Ship Arriving Too Late to Save a Drowning Witch is an album by American musician Frank Zappa, released in May 1982 and digitally remastered in 1991. It features five tracks composed by Zappa, and one song, "Valley Girl", co-written with his daughter, Moon Zappa, then a teen, who provided the spoken monologue mocking Valley girls, including phrases like "Gag me with a spoon!". The album's first half consists of studio recordings, while the second half consists of live recordings. Production Side one was recorded at Zappa's Utility Muffin Research Kitchen studio at his home in Los Angeles; while side two consisted of live performances from Zappa's fall 1981 U.S. tour with studio overdubs. The live material was originally intended for a double album tentatively titled either Chalk Pie or Crush All Boxes II, which was scrapped after Zappa's record distributor requested a single album instead. The cover art for the album (from which it gets its name) shows the classic Droodle, by Roger Price. The shapes in the cover art also suggest the letters "ZA" (and "P", sideways), as in "Zappa". At the time of the album's production, Price was living nearby to Zappa. The phrase "Ebzen Sauce" in "No Not Now" is derived from "Epsom Salt", an alternative name for magnesium sulfate. This was apparently one of John Smothers's (Zappa's bodyguard) many malapropisms, which are also referred to in the song "Dong Work for Yuda" from Joe's Garage (1979). In the February 1983 issue of Guitar Player magazine, the song was said to have an "extremely distinctive bass line", which Zappa liked "because for people who don't understand what's going on in the rest of the song, there's always the bass line". "Valley Girl" – the second song on the album, and the song that would eventually become the album's single – was a combination of a guitar riff that Frank had composed, and a desire from his daughter, Moon, to work with her father. Musically, it is one of the most atypical Zappa tunes because of how relatively "normal" it is compared to other compositions, and is played entirely in 4/4 with the exception of the 7/4 groove at the very end. Tom Mulhern observed in Guitar Player that the "red-hot" guitar riff had actually been mixed "back in the mix", which Zappa explained was "because it conflict[ed] with the vocal part. And that red-hot-sounding guitar was just