric piano, tarot cards, brown rice
BILLY (The Oozer) MUNDI - drums on some pieces before he quit to join RHINOCEROS
BUNK (Sweetpants) GARDNER - piccolo, flute, clarinet, bass clarinet, soprano sax, alto sax, tenor sax, bassoon (all of these electric and/or non-electric depending)
IAN UNDERWOOD - electric organ, piano, harpsichord, celeste, flute, clarinet, alto sax, baritone sax, special assistance, copyist, industrial relations & teen appeal
ARTIE (With the Green Mustache) TRIPP - drums, timpani, vibes, marimba, xylophone, wood blocks, bells, small chimes, cheerful outlook & specific enquiries
EUCLID JAMES (Motorhead/Motorishi) SHERWOOD - pop star, frenetic tenor sax stylings, tambourine, choreography, obstinance & equipment setter-upper when he's not hustling local groupies
The music on this album was recorded over a period of about 5 months from October 1967 to February 1968. Things that sound like a full orchestra were carefully assembled, track by track through a procedure known as over-dubbing. The weird middle section of DOG BREATH(after the line , "Ready to attack") has forty tracks built into it. Things that sound like trumpets are actually clarinets played through an electric device made by Maestro with a setting labeled Oboe D'Amore and sped up a minor third with a V.S.O. (variable speed oscillator). Other perculiar sounds were made on a Kalamazoo electric organ. The only equipment at our disposal for the modification of these
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Note
Images and tracklisting are supplied by a third party and matched by catalogue number or barcode. Tracks on the release may differ from what is being sold.
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| Release Country: US |
| Release Date: 1974 |
Shipping Methods:
Denmark: (please have in mind we don't offer day to day shipping in Denmark):
CDs or 7”s: 1 : €5
CDs or 7”s: 2-4 : €6
CDs or 7”s: 5-18 : €8
LPS: 1 :€7
LPS: 2-6 :€9 - sent as parcel
International/USA/Europe/Australia/Oceania/Canada/Mexico/South America:
CDS or 7”s - first €5 each additional €1 (until the total weight including shipping material reaches 2 kilos - then please ask for a quote)
CDS without jewel case - first €4 each additional €0,50 (until the total weight including shipping material reaches 2 kilos - then please ask for a quote)
LPS First €9 each additional €2 (until the total weight including shipping material reaches 2 kilos - then please ask for a quote)
registered shipping: up to 2kgs €20
Return Policy:
full refund if the buyer is not satisfied
Grading of Items:
we grade our records after the record collector magazine
mint
near mint
ex
vg+
vg
etc
Record Collector's Grading System
MINT: The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.
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EXCELLENT: The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.
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VERY GOOD: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.
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GOOD: The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discoloration, etc.
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FAIR: The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump.
The cover and contents will be torn, stained and/or defaced.
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POOR: The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.
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BAD: The record is unplayable or might even be broken, and is only of use as a collection-filler.
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CDs & CASSETTES: As a general rule, CDs and cassettes either play perfectly - in which case they are in Mint condition - or they don't, in which case their value is minimal. Cassette tape is liable to deteriorate with age, even if it remains unplayed, so care should be taken when buying old tapes. CDs are difficult to grade visually: they can look perfect but actually be faulty, while in other cases they may appear damaged but still play perfectly. Cassette and
CD inlays and booklets should be graded in the same way as record covers and sleeves. In general, the plastic containers for cassettes and CDs can easily be replaced if they are broken or scratched, but card covers and digipaks are subject to the same wear as record sleeves
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