In his teens, he acquired a taste for percussion-based avant-garde composers such as Edgard Varèse and 1950s rhythm and blues music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands—he later switched to electric guitar. He was a self-taught composer and performer, and his diverse musical influences led him to create music that was often impossible to categorize. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. His later albums shared this eclectic and experimental approach, irrespective of whether the fundamental format was one of rock, jazz or classical. He wrote the lyrics to all his songs, which—often humorously—reflected his iconoclastic view of established social and political processes, structures and movements. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech and the abolition of censorship.
Like many of the songs on We're Only in It for the Money, "Absolutely Free" criticizes the hippie movement and the Summer of Love. The song's lyrics are a parody of psychedelia, especially the idea of expanding one's consciousness through the use of drugs. To this end, the song frequently mentions the word "discorporate", which is explained by Zappa in the spoken introduction to the song ("The first word in this song is discorporate. It means to leave your body"). The lyrics also reference the song "Mellow Yellow" by singer-songwriterDonovan, who is often associated with the hippie movement ("The dreams as they live them are all mellow yellow").
Apostrophe (’) is an album by Frank Zappa, his eighteenth, released on April 22, 1974 in both stereo and quadraphonic formats. An edited version of its lead-off track, “Don’t Eat the Yellow Snow”, was Zappa’s first chart single, reaching position 86. Apostrophe (’) was Zappa’s biggest commercial success, reaching number 10 on the Billboard charts and going gold on March 7, 1976.
Continuing from the commercial breakthrough of Over-Nite Sensation (1973), this album is a similar mix of short songs showcasing Zappa’s humor and musical arrangements. The record’s lyrical themes are often bizarre or obscure, with the exception of “Uncle Remus” which is an extension of Zappa’s feelings on racial disharmony featured on his earlier song "Trouble Every Day".