|1-04||Curly Toed Shoes||1:57|
|1-05||You Can't Get There From Here||3:03|
|1-08||The Stink Eye||1:28|
|1-09||They're Attracted To The Light Mama||6:59|
|1-11||First Day With The New Brain||3:49|
|1-13||The Slime Is On Fire||3:56|
|2-01||Just A Trim||4:45|
|2-06||Hair Club For Ponies (Greasy)||1:28|
|2-07||Where Everyone Still Looks The Same||2:02|
|2-08||I Promise Not To Mess Up Your Hair||1:03|
|2-09||A Chick Walks On To The Stage...||3:17|
|2-11||What Did You Mean By That?||2:56|
|2-12||A Night Out In Tel Aviv||1:33|
|2-14||Is This Safe?||3:50|
|2-15||What Kind Of Muffin Is This?||1:54|
|2-16||Deathless Horsie Rides Again||5:39|
- Artwork By, Design – Cal Schenkel
- Bass – Pete Griffin
- Drums, Vocals – Joe Travers
- Guest, Keyboards – Chick Corea
- Guitar, Vocals – Jamie Kime
- Harmonica, Other [Megaphone] – Ben Thomas
- Keyboards – Chris Norton
- Keyboards, Saxophone – Scheila Gonzales*
- Lead Guitar – Dweezil Zappa
- Percussion – Billy Hulting
- Producer, Arranged By – Dweezil Zappa
(Release date is that posted by DZ on official site. It is unknown if that date was actually met for all distributions)
------- Related text from the official DZ site, from DZ:
Exclusive liner note content that cannot fit in the CD art.
The mixes are from 'Front Of House' references (FOH*).
*For those who are not familiar, FOH mixes (also known as board tapes) are generally not pleasant to listen to because they are not created for the purpose of delivering a fully formed mix to a home listener. They are generated from the source that is serving the venue audience.
In other words, the engineer is balancing the mix for the live audience, based on all of the factors of the environment that particular night. If the room is very bass heavy, many of those frequencies will be cut in the mix, possibly making it sound anemic on the reference recording but right for the mix in the venue. If instruments are too loud from the stage they will likely be quiet in the FOH mix. The reason for this is that instruments need to be fed from the mix console to the PA. If there are loud instruments on stage that are heard well by the audience and engineer purely from the stage volume they will not be included as much in the PA speaker system in the venue. This is a very common variable that is dealt with throughout all of the shows on tour. Each night is different and it's difficult to get true consistency.
But there are other times when the balance is pretty good. Sometimes great! Having listened to all of our FOH mixes I've found some great examples where they are well balanced and made a record out of them. When things cannot be multitracked FOH refs become master recordings and sometimes capture amazing performances. Because of that very reason I chose to examine the FOH library of recordings I have that fit the above description and make this record.
Barcode and Other Identifiers
- Barcode (Text): 8 84501 63807 4
- Barcode (Scanned): 884501638074
- Matrix / Runout (Disc 1): MVK2873 [Disc Makers Logo]
- Matrix / Runout (Disc 2): MVK2883 [Disc Makers Logo]
- Mould SID Code (Disc 1): IFPI UU014