Rhythmeen. Hands down best album of the RCA era. Of course that's my opinion, but I'm confident that I'm right in this instance more than others. Full of outstanding, thumping, tuned down, dirty blues-funk. ZZ Top, recognizing the brillance of the album, makes sure to play several tracks from the album to this day, right?
Wrong! Billy has repeatedly stated that the band considers the album one of the band's greatest works. He loves the groove they found, and the consistency of the record. When asked to describe the sound they were looking to emulate on the new (sooner or later) album he cited Tres Hombres and Rhythmeen.
During the 1996 Continental Safari tour and 1997's Mean Rhythmeen tour the band alternated through seven of the tracks. Then that's it. The only song to appear again is Bang Bang Shang Alang - 1999, 2002, and most recently early 2007. What the hell?! Where is the love.
The songs are not overly difficult to perform live, especially considering the basic nature of the recordings - drums, bass and fuzzy, low guitar. Fans, true fans, continued to support the band in the RCA era. There are thousands upon thousands who would absolutely love to hear some of these tracks live again.
How about Hairdresser, or Pretty Head. Seriously, Rhythmeen or She's Just Killing Me would be amazing. I bet 100,000 people would give their right arm to hear Dusty belt our "Loaded", the closest thing to cock-rock the band has ever done, over Tush. I understand, maybe they love Tush, and it's their prerogative to play whatever they like. I get it. But mix it up a just a little, maybe pay tribute to a tremendous album that doesn't get the credit it deserves.
- ZZ Blues
Monday, September 28, 2009
Monday, September 21, 2009
Off to Europe / Asia
Well, the Top have finished their current stint, which came to be as the lovechild of Aerosmith/ZZ's blockbuster Summer tour, in Reading PA and are on their way to Singapore. The past four or five weeks saw a number of dusted off classics, to include: Party on the Patio, My Head's in Mississippi (partially played), Brown Sugar, Mexican Blackbird, and most exciting in my opinion, a rare appearence of Dust My Broom.
The overseas tour holds several exciting possibilities: even more additional dusted off tunes, new venues that ZZ is believed to have never played before, and exciting shows in front of Top starved fans. It could be said that the band tours the US a little too much, pretty much non stop since early 2007. This has been at the detriment of a new album, and hopefully the band has not become uncomfortable and insecure with their chops at songwriting. I am hopeful the band returns to the studio upon the end of their European jaunt, and finally focuses on laying down new tracks.
Lastly, "Double Down Live" should prove to be an excellent release. I will comment further on the set as it nears its release date.
The overseas tour holds several exciting possibilities: even more additional dusted off tunes, new venues that ZZ is believed to have never played before, and exciting shows in front of Top starved fans. It could be said that the band tours the US a little too much, pretty much non stop since early 2007. This has been at the detriment of a new album, and hopefully the band has not become uncomfortable and insecure with their chops at songwriting. I am hopeful the band returns to the studio upon the end of their European jaunt, and finally focuses on laying down new tracks.
Lastly, "Double Down Live" should prove to be an excellent release. I will comment further on the set as it nears its release date.
Monday, September 14, 2009
Afterburner
1985. Afterburner. The Eliminator takes flight.
Dusty once referred to Eliminator and Afterburner being one album, i.e. Afterburner merely an extension of the former. I think they are quite different. Different goals, different concepts, different sounds.
The effect of Eliminator was hundreds of thousands of new fans, millions. The album eventually went Diamond (10 million sold). It was one of the first albums to be certified with this status. I would surmise Warner Brothers, and perhaps the band to a slightly lesser extent, wanted to capitalize on the wave of success and continue with another giant record. Afterburner was born.
Following a show in London in late November '83 the band returned to the US and set about to try to follow up Eliminator. Luckily there were still some creative and progressive ideas in Billy's mind and songs began to form.
Eliminator featured synthesizers. Many fans cried foul. Afterburner added sequencers to the synthesizers. Many fans bailed out altogether.
A number of top hits came from the album. "Sleeping Bag", "Rough Boy", "Velcro Fly" and "Stages" all hit the top 10. These songs formed the basis of the record. There are lesser quality songs as well. "Can't Stop Rockin'" was a tune originally composed and demoed during the Eliminator recordings, but was deemed too simplistic and was shelved. "Delirious" was a throw away tune from the "Deguello" period, originally a trippy freak out piece. "Woke Up With Wood" is catchy, but ultimately an exercise in guitar practice. "I Got the Message" is perhaps the most keyboard driven and 80's synthesizer induced song the band ever did, sounding unlike anything else in their history. "Dipping Low" is extremely similar to "Gimme All Your Lovin'", too much so. "Planet of Women" is awesome however, and the space out guitar intro reminds the listener of how inventive Billy can be in the studio.
Despite my critique, I love the album. Billy went into the studio knowing exactly what sound he was looking for, and exactly what sound he needed to make to sell more records. The band would not record another album for five years. In my opinion they never fully recovered from Afterburner, and in the years following the album the group lost their identity. Should they make a record to satisfy their '80's fans, to satisfy the fans that were there from day one, or satisfy themselves? Not until 1996's Rhythmeen did the band regain the confidence and swagger to push the envelope and do what they wanted to again. Sadly Rhythmeen did not move copies anywhere near Afterburner.
The 80's truly were the bands heyday, but at what cost. Personally I could not imagine Eliminator and Afterburner not existing, and enjoy the atmosphere and image the songs create. They are extremely different from the 70's version and 90's version of the band, and this stark contrast in music is perhaps unmatched by any other recording artist. Let it be said, when Billy puts his mind to it, he can make and compose any sound/concept/record he wants. When the Rolling Stones and Neil Young were perfecting country rock, what did ZZ do? Tejas of course.
Dusty once referred to Eliminator and Afterburner being one album, i.e. Afterburner merely an extension of the former. I think they are quite different. Different goals, different concepts, different sounds.
The effect of Eliminator was hundreds of thousands of new fans, millions. The album eventually went Diamond (10 million sold). It was one of the first albums to be certified with this status. I would surmise Warner Brothers, and perhaps the band to a slightly lesser extent, wanted to capitalize on the wave of success and continue with another giant record. Afterburner was born.
Following a show in London in late November '83 the band returned to the US and set about to try to follow up Eliminator. Luckily there were still some creative and progressive ideas in Billy's mind and songs began to form.
Eliminator featured synthesizers. Many fans cried foul. Afterburner added sequencers to the synthesizers. Many fans bailed out altogether.
A number of top hits came from the album. "Sleeping Bag", "Rough Boy", "Velcro Fly" and "Stages" all hit the top 10. These songs formed the basis of the record. There are lesser quality songs as well. "Can't Stop Rockin'" was a tune originally composed and demoed during the Eliminator recordings, but was deemed too simplistic and was shelved. "Delirious" was a throw away tune from the "Deguello" period, originally a trippy freak out piece. "Woke Up With Wood" is catchy, but ultimately an exercise in guitar practice. "I Got the Message" is perhaps the most keyboard driven and 80's synthesizer induced song the band ever did, sounding unlike anything else in their history. "Dipping Low" is extremely similar to "Gimme All Your Lovin'", too much so. "Planet of Women" is awesome however, and the space out guitar intro reminds the listener of how inventive Billy can be in the studio.
Despite my critique, I love the album. Billy went into the studio knowing exactly what sound he was looking for, and exactly what sound he needed to make to sell more records. The band would not record another album for five years. In my opinion they never fully recovered from Afterburner, and in the years following the album the group lost their identity. Should they make a record to satisfy their '80's fans, to satisfy the fans that were there from day one, or satisfy themselves? Not until 1996's Rhythmeen did the band regain the confidence and swagger to push the envelope and do what they wanted to again. Sadly Rhythmeen did not move copies anywhere near Afterburner.
The 80's truly were the bands heyday, but at what cost. Personally I could not imagine Eliminator and Afterburner not existing, and enjoy the atmosphere and image the songs create. They are extremely different from the 70's version and 90's version of the band, and this stark contrast in music is perhaps unmatched by any other recording artist. Let it be said, when Billy puts his mind to it, he can make and compose any sound/concept/record he wants. When the Rolling Stones and Neil Young were perfecting country rock, what did ZZ do? Tejas of course.
Saturday, September 12, 2009
Set List Surprises!
Check this out - Unconfirmed set list from Roanoke, 09/11/09 show.
Got Me Under Pressure
Waitin' For The Bus
Jesus Just Left Chicago
Pincushion
I'm Bad, I'm Nationwide
Walking Blues (Need to confirm actual title)
Cheap Sunglasses
Mexican Blackbird
My Head's In Mississippi
I Need You Tonight
Foxy Lady
Brown Sugar
Party On The Patio
Just Got Paid
Gimme All Your Lovin'
Sharp Dressed Man
Legs
La Grange
Tush
Freakin' sweet! "My Head's In Mississippi", "Party On the Patio", "Brown Sugar" and "Mexican Blackbird".
I was hoping to attend this show, but it wasn't in the cards. Needless to say it's simply awesome to see some of this songs make an appearance. "Mississippi" to my knowledge has not been played since 1991!
Got Me Under Pressure
Waitin' For The Bus
Jesus Just Left Chicago
Pincushion
I'm Bad, I'm Nationwide
Walking Blues (Need to confirm actual title)
Cheap Sunglasses
Mexican Blackbird
My Head's In Mississippi
I Need You Tonight
Foxy Lady
Brown Sugar
Party On The Patio
Just Got Paid
Gimme All Your Lovin'
Sharp Dressed Man
Legs
La Grange
Tush
Freakin' sweet! "My Head's In Mississippi", "Party On the Patio", "Brown Sugar" and "Mexican Blackbird".
I was hoping to attend this show, but it wasn't in the cards. Needless to say it's simply awesome to see some of this songs make an appearance. "Mississippi" to my knowledge has not been played since 1991!
Saturday, September 5, 2009
ZZ Top - Live at The Marquee, London, October 16 1983
Things are quiet mostly, although the Top did get back on the road last night. Good time to review a show.
The Marquee, London October 16, 1983
Performance: 10
Enthusiasm: 10
Sound: 7+
From the beginning you can tell this is a smaller venue. Sounding as if they are playing in front of 10 people, Billy walks up to the mike and utters a few words. Immediately they launch into "Thunderbird". Rarely played during this period, and always awesome to hear. Great opener and a sign of the loose structure to follow. Next up is "Got Me Under Pressure" played with strength and vitality. 1983 is the last year where Billy really ripped it up and shredded his guitar, playing with amazing speed and fluency. His yells and shouts off mike indicate his excitment. Followed closely by "I Got the Six". Arguably the most suggestive song in the band's arsenal. Not something you would want to hear 60 year olds play, but at the time the boyzz were 34. Short and punchy. Apparently someone in the audience encourages the band to do some sit-ups (?). Billy replies "How bout Waitin for the Bus" and immediately launches into the tune. After "Jesus Just Left Chicago" the next surprise is "Francine". Again a rarely played gem during this tour and period, the second half is sang in Spanish, just like the single back in 1972. Awesome. "Sharp Dressed Men" is played with a sharp and intricate solo. You'll notice this is the last song from Eliminator played during the concert, and notably absent is "TV Dinners" and "Gimme All Your Lovin". "Legs" was not played until 1985. Dusty lights it up on "Heard It On the X". Billy introduces some blues and "I Loved a Woman" is sang with gusto by Dusty. Billy quotes "He doesn't do that every night" but that's a stretch as the song was played often during the autumn of '83.
Next is the single best, and most unique, version of "Pearl Necklace" I have ever heard. The song is normal in its performance until the 2:25 minute mark, where the hammer drops. What follows is over three minutes of pumping, driving, aggressive jamming from all three members. Frank pounds out the rhythm with force (his playing throughout the show is excellent) and Billy goes back and forth between single lead and power chords. One of the most spontaneous moments in the band's history I have come across. Normally the song's abrupt stop occurs around 3:40 minutes, but the end this time doesn't drop until approx 5:45. Hell yeah.
Billy lectures the crowd: "You don't have to be polite to us tonight...God-dammit...we came here to tear this house down". "Beer Drinkers and Hell Raisers" comes out strong, but as usual this song is short and rushed. "Arrested For Drivin While Blind" is one of my favorite live tunes, and this version doesn't disappoint, stretched in it's usual fashion. "Party On The Patio" features Dusty at his lyrical and theatrical best.
Encores consists of "Tube, Jailhouse, Grange and Tush". "La Grange" is played very aggressively, and Billy rips it up. "Tush" has Dusty giving it his all, and he screams his head off at the finale.
*****
Many fans lament the Eliminator tour, touting it as the beginning of the end of the band's classic live sound and feel. I agree the music, Billy's comments, the atmosphere and personal connection of the show, and the sound changed permanently around this time. But this particular show, in this small venue, sounds like ZZ from 1977. Again Billy yells and screams off mike throughout the show, and his playing is lightning quick. In conclusion, this show rocked. Have mercy.
The Marquee, London October 16, 1983
Performance: 10
Enthusiasm: 10
Sound: 7+
From the beginning you can tell this is a smaller venue. Sounding as if they are playing in front of 10 people, Billy walks up to the mike and utters a few words. Immediately they launch into "Thunderbird". Rarely played during this period, and always awesome to hear. Great opener and a sign of the loose structure to follow. Next up is "Got Me Under Pressure" played with strength and vitality. 1983 is the last year where Billy really ripped it up and shredded his guitar, playing with amazing speed and fluency. His yells and shouts off mike indicate his excitment. Followed closely by "I Got the Six". Arguably the most suggestive song in the band's arsenal. Not something you would want to hear 60 year olds play, but at the time the boyzz were 34. Short and punchy. Apparently someone in the audience encourages the band to do some sit-ups (?). Billy replies "How bout Waitin for the Bus" and immediately launches into the tune. After "Jesus Just Left Chicago" the next surprise is "Francine". Again a rarely played gem during this tour and period, the second half is sang in Spanish, just like the single back in 1972. Awesome. "Sharp Dressed Men" is played with a sharp and intricate solo. You'll notice this is the last song from Eliminator played during the concert, and notably absent is "TV Dinners" and "Gimme All Your Lovin". "Legs" was not played until 1985. Dusty lights it up on "Heard It On the X". Billy introduces some blues and "I Loved a Woman" is sang with gusto by Dusty. Billy quotes "He doesn't do that every night" but that's a stretch as the song was played often during the autumn of '83.
Next is the single best, and most unique, version of "Pearl Necklace" I have ever heard. The song is normal in its performance until the 2:25 minute mark, where the hammer drops. What follows is over three minutes of pumping, driving, aggressive jamming from all three members. Frank pounds out the rhythm with force (his playing throughout the show is excellent) and Billy goes back and forth between single lead and power chords. One of the most spontaneous moments in the band's history I have come across. Normally the song's abrupt stop occurs around 3:40 minutes, but the end this time doesn't drop until approx 5:45. Hell yeah.
Billy lectures the crowd: "You don't have to be polite to us tonight...God-dammit...we came here to tear this house down". "Beer Drinkers and Hell Raisers" comes out strong, but as usual this song is short and rushed. "Arrested For Drivin While Blind" is one of my favorite live tunes, and this version doesn't disappoint, stretched in it's usual fashion. "Party On The Patio" features Dusty at his lyrical and theatrical best.
Encores consists of "Tube, Jailhouse, Grange and Tush". "La Grange" is played very aggressively, and Billy rips it up. "Tush" has Dusty giving it his all, and he screams his head off at the finale.
*****
Many fans lament the Eliminator tour, touting it as the beginning of the end of the band's classic live sound and feel. I agree the music, Billy's comments, the atmosphere and personal connection of the show, and the sound changed permanently around this time. But this particular show, in this small venue, sounds like ZZ from 1977. Again Billy yells and screams off mike throughout the show, and his playing is lightning quick. In conclusion, this show rocked. Have mercy.
Tuesday, September 1, 2009
Double Down Live news
Check out this Billboard link for updated news regarding the Double Down Live set, scheduled for release 10/20/09.
http://www.billboard.com/#/news/zz-top-doubles-down-with-new-live-set-1004007805.story
http://www.billboard.com/#/news/zz-top-doubles-down-with-new-live-set-1004007805.story
Sanctify, Sanctify
Seeing as how ZZ's last record was Mescalero, released in 2003 (going on seven years ago!), and the fact the band is allegedly currently in the studio working on the new album, I reasoned reviewing "Sanctify", a bonus track off the Japan edition of Mescalero.
Listed as track number 17, Sanctify is of a conservative and familiar structure. Featuring a "well-ell" Elvis style vocal from Dusty to open proceedings, Billy comes in with a slightly distorted and somewhat thin guitar lead. Billy has vocal duties, and throughout the verses and chorus his voice is treated and altered electronically. Note this bending and "machining" of vocals was popular in pop music around this time (2002 - 2003). Guitar solo is nothing extraordinary, merely sufficient. A short sequence featuring backwards echo is used on the guitar lead near the end of the song, which is pleasing and adds a bit of flair. The outro solo is again sufficient, without breaking any creative or styling ground. The track is followed by the familiar "As Time Goes By" hidden track at the end of the U.S. version.
Sanctify is a satisfying song, nothing great. Its not "Isn't Love Amazing" in any stretch of the imagination. Better than Antenna's Mary's though.
Mescalero is a fantastic album, second only to Rhythmeen in the RCA era, in my opinion. The 17 tracks, plus the hidden track, results in almost 75 minutes of music. This is nearly double some ZZ albums. Maybe that's the reasoning behind waiting seven years to put out a new record. Either way, bring on the new music.
**
Agree with what I have to say? Disagree with my thoughts? Think I'm an idiot? Let me know! Comment with your own thoughts and opinions. This band creates a lot to talk about. Share your experiences!
**
Listed as track number 17, Sanctify is of a conservative and familiar structure. Featuring a "well-ell" Elvis style vocal from Dusty to open proceedings, Billy comes in with a slightly distorted and somewhat thin guitar lead. Billy has vocal duties, and throughout the verses and chorus his voice is treated and altered electronically. Note this bending and "machining" of vocals was popular in pop music around this time (2002 - 2003). Guitar solo is nothing extraordinary, merely sufficient. A short sequence featuring backwards echo is used on the guitar lead near the end of the song, which is pleasing and adds a bit of flair. The outro solo is again sufficient, without breaking any creative or styling ground. The track is followed by the familiar "As Time Goes By" hidden track at the end of the U.S. version.
Sanctify is a satisfying song, nothing great. Its not "Isn't Love Amazing" in any stretch of the imagination. Better than Antenna's Mary's though.
Mescalero is a fantastic album, second only to Rhythmeen in the RCA era, in my opinion. The 17 tracks, plus the hidden track, results in almost 75 minutes of music. This is nearly double some ZZ albums. Maybe that's the reasoning behind waiting seven years to put out a new record. Either way, bring on the new music.
**
Agree with what I have to say? Disagree with my thoughts? Think I'm an idiot? Let me know! Comment with your own thoughts and opinions. This band creates a lot to talk about. Share your experiences!
**
Subscribe to:
Posts (Atom)