Answer the question at the end by quoting:

The Mothers of Invention were an American rock band from California that served as the backing musicians for Frank Zappa. Formed in 1964, their work is marked by the use of sonic experimentation, innovative album art, and elaborate live shows. Originally an R&B band called the Soul Giants, the band's first lineup included Ray Collins, David Coronado, Ray Hunt, Roy Estrada and Jimmy Carl Black. Zappa was asked to take over as the guitarist following a fight between Collins and Coronado, the band's original saxophonist/leader.
The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa's famous hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby". Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. The cover photo parodied that of the Beatles' Sgt Pepper's Lonely Hearts Club Band, its art provided by Cal Schenkel whom Zappa had met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums. Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa has noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and cliches of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song.

What members did they have during that time?

Answer the question at the end by quoting:

Devika Rani Chaudhuri, usually known as Devika Rani (30 March 1908 - 9 March 1994), was an actress in Indian films who was active during the 1930s and 1940s. Widely acknowledged as the first lady of Indian cinema, Devika Rani had a successful film career that spanned 10 years. Born into a wealthy, anglicized Indian family, Devika Rani was sent to boarding school in England at age nine and grew up in that country. In 1928, she met Himanshu Rai, an Indian film-producer, and married him the following year.
Najm-ul-Hassan was also Devika's co-star in the studio's next venture, Jeevan Naiya. The two co-stars developed a romantic relationship, and during the shooting schedule of Jeevan Naiya, Devika eloped with Hassan. Himanshu was both enraged and distraught. Since the leading pair were absent, production was stalled. A significant portion of the movie had been shot and a large sum of money, which had been taken as credit from financers, had been spent. The studio therefore suffered severe financial losses and a loss of credit among bankers in the city while the runaway couple made merry. Sashadhar Mukherjee, an assistant sound-engineer at the studio, had a brotherly bond with Devika Rani because both of them were Bengalis and spoke that language with each other. He established contact with the runaway couple and managed to convince Devika Rani to return to her husband. In the India of that era, divorce was legally almost impossible and women who eloped were regarded as no better than prostitutes and were shunned by their own families. In her heart of hearts, Devika Rani knew that she could not secure a divorce or marry Hassan under any circumstances. She negotiated with her husband through the auspices of Sashadhar Mukherjee, seeking the separation of her finances from those of her husband as a condition for her return. Henceforth, she would be paid separately for working in his films, but he would be required to single-handedly pay the household expenses for the home in which both of them would live. Himanshu agreed to this, in order to save face in society and to prevent his studio from going bankrupt. Devika Rani returned to her marital home. However, things would never be the same between husband and wife again, and it is said that thenceforth, their relationship was largely confined to work and little or no intimacy transpired between them after this episode. Despite the additional expense involved in re-shooting many portions of the film, Himanshu Rai replaced Najm-ul-Hassan with Ashok Kumar, who was the brother of Sashadhar Mukherjee's wife, as the hero of Jeevan Naiya. This marked the debut, improbable as it may seem, of Ashok Kumar's five-decade-long career in Hindi films. Najm-ul-Hassan was dismissed from his job at Bombay Talkies (this was the period in which actors and actresses were paid regular monthly salaries by one specific film studio and could not work in any other studio). His reputation as a dangerous cad established, he could not find work in any other studio. His career was ruined and he sank into obscurity.

Was there a problem with them eloping?
Devika Rani returned to her marital home.