Review by Steve Huey, and Josh Couturier
Release Date: September, 1968
Genre: Experimental Pop/Rock
Styles: Experimental Pop/Rock
Recording Date: March 14, 1976 – August 9, 1967
Recommendation by: Nate Aldrich
Josh- This is the best social crit audio piece I’ve ever heard. Its hilarious and is Avant-Pop at its best. its filled with comedy, super confrontational and provocative language and production. His art is multilayered as he creates works he includes mockery of pop-culture of his time! He’s a great artist and source of inspiration for pop artists like myself, looking to find new avenues of concept! I Love the opening whispers. *Laugh Out Loud*.
Huey- From the beginning, Frank Zappa cultivated a role as voice of the freaks — imaginative outsiders who didn’t fit comfortably into any group. “We’re Only in It for the Money “is the ultimate expression of that sensibility, a satirical masterpiece that simultaneously skewered the hippies and the straights as prisoners of the same narrow-minded, superficial phoniness. Zappa’s barbs were vicious and perceptive, and not just humorously so: his seemingly paranoid vision of authoritarian violence against the counterculture was borne out two years later by the Kent State killings. Like “Freak Out” and “We’re Only in It for the Money” essentially devotes its first half to satire, and its second half to presenting alternatives. Despite some specific references, the first-half suite is still wickedly funny, since its targets remain immediately recognizable. The second half shows where his sympathies lie, with character sketches of Zappa’s real-life freak acquaintances, a carefree utopia in “Take Your Clothes Off When You Dance,” and the strident, un-ironic protest “Mother People.” Regardless of how dark the subject matter, there’s a pervasively surreal, whimsical flavor to the music, sort of like Sgt. Pepper as a creepy nightmare. Some of the instruments and most of the vocals have been manipulated to produce odd textures and cartoonish voices; most songs are abbreviated, segue into others through edited snippets of music and dialogue, or are broken into fragments by more snippets, consistently interrupting the album’s continuity. Compositionally, though, the music reveals itself as exceptionally strong, and Zappa’s politics and satirical instinct have rarely been so focused and relevant, making “We’re Only in It for the Money”quite probably his greatest achievement.