Frank Zappa - 2023 - I’m A Rollin’ Stone - Funky Nothingness.

The chemistry between that group was intense—even their longest, most meandering jams are worth savoring for one reason or another. A raunchy, 12-minute edition of Lightnin’ Slim’s blues piece “I’m a Rollin’ Stone,” later reshaped into the backing track for 1974’s “Stink-Foot,” is full of exquisite detail, including a Zappa guitar solo that crests into a hammer-on tornado. Equally revealing is the nine-minute “Basement Version” of “Chunga’s Revenge,” a starker and more psychedelic approach than the jazzy, skronky shape it later took. With Underwood’s glimmering electric piano and Dunbar’s supple, subtle drum groove, it suggests Pink Floyd with R&B/funk chops. (Speaking of which, here’s a reminder of that time at a 1969 festival when Zappa soloed all over Floyd’s “Interstellar Overdrive”—a sadly one-off collision of worlds.) Funky Nothingness is the “lost album” sequel to the iconic Hot Rats (1969). Primarily recorded at The Record Plant studio (1970) containing mostly unreleased compositions & jams featuring Don “Sugarcane” Harris & newcomer Aynsley Dunbar. Titled by Zappa himself, this compilation contains vintage FZ mixes with modern mixes by Craig Parker Adams. The expanded 3 CD, Mastered by John Polito, features audio not found on the 2LP & includes a 28 page booklet. The sessions, which took place primarily in February and March 1970 at the newly opened Record Plant in Los Angeles, included the five-piece band of Mothers member: Ian Underwood (keyboard, saxophone, rhythm guitar), violinist and vocalist Don “Sugarcane” Harris, Wrecking Crew bassist Max Bennett, drummer Aynsley Dunbar, who had just relocated to Los Angeles and moved in with Zappa following his invite to join the band after witnessing him play drums at a festival in Belgium, and Zappa on guitar, vocals and percussion as well as production duties. Together the group recorded hours’ worth of original compositions, inspired covers and extended improvisations that drew from Zappa’s R&B and blues roots, while blending influences of the emerging jazz fusion scene. Largely instrumental, these recordings showcased the guitarist’s virtuosity, while offering what could have easily been the sequel to Hot Rats, had it ever been released.