Chords for Why Frank Zappa Loved Doo Wop

_ _ [Ab] Earth angel, [Fm] earth angel, _ [Db] _ will [Eb] you be _ [Ab]
mine?
_ My [Fm] darling dear, [Db] _
love [Eb] you all the time.
[Ab] _
It was a music [F] born of their [Db] circumstances.
_ [Eb] One of the circumstances, the [Cm] lack of instruments.
It was also [Eb] part of a way of social networking.
_ It was a non-violent alternative to street gangs, which some of them were also in. _
_ It was just part of the social network of life in post-World War II America,
in _ urban settings for African American young men.
It was drawing from previous traditions, which weren't necessarily a cappella.
For instance, with the Cadillacs, their most famous ballad is called Gloria.
And that was based on a recording that they knew by the Mills Brothers.
So it was a pop record created through the filter [B] of singing on the street [F] corner.
_ _ [Dm] _ _ _ _ _ [Gm] _
Gloria is not [C] _ Jerry. _
_ [F] _ _ _ [Am] _ _ [Dm] _ _
Gloria, [Gm] _ she's [Bb] _ not [C] _ lost.
Doo-wop was incredibly simple [D] music.
_ Musicians who had to play behind them constantly complained about the three chord changes,
the candy chord changes they always had to _ _ _ use _ in doo-wop songs.
And hundreds of doo-wop songs had the same three chord changes.
_ And if you talk to musicians from the period, they said it was [Eb]
staggeringly [Fm] simple and stupid.
[Bb] _ _ _ [Gm] _
_ _ [Cm] _ _ _ [F] _ _ _
[Bb] _ _ _ _ [Gm] _ _ [Cm] _ _
_ [F] _ _ _ [Bb] _ _ _ _
[Gm] On [Cm] _ _ _ _ [F] _ _
_ [G] the other [Cm] hand, if you listen to [C] the way they blended their [Bb] voices,
[Gm] there was a lot of musical [Cm] creativity.
It _ [Bb] wasn't complex music to play, but I think it was complex music to sing.
[E] _
_ [F] _ _ _ [Dm] _ _ _
[Gm] Despite the huge success [C] of doo-wop bands and young [F] stars such as Frankie Lymon,
and a revival of [Dm] the genre in the early 60s,
[Gm] notable for a host of Italian-American and all-white vocal [F] groups,
its position at the forefront of the [D] mainstream was not [Gm] to last.
_ _ [E] _
_ _ [F] February 1964, the Beatles [Gm] come to America, the British [Eb] invasion,
and [C] that really sort of was the end [F] of the first part of rhythm and blues.
Motown groups still used harmony, but it was no longer the focus of the sound.
_ _ _ [E] _ Eventually, the lead singers of those groups are really what you listen to,
Diana Ross and the Supremes, right?
And even with the Temptations, where you had a couple different lead singers,
they were really the focus of what you were hearing.
The legacy is in there, and even with the English groups,
you know, the Beatles, they were big fans of the Coasters and a lot of those groups.
And so you hear those harmonies, but just as important were the guitars.
_ It became a thing of the past.
_ And so by the end of that decade, doo-wop _ became synonymous with nostalgia [Gb] for the 50s.
[Eb] That music was so pure and for real,
and it was no more than just good old American music, man.
It's music that you could fall in love to, it was music that you could dance to,
you can relate to the lyrics, would fit your [G] situation,
and it was [Bb] good times, happy times, you know?
_ [G] _ [Eb] _ _ _ _ _
_ _ _ _ _ _ _ _
_ Not a yuppie call me speedo, but my real name is Mr. _ _ _ _
_ _ _ It was just something that everybody could relate to, you know,
lyrics-wise, most of the songs, _ and the love things.
I mean, everybody [Abm] was in love at that time, or thought they were.
_ I remember the girl I used to go with, man.
Yeah, right?
Yeah, things like that.
Oh, I was so in love when that song came out.
And it relates to a part of your life, really, that [C] you were doing at the time.
And everything just seems to fall right in place.
_ _ [D] And it was this very particular [E] sound that Zappa would often turn to,
[G] adding yet another string to his musical [Dm] bow.
[G] Although from Freak Out onwards,
doo-wop was a genre [Db] that Zappa would often throw into the mix,
with 1968's Cruising [D] With Reuben and the Jets,
he [Eb] even produced an entire album's worth [Em] of vocal harmony material.
[Dm] To some, his experiments with doo-wop have been seen as pure satire,
but this was in fact a musical form for which he [B] had a very [Bb] real affection.
[E] True adoration is not frightened of being [Gb] silly,
and [C] people confuse that with [Em] having a sarcastic
or negative attitude towards the material.
[N] And I don't think there is that in Frank's attitude [G] towards doo-wop.
I think he completely [Db] adored it and totally embraced its silly aspects
as something that he _ loved and wanted other people to love as well.
It was the music of his youth. _
I think, like so many people who were fans of doo-wop,
there's something about it, the music, that really speaks of sort of being young,
[Ab] sort of the desire and the yearning of _ _ _ being a young person.
_ And I think he [Bm] connected with that.
He was somebody who got into this really sophisticated kind of music,
but I think he probably had this sort of sentimental side in a way,
and he heard that music and it really touched something inside of him.
And he also used it to [Gb] comic effect.
Like on _ one of my favorite albums, _ Brilliant For The Money,
there was a song called What's The Ugliest Part Of Your Body?
I don't know if you know this song, but it's kind of [Eb] a doo-wop song.
And for those musicians brought into the mothers of invention
[D] who had classical backgrounds, doo-wop was both uncharted territory
and also for some a challenge to their concepts of taste.
Totally not my schooling, totally _ no information on my part
about where it came from, what it was,
but really a lot of fun to play and to do.
_ _ _ [G] _ _ _ [Em] _ _ _ _ _ [Am] _
_ _ _ _ [Em] _ _ _ [G] _
_ _ [Em] _ _ _ _ _ [Am] _
_ _ [D] _ _ _ _ [G] _ _