8'33 @

Sv

When Hot Rats first dropped onto my sick little teenage record player back in
1969, I planted myself on the floor and sandwiched my head between the two speakers,
expecting yet another masterpiece from Frank Zappa.

But what another masterpiece!

Even by Frank's brilliant standards, Hot Rats is in a class by itself. With its
angular melodies, quick-change rhythms, and eccentric arrangements, Hot Rats basically
invented that peculiar musical genre known as fusion. I think it also remains the finest
jazz-rock album of all time. Everything about Hot Rats, from Sugarcane Harris's
screeching violin to Ian Underwood's exuberant saxes (not to mention Don Van Vliet at
his growly Beefheartiest) continues to amaze me. I've been listening to it for more than
three decades now, and I keep hearing new things in Frank's extended guitar solos, which
play like sneaky little compositions within the bigger pieces. (And does anyone else hear
a wee bit of Stravinsky's Petrouchka in "Willie the Pimp"?)

One little confession: the cover of Love Is Hell, my first cartoon book, was
inspired by the graphic starkness of the Hot Rats cover. I admitted this to Frank and Gail
several years ago, which led to Gail asking me to write this little piece. Gail also asked if
I still had my original beat-up LP copy of Hot Rats, so here it is reproduced in all its
mottled, stained, dog-eared glory, complete with candle-wax drippings.

HOT RATS ... HOT ROOTS ... HOT ZITS ... what another masterpiece!

Matt Groening
Los Angeles
December 21, 2000
 Peaches en Regalia
By Frank zappa

(KJ [[]
Moderately.l = 104
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All compositions contained herein are © 1969 and controlled worldwide by The Zappa Family Trust
8 All Rights Reserved Reprinted by Permission
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13
 Willie the Pimp
By Frank zappa

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 Son of Mr. Green Genes
By Frank zappa

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• Organ arr. for gtr,

42
 Little Umbrellas
By Frank zappa
Dsus2

13411
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Fm7

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x"'-

13121
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r
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&
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1324
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T 321 13111 21333

II
231

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II II 11 11 Ilf'
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....-

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r

T3421
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r
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134111

I!JIntro ~~
SlowJ =68 I]] Main Theme

rrr: rrr: rrr:

Dsus2 Fm7 Dsus2 Fm7 Dsus2 Fm7
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Dsus2 Fm7 Dsus2 Fm7

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sim.
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t 3rd time, play G'

3rd time, To Coda 2
Cmaj9 B~maj7 Cmaj9 Bbrnaj?

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II. \
Dsus2 Fm7 Dsus2 D07 Fm7 B~131F

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Aft
ft on
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.
43
 ~ To Coda 1-$
[[I Secondary Theme
E7$9 Am G6 F6~ Cmaj9 Ill Am G6 F6~ Cmaj9 III

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E F# G A Bb Cadd#11 Dbadd#ll Eb
¢ (> ¢ o e (> e ¢
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ll.I

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J ¢
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44
 The Gumbo Variations
By Frank 2'appa

'AIIntro .J-104
L!!.J Moderately - N.C.(G7)

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 Guitar Notation Legend
D A D E G
Guitar Music can be notated three different ways:on a musicalstaff, in tablature,and in rhythmslashes. ®®3fr
open
RHYTHM SLASHES

appropriate
arewrittenabovethe
staff.Strumchordsin therhythmindicated.
Usethechorddiagrams foundatthetopof
thefirst pageofthetranscription
chordvoicings.Round
forthe
Notes:
n
noteheads indicatesinglenotes. E F
C ~
AB
" JJ..

THEMUSICAL STAffshowspitchesand F ~ u
rhythmsandis dividedbybarlinesinto ltJ
measures. Pitchesarenamedafterthefirst
sevenlettersof thealphabet.
Strings:
E
B
-
:: :::
TABLATURE graphically
guitarfingerboard.
representsthe
EachIlorizontalline
G
~
..- ¥
::.
::;
A
representsa string,andeachnumber E
representsafret. 4thstring,2ndfret 1st & 2ndstnngsopen, openDchord
playedtogether
HALf-STEPBEND:Strikethenoteandbend WHOLE-STEPBEND:Strikethenoteand GRACE NOTEBEND:Strikethenoteandbendupas SLIGHT (MICROTONE) BEND:Strikethe
up1/2step. benduponestep. Thefirstnotedoesnottakeupanylime. noteandbendup 1/4 step.
indicated.
~ I'-

1/2 full If./ 114

BENDANDRELEASE: Strikethenoteand PRE-BEND: Bendthenoteasindicated,

then VIBRATO: ThestringisVibrated
byrapidly WIDEVIBRATO: Thepitchis variedto a greater
bendupasindicated, thenreleasebackto the strikeit. bendingandreleasing thenotewiththe degreebyvibratingwiththefrettinghand.
originalnote.Onlythefirstnoteis struck. frettinghand.
r-r:>: _'l>'l>'l>_~ ~

fun

HAMMER-ON: Strikethefirst (lower)notewith PULL-Off:Placebothfingersonthenotes LEGATO SUDE:Strikethefirst noteand SHIfTSLIDE:Sameaslegatoslide.except

one!inger,thensoundthehighernote(onthe to besounded.Strikethefirst noteand thenslidethesamefret-handfingerupor thesecondnoteis struck.
samestring)withanotherfingerbyfrettingit withoutpicking,pUllthefingeroffto sound downto thesecondnote.Thesecondnote
withoutpicking. thesecond(lower)note. is notstruck.
~ ~

TRILL:Veryrapidlyalternatebetween
the TAPPING: Hammer("tap")thefretindicated NATURAL HARMONIC: Strikethenotewhile PINCHHARMONIC: Thenoteisfretted
notesindicatedbycontinuouslyhammering withthepick-hand indexor middlefingerand thefret'handlightlytouchesthestring normallyanda harmonicis producedbyadding
onandpullingoff. pulloffto thenotefrettedbythefrethand. directlyoverthefretindicated. theedgeofthethumbor thetip oftheindex
frfl----- fingerofthepickhandto thenormalpickattaCk.
~

P.H.
T

PICKSCRAPE: Theedgeof thepickis MUffLEDSTRINGS: Apercussive

soundis PALMMUTING: Thenoteis partiallymuted RAKE:Dragthepickacrossthestrings
rubbeddown(or up)thestring,producing produced bylayingthefrethandacrossthe bythepickhandIIghtlytouchingthe indicated
witha singlemotion.
a scratchysound. string(s)withoutdepressing,
andstrikingthem string(s}justbeforethebridge.
withthepickhand.

P.M. • __• ,

TREMOLO PICKING:Thenoteis pickedas VIBRATO BARDIVEANDRETURN: The VIBRATO BARSCOOP: Depressthebarjust VIBRATO BARDIP:Strikethenoteandthen
rapidlyandcontinuously
aspossible. pitchofthenoteorchordisdropped a beforestrikingthenote,thenquickly immediatelydropa specified
numberof
specifiednumberofsteps(inrhythm)then release
thebar. steps,thenrelease
backtotheoriginalpitch.
returnedto theoriginalpitch. ·112 ·1/2
V V

w/bar ~~ .;.

72 ·1