Editing Frank Zappa (section)

==1970–1980: A decade of highs and lows==
===Rebirth of the Mothers and filmmaking===
{{see also|Chunga's Revenge|Fillmore East – June 1971|200 Motels (soundtrack)|Just Another Band from L.A.|Playground Psychotics}}
[[File:Frank Zappa, 1970 - 19.jpg|thumb|Frank Zappa, 1970]]
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In 1970, Zappa met conductor [[Zubin Mehta]]. They arranged a May 1970 concert where Mehta conducted the [[Los Angeles Philharmonic]] augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie ''[[200 Motels]]''.<ref name="Occhiogrosso"/>{{rp|109}} Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one.<ref name="Occhiogrosso"/>{{rp|88}} His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.<ref name="Occhiogrosso"/>{{rp|142–156}}

Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). Along with Ian Underwood, the new band also included British drummer [[Aynsley Dunbar]], jazz keyboardist [[George Duke]], bassist [[Jeff Simmons (musician)|Jeff Simmons]], and the two lead singers of [[the Turtles]], [[Mark Volman]] and [[Howard Kaylan]], who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie" or "[[Flo & Eddie]]" for short.<ref name="miles"/>{{rp|201}} Another member of the Turtles, [[Jim Pons]], would join on bass in February 1971, following Simmons' departure the previous month and his brief replacement by Martin Lickert.

This version of the Mothers debuted on Zappa's next solo album ''[[Chunga's Revenge]]'' (1970),<ref name="miles"/>{{rp|205}} which was followed by [[200 Motels (album)|the double-album soundtrack]] to the movie ''[[200 Motels]]'' (1971), featuring the Mothers, the [[Royal Philharmonic Orchestra]], [[Ringo Starr]], [[Theodore Bikel]], and [[Keith Moon]]. Co-directed by Zappa and [[Tony Palmer (director)|Tony Palmer]], it was filmed in a week at [[Pinewood Studios]] outside London.<ref name="watson96"/>{{rp|183}} Tensions between Zappa and several cast and crew members arose before and during shooting.<ref name="watson96"/>{{rp|183}} The film deals loosely with life on the road as a rock musician.<ref name="miles"/>{{rp|207}} It was the first feature film photographed on [[videotape]] and transferred to [[35 mm movie film|35&nbsp;mm film]], a process that allowed for novel visual effects.<ref>Michael Starks, 1982, ''Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies 1894-1978'', {{ISBN|1579511899}}, p. 153.</ref> It was released to mixed reviews.<ref name="lowe"/>{{rp|94}} The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the [[Royal Albert Hall]] after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.<ref name="Occhiogrosso"/>{{rp|119–137}}

After ''200 Motels'', the band went on tour, which resulted in two live albums, ''[[Fillmore East – June 1971]]'' and ''[[Just Another Band from L.A.]]''; the latter included the 20-minute track "[[Billy the Mountain]]", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on ''200 Motels'' scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.<ref name="miles"/>{{rp|203–204}}{{refn|group="nb"|During the June 1971 Fillmore concerts Zappa was joined on stage by [[John Lennon]] and [[Yoko Ono]]. This performance was recorded, and Lennon released excerpts on his album ''[[Some Time in New York City]]'' in 1972. Zappa later released his version of excerpts from the concert on ''[[Playground Psychotics]]'' in 1992, including the jam track "Scumbag" and an extended avant-garde vocal piece by Ono (originally called "Au"), which Zappa renamed "A Small Eternity with Yoko Ono.}}

===Accident, attack, and aftermath===
[[File:Frank Zappa Mothers of Invention 1971.JPG|right|thumb|Zappa with the Mothers, 1971]]
On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at [[Montreux Casino|Casino de Montreux]] in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino.<ref name="Occhiogrosso"/>{{rp|112–115}} [[Deep Purple]] were in the audience that night, and would immortalize the event on their classic 1972 song "[[Smoke on the Water]]". A recording of the incident and immediate aftermath can be heard on the bootleg album ''Swiss Cheese/Fire'', released legally as part of Zappa's ''[[Beat the Boots II]]'' box set. After losing $50,000 ({{Inflation|US|50000|1971|r=-3|fmt=eq}}) worth of equipment and a week's break, the Mothers played at the [[Rainbow Theatre]], London, with rented gear. During the encore, an audience member, jealous because of his girlfriend's infatuation with Zappa, pushed him off the stage and into the concrete-floored orchestra pit.<ref name="Reed">{{cite web |last1=Reed |first1=Ryan |title=When Frank Zappa Was Pushed Offstage in London |url=http://ultimateclassicrock.com/41-years-ago-frank-zappa-pushed-off-stage-in-london/ |website=Ultimate Classic Rock |access-date=January 29, 2019 |date=December 10, 2015}}</ref> The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed [[larynx]], which ultimately caused his voice to drop a [[Major third|third]] after healing.<ref name="Occhiogrosso"/>{{rp|112–115}} A recording of the whole concert, including the attack, was released on the posthumous album ''[[The Mothers 1971]]'' in 2022.
[[File:Frank-Zappa in glory.jpg|right|thumb|Zappa on Stage in Hamburg, December 1971]]
After the attack, Zappa needed to use a wheelchair for an extended period; this made touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "[[Dancin' Fool]]"), resulting in chronic back pain.<ref name="Occhiogrosso"/>{{rp|112–115}} Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own.

=== Solo albums: ''Waka/Jawaka'' and ''The Grand Wazoo'' ===
{{See also|Waka/Jawaka|The Grand Wazoo}}
{{Listen|type=music|filename=Zappa_WakaJawaka.ogg|description=The closing track on ''[[Waka/Jawaka]]'', one of Zappa's jazz-oriented albums.|title="Waka/Jawaka" (1972)|pos=right}}
In 1972, Zappa released two strongly jazz-oriented solo LPs, ''[[Waka/Jawaka]]'' and ''[[The Grand Wazoo]]'', which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni.<ref name="lowe"/>{{rp|101}} Musically, the albums were akin to ''Hot Rats,'' in that they featured extended instrumental tracks with extended soloing.<ref name="miles"/>{{rp|225–226}} Zappa began touring again in late 1972.<ref name="miles"/>{{rp|225–226}} His first effort was a series of concerts in September 1972 with a 20-piece [[big band]] referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972.<ref>Official recordings of these bands did not emerge until more than 30&nbsp;years later on ''[[Wazoo (album)|Wazoo]]'' (2007) and ''[[Imaginary Diseases]]'' (2006), respectively.</ref>

In December 1972,<ref name="walley72">{{cite web |year=1972 |url=https://www.afka.net/Books/No_Commercial_Potential.htm |title=No Commercial Potential: The Saga of Frank Zappa & The Mothers of Invention |first=David |last=Walley |work=afka.net |access-date=December 8, 2022}}</ref> David Walley published the first biography of Zappa, titled ''No Commercial Potential''. Zappa was severely critical, calling it "a quickie, paperback, sensational book". He said that it contained "gross inaccuracies", described the writing as "not quality workmanship" and claimed that Walley had "just slung together a bunch of quotes".<ref name=lafp74>{{cite web |url=https://www.afka.net/Articles/1974-11_LAFP.htm |title=Frank Zappa |first=Elliot |last=Cahn |work= Los Angeles Free Press, November 29, 1974 |access-date=December 2, 2022}}</ref> Despite Zappa's complaints, the book was later published in an updated edition in 1980<ref name="walley80"/> and again in 1996 after Zappa's death.

===Top 10 album: ''Apostrophe ({{'}})''===
{{See also|Over-Nite Sensation|Apostrophe (')|Roxy & Elsewhere|One Size Fits All (Frank Zappa album)|Bongo Fury}}
[[File:Frank Zappa giving the finger.jpg|thumb|left|Zappa giving the finger during a show in Hamburg, September 1974]]
Zappa then formed and toured with smaller groups that variously included [[Ian Underwood]] (reeds, keyboards), [[Ruth Underwood]] (vibes, marimba), Sal Marquez (trumpet, vocals), [[Napoleon Murphy Brock]] (sax, flute and vocals), [[Bruce Fowler]] (trombone), [[Tom Fowler (musician)|Tom Fowler]] (bass), [[Chester Thompson]] (drums), Ralph Humphrey (drums), [[George Duke]] (keyboards, vocals), and [[Jean-Luc Ponty]] (violin).

By 1973, the Bizarre and Straight labels were discontinued. Zappa and Cohen then created [[DiscReet Records|DiscReet]], also distributed by Warner.<ref name="miles"/>{{rp|231}} Zappa continued a high rate of production through the first half of the 1970s, including the album ''[[Apostrophe (')]]'' (1974), which reached a career-high No.&nbsp;10 on the ''[[Billboard charts|Billboard]]'' pop album charts<ref>{{cite web | url = {{AllMusic|class=artist|id=p74796|pure_url=yes}} | title= Frank Zappa | work=AllMusic |access-date=January 3, 2008}}</ref> helped by the No.&nbsp;86 chart hit "[[Don't Eat the Yellow Snow Suite|Don't Eat The Yellow Snow]]".<ref>{{cite web | url = {{AllMusic|class=album|id=r53148|pure_url=yes}} | title= Apostrophe ('). Review | last= Huey| first = Steve | work=AllMusic |access-date=January 3, 2008}}</ref> Other albums from the period are ''[[Over-Nite Sensation]]'' (1973), which contained several future concert favourites such as "Dinah-Moe Humm" and "[[Montana (Frank Zappa song)|Montana]]", as well as ''[[Roxy & Elsewhere]]'' (1974) and ''[[One Size Fits All (Frank Zappa album)|One Size Fits All]]'' (1975), which are notable for the tight renditions of highly difficult [[jazz fusion]] songs in such pieces as "[[Inca Roads]]", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)".<ref name="lowe"/>{{rp|114–122}} A live recording from 1974, ''[[You Can't Do That on Stage Anymore, Vol. 2]]'' (1988), captures "the full spirit and excellence of the 1973–1975 band".<ref name="lowe"/>{{rp|114–122}}
[[File:Frank Zappa - Capt. Beefheart - crop.jpg|thumb|upright|Zappa with [[Captain Beefheart]], seated left, during a 1975 concert]]
In April 1975 Zappa complained about ongoing contractual problems between DiscReet and Warner.<ref name=fudger>{{cite web |url=http://www.afka.net/Articles/1975-04_Disc.htm |title=One Size Fits All - Frank Zappa, A Sofa And References To The Universe In General |first=David |last=Fudger |work=Disc, April 26, 1975 |access-date=2024-03-27}}</ref> Zappa released ''[[Bongo Fury]]'' (1975), which featured a live recording at the [[Armadillo World Headquarters]] in Austin from a tour the same year that reunited him with [[Captain Beefheart]] for a brief period.<ref name="miles"/>{{rp|248}} They later became estranged for a period of years, but were in contact at the end of Zappa's life.<ref name="miles"/>{{rp|372}}

===Business breakups and touring===
{{see also|Zoot Allures|Zappa in New York|Studio Tan|Sleep Dirt|Orchestral Favorites}}
In 1976, Zappa produced the album ''[[Good Singin', Good Playin']]'' for [[Grand Funk Railroad]]. Zappa's relationship with long-time manager Herb Cohen ended in May 1976.<ref name=chron76>{{cite web |url=http://www.donlope.net/fz/chronology/1976-1980.html |title=Zappa chronology 1976-1980 |work=donlope.net |access-date=December 17, 2021}}</ref> After Cohen cashed one of Zappa's royalty checks from Warner and kept the money for himself, Zappa sued Cohen.<ref name=lafp77>{{cite web |url=https://www.afka.net/Articles/1977-12_LAFP.htm |title=Zappa takes aim for the New Year |first=M. B. |last=Kleber |work=Los Angeles Free Press, December 30, 1977 |access-date=December 1, 2022}}</ref> Zappa was also upset with Cohen for signing acts he did not approve.<ref name="miles"/>{{rp|250}}<ref name=valleynews>{{cite web |url=https://www.afka.net/Articles/1977-12_The_Valley_News.htm |title=Frank Zappa – A Would-be Chemist Who Turned to Music |first=Rip |last=Rense |work=The Valley News, December 30, 1977 |access-date=December 17, 2021}}</ref> Cohen filed a lawsuit against Zappa in return, which froze the money the pair were expecting to receive from an out-of-court settlement with [[MGM Records|MGM]]/[[Verve Records|Verve]] over the rights to Zappa's early [[Mothers of Invention]] recordings. The MGM settlement was finalized in mid-1977 after two years of negotiations.<ref name=dmreg77>{{cite web |url=https://www.afka.net/Articles/1977-09_The_Des_Moines_Register.htm |title=Zappa presents 'zircon-incrusted' concert season |first=Jim |last=Healey |work=Des Moines Register, September 24, 1977 |access-date=January 31, 2022}}</ref> Litigation with Cohen also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the album ''[[Zoot Allures]]'' (1976) directly to Warner, while bypassing DiscReet.<ref name="miles"/>{{rp|253, 258–259}} Following the split with Cohen, Zappa hired Bennett Glotzer as new manager.<ref name=melmak77>{{cite web |url=https://www.afka.net/Articles/1977-01_Melody_Maker.htm |title=I'll give the Queen a backstage pass |first=Chris |last=Charlesworth |work=Melody Maker – January 1, 1977 |access-date=July 4, 2022}}</ref>

By late 1976, Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible.<ref name=mumedia>{{cite web |url=https://www.afka.net/Articles/1976-12_Music_Media.htm |title=The Frankness of Zappa |first=Scott |last=Hopkins |work=Music Media, December, 1976 |access-date=January 20, 2022}}</ref> In March 1977, Zappa delivered four albums (five full-length LPs) to Warner to complete his contract: ''[[Zappa in New York]]'' (a 2-LP set), ''[[Studio Tan]]'', ''[[Sleep Dirt]]'' and ''[[Orchestral Favorites]]''.<ref name=valleynews/> These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, and in response he filed a multi-million dollar breach of contract lawsuit.<ref name="Collage77">{{cite web |url=https://www.afka.net/Articles/1977-12_Collage.htm |title=Frank Zappa Interview |first=Michael |last=Branton |work=Collage, December 1977 |access-date=April 9, 2022}}</ref> During a lengthy legal debate, Warner eventually released the four disputed albums during 1978 and 1979, ''Zappa in New York'' having been censored to remove references to guitarist [[Punky Meadows]]. Following the split with Warner, Zappa reconfigured the four disputed albums, along with some other material, into a quadruple album called ''[[Läther]]'' (pronounced "leather") and negotiated distribution with [[Phonogram Inc.]] for release on the new [[Zappa Records]] label. ''Läther'' was scheduled for release on [[Halloween]] 1977, but legal action from Warner forced Zappa to shelve this project.<ref name="miles"/>{{rp|261}}

In December 1977, Zappa appeared on the [[Pasadena, California]] radio station [[KROQ-FM]] and played the entire ''Läther'' album, while encouraging listeners to make tape recordings of the broadcast.<ref name="slaven03"/>{{rp|248}} The album integrates many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. ''Läther'' was officially released posthumously in 1996. It has been debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram.<ref name="miles"/>{{rp|267}}{{refn|group="nb"|When the music was first released on CD in 1991, Zappa chose to re-release the four individual albums.<ref name="watson05"/>{{rp|49}} In the liner notes to the 1996 release, Gail Zappa states that "As originally conceived by Frank, ''Läther'' was always a 4-record box set."}} Gail Zappa claimed in 1996 that ''Läther'' was Frank's original intention.<ref>Interview with Gail Zappa in the 2020 film "Zappa" produced by Alex Winter</ref> However, Zappa himself stated in an October 1978 radio interview that "''Läther'' was made out of four albums. Warners has released two of them already and they have two more that they're probably gonna release."<ref name=CFNY>{{cite web |url=http://www.donlope.net/fz/radio/1978-10-02_CFNY_Toronto.html|title=CFNY Interview |work=donlope.net |year=1978 |access-date=December 17, 2021}}</ref>

Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts,<ref name="watson05"/>{{rp|49}} the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands.<ref name="miles"/>{{rp|261}} Drummer [[Terry Bozzio]] became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist [[Roy Estrada]] joined. Among other musicians were bassist [[Patrick O'Hearn]], singer-guitarist [[Ray White]] and former [[Roxy Music]] keyboardist/violinist [[Eddie Jobson]]. In December 1976, Zappa appeared as a featured musical guest on the [[NBC]] television show ''[[Saturday Night Live]]''.<ref name="miles"/>{{rp|262}} Zappa's song "[[I'm the Slime]]" was performed with a voice-over by ''SNL'' booth announcer [[Don Pardo]], who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member [[John Belushi]] during the instrumental piece "The Purple Lagoon". Belushi appeared as his [[Saturday Night Live Samurai|Samurai Futaba]] character playing the tenor sax with Zappa conducting.<ref>Zappa, Frank, 1978, ''Zappa in New York'', Liner Notes.</ref> However, he earned a ban from the show after the latter episode because he had done what producers called "a disastrous job of hosting" (Zappa reportedly did not get along with cast and crew in the lead-up to recording, then told the audience he was simply reading from cue cards).<ref name="banned">{{cite news|last=Robinson|first=Anna|title=Why Frank Zappa was Banned from SNL|date=April 14, 2022|work=Grunge |url=https://www.grunge.com/832481/why-frank-zappa-was-banned-from-snl/}}</ref>
[[File:Frank Zappa in Toronto, Sept. 24 1977.jpg|thumb|left|Zappa in Toronto, 1977]]

Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on ''[[Zappa in New York]]'' and ''Läther''. The band included Ruth Underwood and a horn section (featuring [[Michael Brecker|Michael]] and [[Randy Brecker]]). It mixes complex instrumentals such as "[[The Black Page]]" and humorous songs like "Titties and Beer".<ref name="lowe"/>{{rp|132}} The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages.<ref>{{cite thesis |url=http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf |first=Brett |last=Clement |title=Little dots: A study of the melodies of the guitarist/composer Frank Zappa |type=Master's thesis |publisher=The Florida State University, School of Music |pages=25–48 |date=2004 |access-date=December 29, 2007 |url-status=dead |archive-url=https://web.archive.org/web/20080216111952/http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf |archive-date=February 16, 2008}}</ref><ref>{{cite web|url=http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html|first=Richard|last=Hemmings|title=Ever wonder why your daughter looked so sad? Non-danceable beats: getting to grips with rhythmical unpredictability in Project/Object|publisher=richardhemmings.co.uk|date=2006|access-date=October 3, 2016|url-status=dead|archive-url=https://web.archive.org/web/20081012123657/http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html|archive-date=October 12, 2008}}</ref>
{{Listen|type=music|filename=Zappa_BlackPage1.ogg|description=One of Zappa's complex, percussion-based compositions featured on ''[[Zappa in New York]]''.|title="The Black Page Drum Solo/Black Page #1" (recorded 1976, released 1978)|pos=right}}

''Zappa in New York'' also featured a song about sex criminal [[Michael H. Kenyon]], "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references,<ref name="lowe"/>{{rp|132}} leading to many critics objecting and being offended by the content.<ref name="lowe"/>{{rp|134}}<ref name="lowe"/>{{rp|261–262}} Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it.<ref name="miles"/>{{rp|234}} Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?"<ref name="HighTimes1980">{{cite news|last=Swenson|first=John|title=Frank Zappa: America's Weirdest Rock Star Comes Clean|date=March 1980|work=[[High Times]] |url=https://afka.net/Articles/1980-03_High_Times.htm |via=afka.net}}</ref> The remaining albums released by Warner without Zappa's approval were ''[[Studio Tan]]'' in 1978 and ''[[Sleep Dirt]]'' and ''[[Orchestral Favorites]]'' in 1979. These releases were not promoted and were largely overlooked in midst of the press about Zappa's legal problems.<ref name="lowe"/>{{rp|138}} The 1991 CD releases of these albums marked the first time they were issued with Zappa's full approval.<ref>{{Cite web|url=https://fzpomd.net/biffyshrew/lather.html|title=Father, I have a confession to make...|website=fzpomd.net}}</ref>

===Zappa Records label===
{{see also|Sheik Yerbouti|Joe's Garage|Baby Snakes (soundtrack)}}
{{Listen|type=music|filename=Zappa_BobbyBrown.ogg|description=The single became a hit in non-English speaking countries and helped ''[[Sheik Yerbouti]]'' become a best-seller.<ref name="watson96"/>{{rp|351}}|title="Bobby Brown" (1979)|pos=right}}
Zappa released two of his most important projects in 1979. The double LP ''[[Sheik Yerbouti]]'' appeared in March and was the first release on Zappa Records. It became the best-selling album of his career.<ref>
{{cite book |first1=Matt|last1=Groening|author-link=Matt Groening|first2=Don|last2=Menn|editor-last=Menn|editor-first=Don|contribution=The Mother of All Interviews. Act II: Matt Groening joins in on the scrutiny of the central decentralizer|title=Zappa! Guitar Player Presents|date=1992|page=61|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> The album contained the [[Grammy Award|Grammy]]-nominated single "Dancin' Fool", which reached No.&nbsp;45 on the ''Billboard'' charts.<ref name="BBsingles">{{cite web |url={{AllMusic|class=artist|id=p74796|pure_url=yes}}|title=Frank Zappa|work=AllMusic |access-date=January 6, 2008}}</ref> It also contained "[[Jewish Princess (song)|Jewish Princess]]", which received attention when the [[Anti-Defamation League]] (ADL) attempted to prevent the song from receiving radio airplay due to its alleged [[antisemitic]] lyrics.<ref name="miles"/>{{rp|234}} Zappa vehemently denied any antisemitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time."<ref>{{cite journal|title=He's Only 38 and He Knows How to Nasty|last=Peterson|first=Chris|journal=Relix Magazine|date=November 1979 |url=https://www.afka.net/Articles/1979-11_Relix.htm |via=afka.net}}</ref> The album's commercial success was attributable in part to "[[Bobby Brown (song)|Bobby Brown]]". Due to its explicit lyrics, the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language.<ref name="watson96"/>{{rp|351}}

''[[Joe's Garage]]'' has been described as a "bona fide masterpiece".<ref name="lowe"/>{{rp|140}} The project initially had to be released in two parts due to economic conditions.<ref name=islandear>{{cite web |url=https://www.afka.net/Articles/1979-09_Island_Ear.htm |title=The Island-Ear Interview: Frank Zappa |work=Island Ear – September 24, 1979 |access-date=June 30, 2022}}</ref> The first was a single LP ''Joe's Garage Act I'' in September 1979, followed by a double LP ''Joe's Garage Acts II and III'' in November 1979. The story features singer [[Ike Willis]] as the lead character in a [[rock opera]] about the danger of [[political system]]s,<ref name="lowe"/>{{rp|140}} the suppression of [[freedom of speech]] and music—inspired in part by the 1979 [[Islam]]ic [[Iranian revolution]] that had made music illegal<ref name="miles"/>{{rp|277}}—and about the "strange relationship Americans have with sex and sexual frankness".<ref name="lowe"/>{{rp|140}} The ''Act I'' album reached number 27 on the [[Billboard 200]] chart. It contains the song "Catholic Girls" (a [[riposte]] to the controversies of "Jewish Princess"),<ref name="watson05"/>{{rp|59}} and the title track, which was also released as a single. The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. Zappa described this process as [[xenochrony]]. The band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport)<ref name="Occhiogrosso"/>{{rp|180}} Included is one of Zappa's guitar "signature pieces", "[[Watermelon in Easter Hay]]".<ref name="watson05"/>{{rp|61}}<ref name="DZlinernotes">The other signature pieces are "Zoot Allures" and "Black Napkins" from ''Zoot Allures''. See {{cite book |last=Zappa |first=Dweezil |title= Greetings music lovers, Dweezil here |publisher=Liner Notes, [[Frank Zappa Plays the Music of Frank Zappa: A Memorial Tribute]] |date=1996}}</ref> In 1987, all three acts were reissued together as a 3-LP and 2-CD set.

Zappa had been known for his long hair since the mid-1960s, but he had Gail cut it short around August 1979.<ref name=islandear/> That autumn he cancelled tour plans to stay home with newborn daughter Diva, and celebrate the birthdays of children Moon and Dweezil in September.<ref name=gcfreep>{{cite web |url=https://www.afka.net/Articles/1979-09_Gold_Coast_Free_Press.htm |title=Warning! The Real Zappa |work=Gold Coast Free Press |date=September 29, 1979 |access-date=June 30, 2022 |via=afka.net}}</ref> At this time Zappa also completed the [[Utility Muffin Research Kitchen]] (UMRK) studios, which were located at his house,<ref name="Mix2003"/> thereby giving him complete freedom in his work.<ref name="miles"/>{{rp|269}}

On December 21, 1979, Zappa's movie ''[[Baby Snakes]]'' premiered in New York City. He described it as "A movie about people who do stuff that is not normal".<ref>Baby Snakes, 2003, ''DVD cover'', Eagle Vision.</ref> The 2&nbsp;hour and 40&nbsp;minute movie has footage from concerts in New York around Halloween 1977, with a band featuring keyboardist [[Tommy Mars]] and percussionist [[Ed Mann]] (who would both return on later tours) as well as guitarist [[Adrian Belew]]. It also contained several extraordinary sequences of [[clay animation]] by [[Bruce Bickford (animator)|Bruce Bickford]] who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video ''[[The Dub Room Special]]'').<ref name="miles"/>{{rp|282}} The movie did not do well in theatrical distribution,<ref>{{cite web |url=http://www.bigpicturebigsound.com/article_501.shtml |title=Baby Snakes|format= DVD|last=Sohmer|first=Adam|date=June 8, 2005|publisher=Big Picture Big Sound |access-date=January 7, 2008}}</ref> but won the Premier Grand Prix at the First International Music Festival in Paris in 1981.<ref name="miles"/>{{rp|282}}