Fed up with the lack of financial means his career had brought him so far, in Zappa took a new approach to his albums, that was much more in line with what the general public expected of a rock artist. Instead of the recent albums, most of them either instrumental or bizarre story telling pieces, Zappa adapted the normal compiling of an album: a set of songs with lyrics, limited in size, without lengthy soloing. Besides that he took more sight of the spotlights by starting to sing most of his songs himself as far as his voice allowed him to do so. Because he had a limited vocal range, the more versatile parts still had to be sung by others.
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Love it or hate it, Over-Nite Sensation was a watershed album for Frank Zappa , the point where his post-'60s aesthetic was truly established; it became his second gold album, and most of these songs became staples of his live shows for years to come. Whereas the Flo and Eddie years were dominated by rambling, off-color comedy routines, Over-Nite Sensation tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa 's growling new post-accident voice takes over the storytelling.
Zappa often protested that the charges of misogyny leveled at such material missed out on the implicit satire of male stupidity, and also confirmed intellectuals' self-conscious reticence about indulging in dumb fun; however, the glee in his voice as he spins his adolescent fantasies can undermine his point.
Indeed, that enjoyment, also evident in the silly wordplay, suggests that Zappa is throwing his juvenile crassness in the face of critical expectation, asserting his right to follow his muse even if it leads him into blatant stupidity ironic or otherwise.
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Forty years ago, Frank Zappa reminded us once again of his status as rock's top arch-ironist by naming his 17th album 'Over-nite Sensation. But after controversially disbanding the original Mothers in , and then being attacked on a London stage two years later, a wheelchair-bound Zappa had spent the better part of composing instrumental, orchestral and big-band music for what became known as 'The Grand Wazoo. So it wasn't until the sessions for 'Over-nite Sensation' began, in March , that an almost fully recovered Zappa started behaving like his old self again, revealing itself in the album's updated interpretation of the old Mothers aesthetic -- even though only multi-instrumentalist Ian Underwood remained from the '60s lineup. Alongside his wife and percussionist Ruth, keyboardist-vocalist George Duke and a new generation of supporting musicians, Underwood was unknowingly serving Zappa's vision for defining the sound that would carry him through much of the '70s. That sound pushed Zappa's formidable guitar playing to the fore, along with his increasingly graphic sexual comedy in contrast to the politicized lyrics of the '60s , while his typically adventurous, genre-crossing creations were performed by professionally trained, sight-reading musicians capable of executing whatever Zappa threw at them with the utmost ensemble precision something the original Mothers could never do to their leader's satisfaction.
40 Years Ago: Frank Zappa Releases ‘Over-nite Sensation’
It was followed by Zappa's solo album Apostrophe ' , which was recorded during the same sessions. Ike listened to the tape and responded "What is this shit? The recording sessions which produced Over-Nite Sensation also produced Zappa's followup, Apostrophe ' ,  released as a solo album rather than a Mothers of Invention release. Much of the album's lyrics deal with sex. On other topics, "I'm the Slime" criticizes television, and the playful and musically adventurous "Montana" describes moving to Montana to grow dental floss.
Frank Zappa Overnite Sensation