A Quote by Steve Vai
When Frank Zappa would get an idea for a song, he just did it. He didn't wait for anybody or expect anyone to do it.
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My dad was a big Frank Zappa fan, so I remember listening to a lot of Frank Zappa. Girls do not like Frank Zappa.
I was in school with Dweezil Zappa, Frank Zappa's son, and we had a band. Only in L.A. could stuff like that happen. We would hang out in Frank Zappa's studio, and we released a single in 1982 on his label. I was 12, and that was the first recording experience I had. To top it off, Eddie Van Halen produced it.
Jeff Beck is my idol .. sometimes he finds notes that I just do not have on my guitar. Frank Zappa's another one .. I loved Frank Zappa ... I do think Van Halen reinvented the guitar ... he's an excellent musician, a shrewd guitarist and as a person he's wonderful.
Driving around with my dad, growing up, he would play everything: Philip Bailey, Manhattan Transfer, Frank Zappa, Cream. I'd be like, 'Dad, cut this stuff off!' And he'd say, 'No, you're gonna listen to it.' I didn't understand why he liked it so much. In my mind, I would be thinking about the theme song to 'Sonic the Hedgehog.'
I think a solo moves forward the way a song does, because it's reflective of the chords that I'm considering as I'm soloing, and at the same time I'm going as much out on a limb as Frank Zappa used to, in terms of just going crazy on the instrument.
If someone had told me when I was a kid I'd get an ovation from Frank Sinatra! One time, I did a song called 'I Am A Singer', but I rewrote the words for Frank. I was in tears and, when he got up, so was he.
Frank [Zappa] always wanted to do a sound library - he sampled so many great musicians. For piano, for example, he sampled every octave, not just one (that you could just transpose electronically), and he did all different types of attack, with and without pedals, all that kind of stuff.
Somebody under 30, if the name Frank Zappa came up, they would just say, "Who?" To me that didn't sit well, because I felt my dad's accomplishments in music should be better known, not just in a popular way, but better understood.
On past records I usually did start with a story or an idea for a song and then write around it, but on Achilles' Heel I would just start writing and try to let the song and my sub-conscience determine the direction. which is a goofy way of saying I tried not to decide before hand what the song and or the characters would do and be like.
I'm awful at karaoke, but if I did have to sing, I'd go for my favourite Frank Sinatra song 'I've Got You Under My Skin.' The fact I love Frank is my grandfather's doing: he drummed it into me from a very early age that Frank Sinatra is God.
I wrote [Collateral Beauty] on my own. I didn't get paid to write it. I didn't sell it as a pitch. It was an idea I had that I really, really felt needed to be in script form before showing it to anyone in the industry because of the uniqueness of the idea, and the weirdness of the idea, to be frank.
Interviewer: 'So Frank, you have long hair. Does that make you a woman?' Frank Zappa: 'You have a wooden leg. Does that make you a table?
There's no love in my songs. There's just a lot of resentment. Just bad attitude. But that's intentional, that's what I like. I love the whole idea of Motown. Their idea was to sing how down on their luck they were, but the song implied hope that it would get better. I liked that idea, and I wanted to go even further with it.
We just thought of 'Boosh' as an extension of our childhoods in a way, the stuff we had grown up on and loved: 'Monty Python,' The Goodies, Frank Zappa. It spoke to a certain type of person, and we just carried on doing it.
I chased every band around the world. Frank Zappa and The Mothers Of Invention, you name it. I could just go on and on. It was my hobby, my pastime, and my obsession for several years.
The mother of invention in music is necessity, not Frank Zappa!
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