Sheik Yerbouti: forty years old and raunchy as ever, for better or for worse

March 2019 sees the 40th anniversary of one of the most controversial records by the free-thinking guitar virtuoso Frank Zappa, Sheik Yerbouti (1979). The double disc, part-studio, and part-live record was the first release on Zappa’s own imprint, Zappa Records, and is often recognized for its extremely comedic, largely offensive lyrical content (not to mention the album’s title), a hallmark of much of its composer’s work. 

Now, just to put any bias at the forefront, I would definitely call myself a big fan of Frank Zappa. I like his sense of humor, his outspoken support of free speech, and his capabilities as a songwriter and a guitar player. But, I will also be the first to admit that he was sort of an asshole, and a lot of his work didn’t age well. Sheik Yerbouti is a prime example of this, a record that stands the test of time, but which also must reckon with a changing world.

Strictly musically speaking, I wouldn’t hesitate to call this album a masterpiece. Our pal Frank knew how to write everything from aurally offensive weird-rock to ridiculously catchy pop, all of which is encompassed here. “I Have Been in You,” a Peter Frampton diss, features over-the-top harmonies and earworm-worthy riffing, showcasing Zappa’s talent for composition all at once. “Bobby Brown” is the catchiest of the bunch, probably the most radio-friendly thing he ever wrote, except for the fact that it was banned from airplay in the US due to its controversial, sexually explicit lyrics. However, from what I understand, it’s still crazy popular in Europe to this day. “Yo’ Mama,” the twelve-minute banger that closes off the record, checks all the boxes, featuring a huge solo that is as noisy and angular as it is wonderful, not to mention some big cheesy synths and driving, almost prog-sounding rhythms.

Lyrically, however, is where there’s some reckoning to be had. Much of the album is your typical goofy Zappa fare, such as “Broken Hearts are for Assholes,” which really just comes off as laughable buffoonery, maybe slightly mean-spirited, but in a way that anyone could shrug off. However, two repeat offenders, namely “Bobby Brown” and “Jewish Princess” are what keep this record from aging into the future.

The former tells of a macho, jock-type male character who somehow has an encounter with a lesbian woman that essentially emasculates him, leaving him as an uncomfortable caricature of male homosexuality. At first, it feels like Zappa is taking a piss on misogynistic boneheads, which most of us wouldn’t hesitate to call some singalong-worthy lyrical content. However, the unfortunate punchline doesn’t really fall on macho males, but instead the LGBT community. The song’s namesake is meant to be scoffed at, but towards the end,  the reason listeners are supposed to laugh at him is that he’s gay, not because he’s treating women in a less than ideal way. This is especially ironic as Zappa is usually regarded as a champion of sexual freedom, except for when he’s discussing the private lives of gay males, in which case they become little more than a caricature and a punchline.

The latter essentially is a collection of stereotypes regarding Jewish women, which I’m sure Zappa thought he was singing to challenge the ideas that “squares” held about free speech or something like that, or maybe it was just meant to be provocative, but either way, it doesn’t hold up. I feel like, at this point in history, most of us can make better use of our time spent listening to music than laughing along with Frank Zappa at the expense of Jewish women.

All told, Sheik Yerbouti is a musical masterpiece. I own it and listen to it fairly frequently. However, I don’t feel comfortable backing it on all fronts, as it really just falls into poor taste too often to completely hold up forty years after it was written. Do I recommend it? Yes, I do — but with a catch. As listeners, we can vote with our dollars and choose to be conscious about what we listen to, and in this case, we should be aware that we’re dealing with a flawed genius, who was, frankly, sort of an insensitive asshole.

Article by Kieran Zimmer