Immature writers manipulate readers through emotionally-charged language.
Bad example: Immature, whiny, male-pig Romeo, a male harlot, ruined precious Juliet whom he loved no more than Rosaline.
The following examples are based on this question:
Does Romeo's prior feelings for Rosaline diminish the credibility of his love for Juliet?
A thesis statement should never contain the following: "in my opinion", "I think", "I believe", etc.
However, it may be helpful for you to begin your thesis statement rough draft with "in my opinion", "I believe", or "I think" to make sure you are expressing your thoughts or opinion on a specific subject or issue.
And while they don't show very good vocal harmonies in it, the closing r'n'b pop of "Tears Began to Fall" leaves a nice taste in my mouth, though the net effect is like taking a single Tic-tac after siphoning ten gallons of gas with my mouth.The only other thing I'd like to say (besides the expected warning to stay far away from this) is that I discovered in the process of listening to this album for reviewing purposes that I'd actually heard this album long ago, without knowing it, in a most unexpected circumstance.
In theory, it could actually be somewhat interesting to have an album where modern classical is intercut with tweaked rock songs and some skits, but it all ends up being done in the most offensive way possible, and I end up lamenting the hours upon hours I spent trying to convince myself that this could be anything close to good.I'm not completely sure what this album says about Zappa's abilities in the realm of modern classical, whether he really had a legitimate talent in it or not (of course, BWS suggests he did in fact have talent in it, but I'm only considering this album for now in regards to this question).
"Prelude to the Afternoon of a Sexually Aroused Gas Mask" actually does about as good of a job of living up to its title as one could expect, as the various odd vocals certainly remind me of somebody wilting off into unconsciousness through a gas mask, which seems to be pumping aphrodisiacs, laughing gas and ether all at once (and I almost wonder; did Monty Python get their idea for knights who say "NEE!" from the "nee" noises on here?) Plus, it features the sound of what I can only describe as a hungry dog trying to eat the mic, so that's something."Toads of the Short Forest" is also rather neat, starting off relatively pleasant before entering a lengthy instrumental passage that features all the instruments playing different time signatures, except for the alto sax which, as Frank points out, "is blowing his nose." Throw in the blues/porno-music cross (I can't help it, that's what the wah-wah's here make me think of) of "Get a Little," and a cover of "Directly From My Heart to You" by Little Richard (featuring marvelously moody violin work from Don "Sugar Cane" Harris, making this the third straight album where he's had a brief starring role), and the first half actually ends up as fairly intriguing.
Goodbye three tracks.The remaining four are instrumental, and they range from boring to great (my enjoyment of them is totally linear to their placement on the album).
And finally, we have "Zomby Woof," which is a bit of a comedown (these incessant rhythm-shifts and weird vocals get a little old after a while), but it's a neat little "spook rock" pastiche, and it rounds out the album well.Overall, then, this is a nice introduction to "mid-period" Zappa, and actually a good candidate for a first album to buy of his.
And the weirdly out-of-place "pop" number, "Lemme Take You to the Beach," goofy as it may be, just doesn't have a good enough melody to make me like it as a "stand-alone" song, and the fact that it's apparently supposed to be a parody of a genre that, to my knowledge, doesn't actually exist outside this song, makes it seem like a bit of a waste to me.
Anyway, the title track is better to my ears, with some pleasantly moody bits (especially in the beginning, courtesy of the brass) and a totally unexpected synth solo that any prog keyboardist would have been proud to write (and perform, despite it having no "show off" aspects).
There is unironic to be found in tracks like "Holiday in Berlin," "Aybe Sea" and "Little House," and from a man like Zappa, who seemingly devoted most of his life to mocking beauty, that is truly something to behold.So that's a good start to summarizing why I like this album so much, more than any other Zappa I've heard, and enough to put it in my overall top 50.
The story manages to work both as a raving paranoid left-wing cautionary tale (what with all the Big Brother elements of music getting banned for the moral good of the nation) as a raving paranoid right-wing cautionary tale of the "moral dangers" of a life heavily steeped in rock music (often reading like a Jack Chick tract gone berzerk), and the sexual elements accompanying the latter descend into "total ridiculousness" so thoroughly that I can't help but giggle the whole time.
It creates some tension as it goes along, yes, but it also (in my mind, anyway) manages to wipe away a huge chunk of its own tension and the remaining tension from the first side, which (along with being absolutely awesome on its own) is enough to make me adore it.The piece goes on a bit more after the solo is done, dissolving a good 95% of the remaining tension, calling up some of the themes from side one for good measure (more later), and then ends to a thundering burst of applause.
The collection and sequencing of the tracks on this album absolutely amazes me, because Frank accomplishes three significant tasks in doing so (which I will address one by one), all the while throwing in a bonus trait for good measure.