Album Reviews

Mike Mettler: If it’s Halloween, then it must mean it’s Frank Zappa time. As longtime Zappaphiliacs know, Frank had a long tradition of playing live shows on Halloween, and quite often in New York City — and many of those shows are available via official FZ recordings, and/or by other means. His progeny Dweezil Zappa has kept up that All Hallowed Eve’s tradition here and there over the years, and I had occasion to see DZ do the Halloween thing live a few times at the Beacon Theatre in NYC — first back on October 31, 2013, and then again a few years later, albeit one day earlier in the cycle, on October 30, 2016.

But we’re not exactly here today to put on our Zappaween masks — though we certainly could do so, if we were so inclined — to duly soul-patch ’n’ suit-up to hand out candy to whomever would dare come to our front door tonight. Instead, we’re going to fete this most Zappaesque kind of holiday by reviewing the recent 180g 2LP reissue of FZ’s March 1974 masterstroke Apostrophe (’), which was officially released in its 50th Anniversary Edition form by Zappa/UMe last month on September 13, 2024. (You can read my initial Album Release News report about its contents here, which I posted back on July 12, 2024.)

Seeing how we did the, if you’ll excuse the phrase, group-grope review of the 50th anniversary 180g AAA 2LP 45rpm edition of FZ’s magical September 1973 release Over-Nite Sensation here back on December 22, 2023, I only thought it appropriate that we reconvene the AP FZ troika cabal — comprised of myself, Mark Smotroff, and Ken Micallef — to collectively review said 50th anniversary reissue of its ostensible followup LP, Apostrophe (’), and thus, here we are. I’ll let Mark take things over from here, and then Ken and I will chime in along the way with our own excentrifugal thoughts and analog-related debris. Over to you, brotha Mark!

Mark Smotroff: Thanks, Mike! Well, and as Mike alluded to above, Halloween was indeed Frank Zappa’s favorite holiday, so what better time to reflect on the 50th anniversary of his Top 10-charting hit 1974 LP Apostrophe (’)? This landmark 18th album by one of the 20th century’s most important, prolific, and progressive composers, guitar wizards, and production geniuses is, as Mike also reported, newly available as an expanded deluxe 180g 2LP edition that contains many bonus goodies (which we’ll explore here in much more detail in just a bit).

Now, before we get into the crux of the musical biscuit that is the Apostrophe (’) 50th Anniversary Edition, we’d like to share some useful insights about how we got here by way of official materials issued by the UMe PR team and Zappa’s official site, all of which explores the scope and underlying DNA of this new edition: “[T]here will be two separate vinyl releases: a 2LP + 7-inch single edition with both 180-gram audiophile LPs appearing on white vinyl with yellow-snow splatter, as cut from the original analog tape by Bernie Grundman at Bernie Grundman Mastering in 2024. The 7-inch of “Don’t Eat the Yellow Snow” is a reproduction of the original 1974 single with “Cosmik Debris” — but this time, it comes on cosmic glow in the dark with yellow-snow splatter vinyl. The 1LP edition features the original album’s nine tracks on 180-gram audiophile Gold Nugget vinyl.” (Tasty!)

According to the liner notes, the Apostrophe (’) 50th Anniversary Edition vinyl was cut directly from the designated-for-vinyl, Dolby-encoded 1/4-inch Stereo Analog EQ master created at Artisan Recorders in 1974. The second, bonus disc was cut from high-res digital transfers of its 10 tracks by Zappa Vaultmeister Joe Travers. These tracks were mastered by Bob Ludwig at Gateway Mastering, in 2014 (Side Three, Tracks 1-4) and John Polito of Audio Mechanics, in 2024 (Side Three, Tracks 4-6, plus all of Side Four, Tracks 1-6). All of the original recordings were produced by Frank Zappa, and the Apostrophe (’) 50th Anniversary Edition was produced for this release, as per usual, by Ahmet Zappa and Joe Travers.

Smotroff: The single, gold-vinyl LP (seen above) carries an SRP of $29.99, and it’s available from Music Direct via the link graphic that appears at the end of this review above the tracklisting section. The deluxe 2LP+7-inch edition of Apostrophe (’) that’s being reviewed here by we AP three is available directly from Zappa’s official site for an SRP of $64.99, and you can order your copy of it via this link.

The vinyl was pressed in Germany, most likely at Optimal where numerous recent archival Zappa releases have been manufactured. The 2LP set (with its plastic-lined paper sleeves) comes with an album-size booklet nestled in the yellow-hued right-hand sleeve slot, and it features previously unreleased photography and new essays by British journalist Simon Prentis and aforementioned Zappa archives Vaultmeister Travers. Ken, over to you for the next bit!

Ken Micallef: Thanks, Mark. First: confession time. Many of my mid-teenage years were spent in my friend Eddie’s den, listening to his hi-fi rig that consisted of a Kenwood KD 550 turntable, Phase Linear pre- and power amps, an NAD 3020 integrated amp, and a radiant pair of JBL L100Century loudspeakers. Among all the countless records we played in Eddie’s smoke-hazed audio sanctuary, one stood supreme: Frank Zappa’s Apostrophe (’).

An acrobatic, athletic, comedic, complex masterwork by our standards, we memorized every solo, every lyric, every twisted sonic effect. But Eddie was in another league. As we stared at those glowing orange JBLs, Eddie mimicked every solo, every lyric, and every quick-change act of musical complexity, like a whirling dervish in thrall to his Bodhisattva. Eddie aped every Ruth Underwood marimba solo note-for-note, flailing at the invisible musical instrument in front of him. He contorted his body into air-guitar gymnastics, duplicating every one of Frank Zappa’s Gibson SG solos. Ralph Humphrey’s drums practically materialized before us as Eddie pummeled and pounced. His face exuded a torture test of grimaces and guffaws, and he also sang Zappa’s often puerile/hilarious lyrics, “with a tear in his eye.”

Mettler: My turn for a brief confession, Ken. I did the exact same thing for my cousins back in the day with Over-Nite Sensation — word for word, gesture after gesture, inflection by inflection. Glad to see I wasn’t the only hungry freak, daddy. . . but anyway, please continue!

Micallef: To me, Apostrophe (’) is one of those albums that sticks with you like a great meal. I’ve long since lost track of Eddie, but Apostrophe (’) has always been there, a constant companion. Its comedic majesty, instrumental complexity, and compositional profundity are as satisfying now as they were decades ago. I’ve owned it on cassette and CD, and also have various early vinyl reissues. I even own an original LP pressing. But to me, this latest version of Apostrophe (’) is the definitive one — the one to own if you want superb sounding, dead-quiet vinyl, and a deep dive into Zappa’s genius.

Smotroff: Agreed! Call it “crossing the tundra” — as in, honestly, how can it be 50 years ago that one of my older brothers brought home the then-brand-new Frank Zappa record Apostrophe (’)!!? Just like with Ken and Mike, this album has been a part of my life since I was a nascent teen, and at that time, it made us laugh madly while infusing, expanding, and shaping our minds with Zappa’s ever-refined, deeply resonant, and emotionally and aurally challenging progressive music. Even today, after hearing it hundreds of times and ultimately as an adult with an inevitably matured outlook, the music on Apostrophe (’) still makes me smile, start to finish.

Smotroff: For those new to the Zappaverse who are reading this review, some background on the album might be helpful. The centerpiece of Apostrophe (’) is an unlikely magnum opus that takes up most of Side One — the so-called “Don’t Eat the Yellow Snow” suite (Tracks 1-4). This sequence of music traces the dreamt escapades of a naughty Eskimo named Nanook, and his confrontation with a fur trapper who accosts his favorite baby seal. Across the suite’s subsequent tracks — “Nanook Rubs It” (Track 2), “St. Alfonzo’s Pancake Breakfast” (Track 3), and “Father O’Blivion” (Track 4) — Zappa takes us on a wild, wide-eyed journey across a spectacular aural tundra, along the way delivering searing guitar shredding amidst some of the most inventive jazz-rock fusion sounds of the period.

Meanwhile, directly following the suite, “Cosmik Debris” (Side One, Track 5) was something of a return to Zappa’s ’60s past, this time calling out phony psychics and questionable “gurus” who were gaining widespread popularity at that time, in the guise of a fairly straightforward and catchy blues vamp.

Mettler: Well, Mark, I will add that I only experienced a few seconds of surface noise before “Don’t Eat the Yellow Snow” commenced my well-centered Side One, and then it was smooth spinning from there for the remainder of the ride. Keeping it mostly old school, I played the new Apostrophe (’) LPs on my PerspeX turntable fitted with my still-cherished Sumiko Blackbird cartridge, all running through a Shindo Allegro preamp, Air-Tight ATM-1E power amp (the latter two components of which Ken knows very well!), and outputting it all on GoldenEar Technology Triton One loudspeakers. The LPs themselves rested on top of my recently obtained Sublima Audio Research Mat Chakra Limited Platter Mat (full review coming soon!), and, for good tie-in measure, underneath both the LPs that I spun individually and the Mat Chakra was the mat that came with Frank Zappa & The Mothers of Invention’s Whisky a Go Go 1968 180g 6LP box set. (Incidentally, Mark reviewed that killer box set back on August 9, 2024, and you can read that review right here.)

On Side One of Apostrophe (’), I quite enjoyed the wide-spread exclamations of “ay-yee-yi-ahh” and other vocal droppings that appear in patches of “Snow,” and the FZ-patented enunciations of “ig-a-loo” and “lead-feeled snowshoe” as matched with the parallel call-and-responses in “Nanook Rubs It.” I also admired the throatiness inherent to Frank’s “Dinah-Moe Humm”-like lead vocal on “Cosmik Debris” and all the, let’s say, lyric-driven sound effects that began cropping up from the second verse onwards. FZ’s gnarly, volume-swelling guitar solo in the back half of “Debris” was also a treat I didn’t need a crystal ball to appreciate.

Now, Ken, you’ve already told me you have an important point to make here before we flip sides. What is it?

Micallef: Yes, Mike, I have something else to admit here. Though I was a fanboy of drummer Jim Gordon, who performs on the title track that’s on Side Two, back in the day, I never really made it past Side One all that often. Side One was essentially, mostly an epic suite unto itself, one that offered such highlights as an uncredited Tina Turner wailing on “Cosmik Debris,” the mind-bending complexity of Ruth Underwood’s marimba machinations on “St. Alfonzo’s Pancake Breakfast,” and all of Zappa’s searing SG solos, contained in a blitzkrieg arrangement of odd-note groupings and over-the-bar-line, cross-current, odd meters that few bands even today can barely manage. With this reissue, Side One of Apostrophe (’) retains its madness and merriment. Side Two, to me, always seemed more like an afterthought by comparison — with extended, plodding jams that smacked of filler.

What remains of the mid-’70s Zappa zenith — the aforementioned Over-Nite Sensation in 1973, the live behemoth Roxy & Elsewhere in 1974, the ensuing One Size Fits All in 1975 — is all a testament to his enduring genius. Apostrophe (’), however, holds a unique place in that era. It stands as a touchstone of a time in 1974 when Richard Nixon’s presidency collapsed in impeachment and ultimate resignation, concurrent with North Carolina Senator Jesse Helms beginning his transformation of the Republican Party while gas-guzzling muscle cars were being replaced by Japanese pods with small wheels, as Playboy reigned supreme in newsstand-oriented publishing. This was all so much fodder for Zappa, who kept gloves off when composing both lyrics and music.

Smotroff: Testify! Apostrophe (’) was arguably the moment where Zappa found a perfect balance between his sometimes quite puerile (if you will) comic material — a stylistic hybrid approach to popular music that he’d been massaging since the early 1970s, no doubt trying to win broader-reaching collegiate audiences — and mainstream appeal. Apostrophe (’) remains one of the most popular titles in Zappa’s catalog, often considered the ultimate gateway release toward exploring this supremely creative artist’s magnificent — and often challenging — music. Every guffaw, snicker, and chuckle you may enjoy on this album is more than contrasted by jaw-dropping compositional excellence, plus exceptional musical performances and artistry.

Interestingly, a radio station in Pittsburgh liked “Don’t Eat the Yellow Snow” so much that they created their own “single edit” version that wound up gaining traction with listeners, prompting Zappa to eventually issue his own version of it to radio internationally. That unlikely, condensed 45rpm offering clicked with listening audiences, breaking the song into Billboard’s Hot 100 (where it would peak at No. 87) while driving album sales — and remember, the 1970s were all about album sales, folks — to reach No. 10 on the Billboard 200 albums chart. As a result, Apostrophe (’) became Zappa’s first gold-certified album.

For a moment, Zappa could have strictly dropped his self-adopted ironic tagline that was handed to him by a Columbia Records’ executive early in his career: “no commercial potential.” (Brief chart sidenote: Perhaps not entirely surprisingly, in the month following its initial September 2024 rerelease, the new Apostrophe (’) 50th Anniversary Edition had already moved enough units to re-enter the Billboard charts.)

Like its predecessor, Over-Nite Sensation — which itself went Gold in the wake of the success of Apostrophe (’) — this new offering of Zappa music on Apostrophe (’) was a sort of trojan horse of audience engagement.

Mettler:: I should quickly interject here that our man Mark wrote the liner notes to that finely expanded edition of , so he knows whence of what he speaks. Back to Mark in a tick to get into the tip of the Apostrophe (’) flip, following the official Zappa “Don’t Eat the Yellow Snow” Visualizer clip!

Smotroff: Those who bought Apostrophe (’) for the four-track “Yellow Snow” suite were then duly treated to gloriously experimental jams like “Excentrifugal Forz” (Side Two, Track 1) and an incendiary, hard-rocking session with Ken’s above-noted favorite, legendary Wrecking Crew studio drummer Jim Gordon, along with Cream bassist Jack Bruce on the title track (Side Two, Track 2).

“Uncle Remus” (Side Two, Track 4) was a rare collaborative effort for Zappa, transforming keyboardist/vocalist George Duke’s gorgeous gospel-soul music into a poignant exploration of racial inequality and the inadequacy of social progress of the times on both sides of the fence. The opening line — “Whoa, are we movin’ too slow?” — still resonates strongly, even today. Racial inequality was a topic near to Zappa’s heart, something he bravely and bluntly tackled in response to the Watts riots of 1965 in “Trouble Every Day,” which can be found on The Mothers of Invention’s June 1966 2LP debut album Freak Out!, on Verve (more specifically, it’s on Record Two, Side 3, Track 1).

Mettler: Mark, you read my mind (in “gew-rue” style, mayhap?) about Side Two, though I will add that I also revere the tough-love jam of the title track (possibly a bit more than Ken did), the clarity of Duke’s piano work on “Uncle Remus,” and, of course, all the swirling swishes and echoes and FZ’s twang-wang solo on the irrepressible “Stink-Foot” (Track 5). This song has to be the disease for you. . .

And now, back over to Mark for some SQ-related thoughts.

Smotroff: So, by now, you are probably wondering just how good the new Apostrophe (’) 50th Anniversary Edition sounds, especially given the prospect of it being pressed on highly patterned yellow-splatter color vinyl. Let me start this section off by saying my copy of it sounds remarkably good. It is generally well-centered, and very quiet. Perhaps most importantly, the remastering sounds very much like Apostrophe (’) should sound — and this is not entirely surprising as the exact original master tape designated for mastering vinyl was used for this version. Ken, what say you?

Micallef: This new Apostrophe (’) remaster is in all ways and shapes an audiophile recording. Old man fact: When we were kids, we considered Apostrophe (’), One Size Fits All, and Roxy & Elsewhere all to be audiophile-quality discs — and we were right. The music is meticulously performed and recorded, and with that peculiar ’70s era, damped down, as little reverb as possible feel, making everything from Frank’s guitar to Ruth’s marimba intimate and immediate. The Apostrophe (’) LP reissue only amplifies those traits.

Zappa’s trademark complicated arrangements, crazy lyrics, and blues-stained guitar solos are conspicuous as never before, the music stamped on my forehead as if with a nail gun. Employing my current review system of a Clearaudio Signature turntable, Hana Umami Blue MC cartridge, Rogue Audio pre- and power amp, and Voxativ Ampeggio loudspeakers, Apostrophe (’) expanded well beyond the speakers, and each and every detail, from drummer Ralph Humphrey’s flapping tom fills to Bruce Fowler’s trombone solos to those soulful wails of Tina Turner’s were all wondrously re-envisioned on this fulsome remaster.

That said, I must admit that I did miss the down and dirtiness of my worn OG copy. I missed the earthy, 1970s sound of instruments and vocals smashed together in a dark heap. Still, I remain floored at the sheer impact of what this new version of Apostrophe (’) offers.

Smotroff: Interesting points re your OG and the new LP edition, Ken. Me, I like my new copy so much that I’m thinking about purging my original 1970s-era pressing (which, truth be told, never was particularly stellar, given it was made during the peak of the oil crisis). I will, however, keep my original 1974 Quad pressing (Discreet DS4 2175) just for posterity, even though I can currently only play it back in stereo.

Mettler: Well, you guys know me — I even ain’t givin’ up my OG LP or any of the prior Apostrophe (’) LP reissues that are in my collection. This new edition, plus the single LP gold-vinyl version that I also purchased separately for completist purposes, both join the family on my ever-burgeoning FZ LP shelf — er, make that shelves. Now, what about those 10 bonus tracks that are on the second disc, gents? Your respective thoughts?

Smotroff: I am digging on the bonus LP of rarities a lot. I really like these 10 choice highlights that Ahmet Zappa and Joe Travers decided to include here that were culled from the much more expansive companion Apostrophe (’) 5CD/1BD box set.

Perhaps the coolest track here is the curiously titled but absolutely scorching-ripping guitar-solo excerpt titled “Goteburg GTR” (Side Four, Track 4), which was recorded, not surprisingly, in the more-accurately-spelled Gothenburg, Sweden, on September 25, 1974. (But also note: this track is a jam nestled amidst the concert closer, “Trouble Every Day.”) This cut, and a wonderful version of “Approximate – Bale” (Side Four, Track 2), were sourced from those 1/4-inch 2-track Dolby masters that Zappa himself had mixed down (reportedly at The Record Plant, or his basement studio) from original 4-track live tour tapes. The liner notes indicate Zappa had handpicked these tracks for mixing, implying that he had possible visions for releasing them with/for a future project.

I also love the continuity of how the producers presented the mix outtake of “Excentrifugal Forz” (Side Three, Track 3), which was edited to segue abruptly into the title track just like it does on the final album — except that, here, we are treated to it going into the unedited 11-minute complete master take of “Apostrophe (’)” (Side Three, Track 4). Again, it’s a scorcher, and one can only imagine the challenges Zappa had in deciding how to edit it down to the 5:50 version found on the original album.

Micallef: From my POV, there are oh-so-many things to discover here. While I quite enjoyed spinning those second-disc alternates of “Uncle Remus,” “Nanook Rubs It,” “Excentrifugal Forz,” and others, I again admit I spent the bulk of my time back with the initial remastered LP, reliving past glories. But if you’re a diehard Zappaphile, or even if you’re a newbie to the wonders of the FZ universe, you should investigate LP2 as thoroughly as possible.

Smotroff: I’ll second that. I’d now like to add that I’m glad they included a track from FZ’s Colorado Springs concert from March 21, 1974, as this version of “Cosmik Debris” (Side Four, Track 1) is not only especially swinging, but it includes a super-soulful bluesy harmonica solo by George Duke — at least I assume it’s George, given Zappa’s audible, off-mike hand-off comment — as well as some soaring guitar soloing from FZ himself.

The piano and vocal mix of “Uncle Remus” (Side Three, Track 5) is beautiful, and it really lets you focus on the lyrics, which are ultimately scathingly poignant in their quest for racial equality. Zappa’s vocal delivery remains uncanny, given he is sort of paying tribute to legendary producer/singer/songwriter Leon Russell, who himself has a voice that pays tribute to deep southern blues singer stylings.

Mettler: Though there was some brief surface noise before the music commenced on Side Three (though not on Side Four), I too can’t get enough of LP2’s “Goteburg GTR,” the fuller/lengthier “Apostrophe (’),” and the Colo. Springs take on “Cosmik Debris.” Also, as Mark notes, the piano/vocal version of “Uncle Remus” is quite pointed, and quite sublime — so, to give you a taste of what’s in store with that track, I’m going to embed the official videoclip of it below.

Mettler: Now, gents, let’s share our final thoughts about this historic Apostrophe (’) reissue collection to wrap things up, along with our collective ratings. Ken, you first.

Micallef: I’d go so far as to say that, if you’re unfamiliar with Frank Zappa’s music, you’re in for a revelation here on Apostrophe (’), a sonic experience unlike any other. FZ’s genius is a mountain of maniacal majesty and blues-pounding grunt, and with inane vocals that hint at both the goodness and depravity of man, all of it done with humor for those with a sense of humor. It’s music that leaves you confounded but sated — a true testament to a talent we may never witness again.

Smotroff: Generally, I am very pleased with the Apostrophe (’) 50th Anniversary Edition 2LP set, which is a joyous celebration of the original LP with exemplary bonus materials. As for the ratings, we three collectively feel this one gets an easy 10 for the Music, and the only reason we must ding the Sound rating a little bit down to a 9 is simply due to the reality of some of this collection’s tracks coming from slightly imperfect — but still pretty great sounding! — sources, digital or otherwise.

For me specifically, my perhaps only minor disappointment is that the single mix of “Don’t Eat the Yellow Snow” wasn’t included on this new 2LP set, which would have made for a nice album closer — but, fortunately for us Zappa completists, I can confirm that version is included on the companion 5CD/1BD box set on Disc 5 as Track 11!

Mettler: Plus, I should add, we also get that cool bonus glow-in-the-dark 45 of the “Don’t Eat the Yellow Snow” b/w “Cosmik Debris” single, for those so inclined to break out their 45 adapters. Me, I used my 1oz CR9100A-SP aluminum Sgt. Pepper adapter for the somewhat speedier single spin, just because.

At any rate — in sum and summary, I wholeheartedly, and quite huskily, agree with my esteemed colleagues here. Frank Zappa’s Apostrophe (’) 50th Anniversary Edition 180g 2LP set delivers just about all that I could want from this Nixonian period of Zappa’s ever-expanding vault-sharing milieu. Not only that, but in all the time that I’ve had this particular vinyl collection in hand, Apostrophe (’) Mach 2024 has since joined Over-Nite Sensation Mach 2023 to be some of my most cherished, and quite regular, played-in-tandem listening companions. Great googly-moogly, y’all — FZ’s Apostrophe (’) 50th Anniversary Edition is one 2LP set you must get your hands and ears on ASAP, no contractions allowed.

And with that, I leave you with my final, FZ-ish postscriptical thought, which is this: Happy Spooky Zappaween Halloween Spinning to one and all!

Author bios: Mike Mettler is the editor of Analog Planet in addition to being the music editor of our sister site Sound & Vision, and he’s also a contributing music editor to one of our other sister sites, Stereophile.

Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for AudiophileReview.com, among others, and you can see more of his impressive C.V. at LinkedIn.

Former musician, former artist, and former legal wastrel Ken Micallef has written numerous hi-fi equipment reviews for Stereophile and Analog Planet, and his byline has also appeared within Mojo, Electronic Musician, and The Grammys. You can also find him at YouTube (Ken Micallef Jazz Vinyl Audiophile).

FRANK ZAPPA
APOSTROPHE (’) 50TH ANNIVERSARY EDITION
180g 2LP+7-Inch (Zappa/UMe)**

LP One – Side One
1. Don’t Eat The Yellow Snow
2. Nanook Rubs It
3. St. Alfonzo’s Pancake Breakfast
4. Father O’Blivion
5. Cosmik Debris

LP One – Side Two
1. Excentrifugal Forz
2. Apostrophe’
3. Uncle Remus
4. Stink-Foot

LP Two – Side Three
1. Don’t Eat The Yellow Snow (Basic Tracks / Alternate Take)
2. Nanook Rubs It (Session Outtake)
3. Excentrifugal Force (Mix Outtake)
4. Apostrophe’ (Unedited Master / 2024 Mix)
5. Uncle Remus (Piano and Vocal Mix 2024)
6. . . .the poodle bites. . .

LP Two – Side Four
1. Cosmik Debris (Live in Colorado Springs, Colorado, 3-21-74)
2. Approximate – Bale (Live in Basel, Switzerland, 10-1-74)
3. Goteborg GTR (Live in Gothenburg, Sweden, 9-25-74)
4. Apostrophe TV Ad

7-Inch – Side One
1. Don’t Eat The Yellow Snow

7-Inch – Side Two
1. Cosmik Debris

** Note: The Music Direct link that appears directly above the tracklisting gives you three purchasing options, including the gold vinyl 1LP edition. The 2LP+7-inch edition reviewed by the three of us above can be ordered directly from zappa.com via this link.