About the only thing that I'll probably end up doing is I made this amplifier with Peavey. It's in the manufacturing stages right now, and there are a lot of orders that we just got for it.
And, you know, my dad would show me some things sometimes, but the best things that I got to do were to actually see really good players play up close. That gives you an idea of fingering and technique and what not.
As far as solo records, there's ten years between it. As far as other releases, there's, I don't know, four or five years between it.
As for Frank's music being difficult, yes it is. Most people don't understand that his music is very, very complex.
But I've done some soundtrack things with my brother for stuff, and I'm hoping to get into actual scoring. That's really where I'd like to end up.
But the reality is when you write a song, you should be able to strip away all the instruments and just have a song right there with an acoustic guitar and a voice, and the song should be good.
For me, the most difficult thing is that I am learning melodies on guitar from some songs whose melodies were not meant to be played on guitar. Ever. They were intended mostly for keyboards or melodic percussion.
Frank's bands could play the hardest stuff and make it seem like no big deal.
I know my name gets used illegally all the time all over the internet. You know, it is a trademarked name, so it will be something that we always have to deal with. I never needed to change it. It was always fine with me. It is a strange name; that's for sure.
I mean, no offense, but I don't really see why, like guitar players from Creed, or something like that, are on the cover of guitar magazines. Almost anybody can sit down and learn to play those songs.
I really want younger audience members to see kids in their early 20's playing Frank's music and to be inspired to take things to a higher level themselves.
I would love to expose multiple younger generations to Frank's music. It's not an easy task because It's not ever going to be plastered all over the radio for the masses.
I'm not going to be doing any touring.
I'm working still a bit on Lisa Loeb's new record, and that's going to be a great record when it finally gets a chance to come out.
In fact, musicianship is at an all time low, so anybody who's actually good at their instrument is probably unpopular at this particular moment.
It was spontaneously composed as I was playing it. And then I added a couple of other overdub textures on top of it after the fact. But it's one of those things where I wouldn't be able to sit down and specifically write that. That's just what came out.
Just because something has tubes doesn't mean it's the best. I mean, tubes are obviously good, but the circuit of this thing is designed well and it sounds good.
Music can be so disturbing and frustrating. I mean the business side of it. The actual making music part is fun, but the business side of it is just so out of control, has nothing to do with anything.
The music that is played on the radio all the time or written about in magazines has nothing to do with musicianship.
There are so many things that are misunderstood or not recognized about my father's music because they've been filtered by people who work for magazines like Rolling Stone.
There's no difference in a lot of people's minds between good musicians and popular musicians.
We will have close to 3 months of rehearsals to learn about 30 songs. Frank usually rehearsed a band for at least 3 months. If it took him that long to be comfortable we probably would need double the amount, but It's just not financially possible to do so.
Well, I haven't been doing that much work with other people per se. I started doing more of that.
Well, Steve Vai joined my dad's band right around the time when I actually started playing guitar. So he gave me a couple of lessons on fundamentals, and gave me some scales and practice things to work on. But I pretty much learned everything by ear.
While it is true that Frank had a great sense of humor, he was also very serious about composing music. In reality there are only a handful of skilled players who can play his most complex pieces. It takes a lot of patience to learn and requires a fantastic memory.
Yes, but I view Frank's music as fully composed. In other words, the arrangements can work for any idiom such as a rock band or an orchestra. Frank was a brilliant arranger and could make his music work in any context. He proved that tour after tour and album after album.
Dweezil wants to do more cartoon and voice-over work, citing that he is entertained by that aspect of the business.
Dweezil was commisioned to record a version of 'You're a Mean Man, Mr. Grinch' to be put on the soundtrack for the Ron Howard re-make of How The Grinch Stole Christmas. The song was not used, and Dweezil couldn't let it go to waste, so he gathered up some of his other songs, and put together Automatic.
Dweezil and brother Ahmet write and record music for the claymation heavy metal band 'Razor Cat', seen on the UPN network sitcom Gary and Mike Show.
Dweezil appeared with his sister Moon Unit, and fellow hard rocker Henry Rollins in the Michael Keaton movie Jack Frost in 1998.
Dweezil played the role of Simon, Molly Ringwald's friend in the John Hughes hit film Pretty in Pink.
Dweezil played the part of Stevie in the futuristic thriller starring Arnold Schwarzenegger movie The Running Man.
Dweezil plays the guitar in the music video for Don Johnson's top forty hit 'Heartbeat'.
Dweezil 's registered birth name was Ian Donald Calvin Euclid Zappa, The names of all his father Frank Zappa's band members. His parents tried to name him Dweezil, but the hospital refused to register that name. The name Dweezil is the name that Frank gave his wife Gail's pinky toe, for the odd way that it curled.
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