THE MOTHERS OF INVENTION: WE'RE ONLY IN IT FOR THE MONEY

More anti-hippie/counter culture sarcasm and humorous social commentary using the musique concrète forms he's used on his three previous albums, Freak Out!, Absolutely Free, and Lumpy Gravy. Like those previous albums, this one proves quite challenging to render ratings to individual songs due to the predominant presence of odd and unusual tongue-in-cheek social commentary, theatric delivery of sarcasm, and quick stop and start, constantly shifting musical styles and forms. Like Lumpy Gravy, this is really meant to be experienced as a one (or two) act stage musical: all at once; the individual songs should rarely be examined outside of the context of the whole. One could argue, in fact, that this album (and many of Frank's albums) is not even progressive rock but purely Rock-In-Opposition because of the constant use of parody and sarcastic imitation of others' very recognizable styles and sounds. I mean: a look at the song titles alone ought to prepare the listener for the social criticism that they're in store for.

Frank (and Company)'s musical genius, social commentary, and creative wit are here all at their peak and are undeniably sharp and insightful (and humorous). The man's legendary status is not only well deserved but perhaps even grossly under-appreciated. As an American who lived through the famous excesses and indulgences of the Sixties, it is exceedingly entertaining and even a bit uncomfortable and embarrassing to listen to Frank's shrewd and unapologetic commentary of the flaws and hypocrisies of the times.

As a reflection of the awkwardness of a certain period of American history I'd call this album invaluable. As I pointed out before, I think Frank's early works provided the jumping off ground for many social satirists including George Carlin, Lenny Bruce, and, especially, Cheech and Chong. As a landmark of musical innovation and expression, I would not give the songs from this album much credit other than to acknowledge Frank's mastery of many, many, many particularly American musical styles that had gone before him. Therefore, I do not consider this essential music but instead a masterpiece of what is possible within the realms of recording and publication.