No Commercial Potential: The Saga Of Frank Zappa
by David Walley

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• ISBN13: 9780306807107
• Condition: New
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Book Reviews of No Commercial Potential: The Saga Of Frank Zappa

Book Review: Truly weak.
Summary: 2 Stars

I'll be honest. Frank Zappa's serious music (read: "instrumental music"), from the early "Hot Rats" to "Jazz From Hell," his guitar solo discs, "The Perfect Stranger," and "The Yellow Shark," I find fascinating, exciting, and worthy of placement beside the works of other major late 20th century composers. I write this as a classically trained musician with a background in piano, theory, and musicology. Zappa loved (LOVED) name dropping Varese, Stravinsky, Webern, Takemitsu, and Penderecki, and in my opinion, his best music ranks with theirs.

His other music (read: anything with lyrics) I find about as scintillating, witty, and sardonically insightful as the latest opus by Weird Al Yankovic. This is the junk by which he made his fortune, and while I respect the demanding nature of much of it, it's also ephemeral, juvenile, utterly worthless stuff. Sadly, this is what attracts a lot of his fans, most of whom are not musicians and many of whom are fanatics who mistake FZ for a philosopher.

What does all this have to with this book? David Walley is obviously not a musician, and so his relentless references to the "complexity" of FZ's music and his inevitable references to Webern, et al., mar this book with the stupidity of the musically unlettered geek who tries to write about music. His attempts to write a "with-it," Zappa-esque book make his social commentary approximately as riveting as his attempts at musical analysis. His humor is heavy handed and usually annoying.

On the personal side, when he's not writing embarrassingly sycophantic psychobabble about Zappa, he does manage to reveal some interesting aspects of his subject. Zappa was a control freak who used and abused musicians, stole many of their ideas while crediting himself, endlessly recycled his own material rather than spend his time coming up with worthwhile new works, and, in three decades of near-constant labor, managed to produce only a handful of worthwhile discs. Not an appealing person. His annoyingly smug cynicism had a dark side; Steve Vai once claimed that he almost had a nervous breakdown after leaving Zappa's band, thanks to his own adoption of Zappa's startlingly bleak and nasty worldview. Apart from the (relatively little) good music, that is the man's legacy.

I hope someday a biographer will approach this subject responsibly and from a position of musical knowledge. In this book, we have an author with no knowledge of music who is blinded by his personal feelings both for and against his subject. From his early ecstatic proclamations of Zappa's genius ("philosopher"! "composer"! "social critic"! "film maker"! "scientist"!), he descends into a scathing attack in the afterword. Over three decades after its first appearance, this book remains as amateurish as its author's prose.

Summary of No Commercial Potential: The Saga Of Frank Zappa

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