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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. While the music is some of Zappa's most accessible, the apparent callousness and/or stunning sexual explicitness of "Camarillo Brillo," "Dirty Love," and especially "Dinah-Moe Humm" leave him on shaky aesthetic ground.
http://www.allmusic.com/album/over-nite-sensation-mw0000312569

The musically similar follow-up to the commercial breakthrough of Over-Nite Sensation, Apostrophe became Frank Zappa's second gold and only Top Ten album with the help of the "doggy wee-wee" jokes of "Don't Eat the Yellow Snow," Zappa's first chart single (a longer, edited version that used portions of other songs on the LP). The first half of the album is full of nonsensical shaggy-dog story songs that segue into one another without seeming to finish themselves first; their dirty jokes are generally more subtle and veiled than the more notorious cuts on Over-Nite Sensation. The second half contains the instrumental title cut, featuring Jack Bruce on bass; "Uncle Remus," an update of Zappa's critique of racial discord on "Trouble Every Day"; and a return to the album's earlier silliness in "Stink-Foot." 
http://www.allmusic.com/album/apostrophe--mw0000073616