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When Hot Rats first dropped onto my sick little teenage record player back in1969, 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 itsangular melodies, quick-change rhythms, and eccentric arrangements, Hot Rats basicallyinvented that peculiar musical genre known as fusion. I think it also remains the finestjazz-rock album of all time. Everything about Hot Rats, from Sugarcane Harris'sscreeching violin to Ian Underwood's exuberant saxes (not to mention Don Van Vliet athis growly Beefheartiest) continues to amaze me. I've been listening to it for more thanthree decades now, and I keep hearing new things in Frank's extended guitar solos, whichplay like sneaky little compositions within the bigger pieces. (And does anyone else heara wee bit of Stravinsky's Petrouchka in "Willie the Pimp"?)

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

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

Matt GroeningLos AngelesDecember 21, 2000

Peaches en RegaliaBy Frank zappa

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8All compositions contained herein are © 1969 and controlled worldwide by The Zappa Family Trust

All Rights Reserved Reprinted by Permission

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Willie the PimpBy Frank zappa

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42

Little UmbrellasBy Frank zappa

Dsus2 Fm7 D07 Cmaj9 B~maj7 B~131F E7#9 Am G6x"'- 114

& .7& tlr fr .6fr.6f'

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HALf-STEPBEND:Strikethenoteandbendup1/2step.

TABLATUREgraphicallyrepresentstheguitarfingerboard.EachIlorizontallinerepresentsastring,andeachnumberrepresentsafret.

THEMUSICALSTAffshowspitchesandrhythmsandisdividedbybarlinesintomeasures.Pitchesarenamedafterthefirstsevenlettersof thealphabet.

Guitar Notation LegendD A

Guitar Music can be notated three different ways:on a musicalstaff, in tablature,and in rhythmslashes.

RHYTHMSLASHESarewrittenabovethestaff.Strumchordsintherhythmindicated.Usethechorddiagramsfoundatthetopofthefirstpageofthetranscriptionfortheappropriatechordvoicings.Roundnoteheadsindicatesinglenotes.

1/2 full If./ 114

BENDANDRELEASE:Strikethenoteandbendupasindicated,thenreleasebackto theoriginalnote.Onlythefirstnoteisstruck.

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PRE-BEND:Bendthenoteasindicated,thenstrikeit.

VIBRATO:ThestringisVibratedbyrapidlybendingandreleasingthenotewiththefrettinghand.

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WIDEVIBRATO:Thepitchisvariedto agreaterdegreebyvibratingwiththefrettinghand.

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HAMMER-ON:Strikethefirst (lower)notewithone!inger,thensoundthehighernote(onthesamestring)withanotherfingerbyfrettingitwithoutpicking.~

PULL-Off:Placebothfingersonthenotesto besounded.Strikethefirstnoteandwithoutpicking,pUllthefingeroffto soundthesecond(lower)note.~

LEGATOSUDE:Strikethefirstnoteandthenslidethesamefret-handfingerupordownto thesecondnote.Thesecondnoteisnotstruck.

SHIfTSLIDE:Sameaslegatoslide.exceptthesecondnoteisstruck.

TRILL:Veryrapidlyalternatebetweenthenotesindicatedbycontinuouslyhammeringonandpullingoff.

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TAPPING:Hammer("tap")thefretindicatedwiththepick-handindexor middlefingerandpulloffto thenotefrettedbythefrethand.

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NATURALHARMONIC:Strikethenotewhilethefret'handlightlytouchesthestringdirectlyoverthefretindicated.

PINCHHARMONIC:Thenoteisfrettednormallyandaharmonicisproducedbyaddingtheedgeofthethumbor thetip oftheindexfingerofthepickhandtothenormalpickattaCk.

P.H.

PICKSCRAPE:Theedgeof thepickisrubbeddown(orup)thestring,producingascratchysound.

MUffLEDSTRINGS:Apercussivesoundisproducedbylayingthefrethandacrossthestring(s)withoutdepressing,andstrikingthemwiththepickhand.

PALMMUTING:ThenoteispartiallymutedbythepickhandIIghtlytouchingthestring(s}justbeforethebridge.

P.M. • __• ,

RAKE:Dragthepickacrossthestringsindicatedwithasinglemotion.

TREMOLOPICKING:Thenoteispickedasrapidlyandcontinuouslyaspossible.

72

VIBRATOBARDIVEANDRETURN:Thepitchofthenoteorchordisdroppedaspecifiednumberofsteps(inrhythm)thenreturnedtotheoriginalpitch.

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VIBRATOBARSCOOP:Depressthebarjustbeforestrikingthenote,thenquicklyreleasethebar.

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VIBRATOBARDIP:Strikethenoteandthenimmediatelydropaspecifiednumberofsteps,thenreleasebacktotheoriginalpitch.

·112 ·1/2V V