Wednesday, October 28, 2009

Show Review - 08/17/1985 - Monsters of Rock

This show, along with the Rockaplast show in 1980 and perhaps the New Jersery performance in 1980, is probably the most well known and readily available live recording of the band. ZZ played the show in 1983 but came back in 1985 to headline. This show will go down as one of the most poignant, transitional, exciting and experimental concerts in the bands tenure.

Sound: A
Performance: A
Setlist: A

Got Me Under Pressure
I Got the Six
Gimme All Your Lovin
Waitin For the Bus
Jesus Just Left Chicago
Sharp Dressed Men
Ten Foot Pole
TV Dinners
Manic Mechanic
Heard It On the X
I Need You Tonight
Pearl Necklace
Cheap Sunglasses
Arrested For Driving While Blind
Party On the Patio
Legs
Tube Snake Boogie
Can't Stop Rockin
La Grange
Tush

The soon to be obligatory show opener for the next 25 years (with a few intermittent exceptions), "Got Me Under Pressure" is an exciting and energetic piece at this early stage, having emerged as a strong track in the shadow of the Eliminator trilogy and proving to be an exciting show opener. Next up is the band's final performance of "I Got The Six". By this time the boyzz were 36 years old, and the subject matter of the song may be questionable in approach and taste for men well into adulthood. Nevertheless it's fun to hear and notable for it's last public rendition. Following is "Gimme All Your Lovin'" which is great to hear outside of the now custom "Gimme", "Sharp" and "Legs" three in a row trifecta. Despite the possible over-saturation of the song at this point, the crowd is estactic. Billy comments "an old one" just prior to the opening of "Waitin For the Bus" and "Jesus Just Left Chicago". These songs are unremarkable as usual, and have seen little variation in over 35 years of live performances. "Sharp Dressed Men" is brutal in its sonic assualt as it pummels the crowd with thundering bass and lightning fast guitar. Interestingly it appears the song is lip-synched even at this very early stage. From Billy's singing throughout the show it would appear that he could have maintained the high pitch of the song, but perhaps he was unhappy with the way his voice sounded live. It has defienetly been lip-synched for the past 15 years as Billy's voice is no longer clear and clean enough to sing the number. "Ten Foot Pole" follows. This song is an excellent example of the change in the purpose and intent of the band's live show. Beginning in 1983 and continuing aggressively in 1985 the bands live performances shifted from being about the musicical prowness, sound and skill into a focus on entertaining, engaging and dare I say patronizing the audience. In 1981 "Ten Foot Pole" was a powerhouse, culminating in an often 2 1/2 minute plus outro guitar solo from Billy, full of aggressive, fluent and difficult guitar structures and chords. In 1985 the song is performed more as entertainment, a unique type of song to break up the monotomy of a normal song design. The outro solo is rigid and predictable, played the same night after night, and much shorter in length coming in at approx one minute. I imagine this type of change is what people mean when they lament the change from the "old ZZ Top sound" into the clean and polished '80's sound. This show serves as the final performance of "TV Dinners", a good album track but never really convincing live. "Manic Mechanic" is next, fun to listen to but also normal in it's delivery. "Heard It On the X" is very fast as usual, and travels over the audience's head like a tsunami.

What follows next changes this show from special to very special. An isolated performance of "I Need You Tonight" is rendered in all its glory. It has not been played live before, and will not be played live again until 2008 (from my knowledge anyway, if anyone has any performances of the song aside from this show and before 2008 please let me know). In my opinion this version is far superior to the rendition being played live today. Today Billy's voice is gritty and broken; don't get me wrong, it still sounds good in the context of the band's songs, but his voice is very different from how it sounded 25 years ago. This is to be expected, the man is 60 years old. In this version Billy is able to deliver the lyrics in a convincing, bluesy and dynamic form, drawing the listener into the piece much more so than today. The two guitar solos are brillant in their delivery and construction, and are focused on "playing these blues for you" as Billy shouts during the tune. Today's versions feature Billy playing the middle solo with one hand, using hammer-ons and pull offs in an exhibition meant to "entertain" the audience. This does nothing for the purity of the song and takes away from the original intention of the work, which was the familiar formula of singing of ones desire for the fairer sex via lyrics of longing and guitar notes of lonliness. Even though its probably only 4 seconds long, the very end of the song consists of a quick return to the intro, smooth and clean. Awesome song. Awesome live performance.

"Pearl Necklace" follows, and again leaves the listener wondering what could have been if the band was willilng to be more spontaneous by jamming on the outro solo. For the best example of what this song can be see my show review of their 10/16/1983 London show. "Cheap Sunglasses" is performed with gusto. Next up is one of my most favorite live songs "Arrested for Driving While Blind" featuring the "Hit It / Quit It" medley. Despite a very long intro from the group wherein Billy does not break into the lyrics until around the 50 second mark, the song is shorter than normal coming in at just over 7 minutes. Unfortunetely Billy quickly runs through the three hit it / quit it sections. Still great fun to hear. "Party On the Patio" is next, sung in all of its high pitched glory by Dusty. This song has recently proven to be a stretch for Mr. Hill in the recent live performances in the US and Europe, however here its pushed to the limit.

Next is the live debut of "Legs". Unlike today the band makes no effort to hide the synthesizer beat here, which comes through loud and clear and dominants the PA's output. The song is not without problems as Billy apparently cuts the outro solo too short and the plug is suddenly pulled on the pre-recorded synthesizer rythym. Very interesting version to hear. "Tube Snake Boogie" is very enthusastic and is appreciated by the audience. Again a first live performance, "Can't Stop Rockin" is revealed to the masses. It also suffers from an apparent lack of practice as the band has trouble synronizing during the intro. The end of the song however is unique in its structure. "La Grange" pales without the Sloopy Drunk and Bar-B-Que medley, but is very well performed. The perrenial show closer "Tush" brings things to an end.

If one argues the band has two chapters, then this show marks the ending of the first. As mentioned before the band would complete its shift from hard working and skilled musicians to seasoned and experienced "entertainers" in this period, forever resulting in a decline of the bands live performances. "Afterburner" would be released in a little over two months, and the concerts the band would bring to the table in support of the album suffer from an overly polished and predictable composition.

A great show, and a significant moment in the bands history.

Wednesday, October 21, 2009

ZZ Top - Mexican Influences / New Album focus

ZZ Top, and especially Billy Gibbons, have been influenced throughout their career by the airwaves and culture of the “X”, the sounds, attitudes, fashion and style of South of the Boarder. Mexico. Throughout the 1970’s the group, in their adventurous and exuberant youth, often traveled across the Rio Grande to partake in the music, sights and sins that Mexico had to offer. Paying homage to their internal affection and appreciation for Mexican culture, both musically and spiritually, served them well. The result of this affection was a decade of intense creativity and inspiration, bringing forth some of the most unique and original sounds Texas has ever produced.

Starting w/ Tres Hombres, the Top had five straight albums with Spanish titles. Going back even further, the single version of “Francine” off Rio Grande Mud featured an English version and a Spanish version. Billy was heavily influenced by the sounds coming from the border, growing up in Houston only four hours from the line. He has been quoted as fondly remembering traveling down Highway 59 on his way to Laredo and then across the river to Nuevo Laredo and beyond. In fact I believe the young ladies Precious and Grace were met along the fabled road, resulting in some chaotic and dangerous activity (IF you believe everything Mr. Gibbons has to say, which per him you can’t). “Heard It On The X” was an ode to the transmissions coming across the Rio Grande via the Mexican airwaves. Starting with Eliminator (Billy jokingly noted around the time of the breakout album that it was to be pronounced “El Liminator”) the band lost their focus on their early influences (Blues, Elvis, Rock, Country) and fell into the popular sound of the ‘80’s. It would be 13 years until the connection to the culture of Mexico would begin to come back. The album “Antenna” was a second affirmation of their love of the “X” waves. “Rhythmeen” would step it up to include South of the Border references in “Vincent Price Blues” and “She’s Just Killing Me”, in part due to their commitment to add to the soundtrack of the film “Dusk Till Dawn” (which also featured “Mexican Blackbird” from “Fandango”). “XXX” lost the way. The ultimate return however came in “Mescalero”. Representing the first Spanish titled album in 23 years, the record was heavily influenced by the past. “Mescalero” and “Que Lastima” were sung entirely in Spanish. The album artwork created the picture of a dusty Mexico landscape, and the record as a whole was soaked in dirty, crunchy Spanish blues.

With the exception of “Antenna” there has been little advertising support and/or band support for the albums of the RCA era. The tours for “Antenna” and “Rhythmeen” both featured an extensive amount of tracks played live. “XXX” and “Mescalero” on the road however was pathetic. The band played little off of the records, and the advertising by RCA was minimal. The group has got to get behind their new album, they have got to find an idea, an angle, a base, a foundation, and commit to it. Push it. Advertise it. Promote it. Support it live. Show confidence and gusto in the new tracks, and recognize that the new stuff is just as good, or better, than the old. The continuing delays in the new album (6+ years!) may in fact be due to a lack of what direction to go in, what type of album to create. Per Billy they have a great number of tracks in various forms of finish on tape. Why not focus on what you know and do best, which many would opine to be Texas Blues/Rock with Mexican influences. Bring the past in line with the present, and show the direction of the future. “Mescalero” was a return to form, now step it up a notch and create a whole new level, a stronger than ever connection to Texas and Mexico sounds.

From recent announcements it appears the group is adding more tour dates and again avoiding focusing on the new record; the new album being in my opinion the most important task at hand. Capitalize on the current moderate resurgence in the band’s exposure and popularity, and lay down the new tracks. The debate regarding the ongoing delays are for another post however.

Friday, October 16, 2009

Double Down Live - Coming Soon!

So, October 20th is right around the corner. It should prove to be a highly exciting and fulfilling day.

For those that haven't yet make sure to visit YouTube and type Double Down Live - ZZ Top in the search bar. Songs from both the 1980 Rockaplast and 2008 European Tour are available in full.

Many fans, including myself, have wondered why some of the bands early 1980's TV performances have not been released officially. These were great shows, ranging from a few songs to complete concerts, and were professionally filmed. Thankfully ZZ's new management has taken a look at the band's back catalogue and realized there are some gems. I recognize this is an opportunity for the band, and their label Sanctuary, to make a quick and (if sales are good) sizable profit, with little incurred cost. But it also gives fans an opportunity to enjoy the Top in their prime, as well as the current and still exciting incarnation. And the quality of video and sound DDL promises to bring should bring a smile to anyone's face.

Make sure to support this release. There will be opportunities to obtain this through illegal means, but cannibalizing the sales could result in the band being less inclined to continue these types of projects.

Double Down Live - October 20th, 2009

Thursday, October 8, 2009

A Six Pack of (Stale) Beer

In 1987 "Six Pack" was released. Consisting of three CD's, it covered six of the bands albums: "ZZ Top's First Album", "Rio Grande Mud", "Tres Hombres", "Fandango", "Tejas" and "El Loco". "Deguello" was not included due to a song-writing credit issue having to do with the track "Dust My Broom".

At first glance this doesn't seem like a bad idea. Release the band's earlier albums for the first time on CD, and allow a younger audience to experience the band for the first time. After all, the band was at a near high in popularity, and those who had only heard "Eliminator" and "Afterburner" needed to know that the band had created many other sounds prior to the current 80's technique.

Someone got an idea that the album's should be remastered. They should reflect a more current sound, which was keyboard and pop driven. So each album had tons and tons of reverb pumped into them, resulting in a thin, artificial reproduction of the instruments. Even the vocals have been altered, losing their emotion and human aspect.

My point is who thought this was a good idea? Bill Ham? Billy Gibbons? Warner Brothers? It is especially unusual, virtually unheard of, that an artist or group would allow their work, their music, to be so harshly and overwhelmingly tampered with. Surely the band cringed when they heard "Brown Sugar" so heavily changed from the version recorded by the 21 year old men in 1970. A original version with the drive, excitement and ambition that only youth can create. Did the band really want people to hear "Tejas" that way? Were they okay with people getting the wrong idea, that ZZ Top could only create one sound, one type of music, one pop and synth driven song after another.

"Stale" can refer to two things:
- The staleness of the keyboard/synth sound by 1987. The 80's unique pop formula was beginning to experience a decline. The fact the band tried to exploit this sound during the decline is dumbfounding.
- The staleness of ZZ Top's efforts in the 1980's. The band had reached superstar status with "Eliminator" and had continued the ride, to an extent, with "Afterburner". But maybe even the band realized that this was not who they were. Like any good band, and any band that expects to last, ZZ Top always recorded based on the mood they were in, based on what they felt like recording, satisfying their own musical desires, not the wants of a record company or the public at large. Maybe "Afterburner" just didn't feel completely like the Top. To try to capitalize on the sound of "Eliminator" and "Afterburner" with "Six Pack" was a poor decision when reflecting back. "Six Pack" remains heavily criticized, both for it's impurity and it's slick profit feel.

"Six Pack" serves as one of the few errors of judgement in the band's history. Bill Ham and Billy Gibbons were geniuses when it came to capitalizing on opportunities, and were impeccable in their timing and exploitation of any given scenario, always being able to create a "buzz" and "demand" about and for the Top. This would be one time where the opportunity passed them by.

Wednesday, October 7, 2009

Trading List - Largest active trading collection in North America

NEW SHOWS (updated 11/12/2012):

10/06/2012 Columbia, MD 1 A M
10/16/2012 Kansas City, MO 1 A M
10/19/2012 Thackerville, OK 1 A M
11/07/2012 Montreal, Quebec 1 A M

Here is my trading list. Feel free to send me your list or contact me to discuss a trade. Thanks!

Trading rules:
Very simple; you send me Top that I don't have, I send you Top that you don't have. I am a generous trader and often will trade two or three shows for one. Just tell me what you would like in exchange for what you have and we can work something out. Good times will be had by all!

**********

Date; Location; # Discs; Sound Quality;
Lineage (M = master, 1 = 1st generation, etc, U = unknown)

         Audio

    Moving Sidewalks:

??/??/1969 Houston, TX C+

    ZZ Top

1970:
??/??/1970 Pensacola, FL 1 C- 1

1971:
09/17/1971 Memphis, TN 2 C M

1972:
02/25/1972 Ft. Worth, TX 2 C 1
08/25/1972 Tusla, OK 1 C M

1973:
01/22/1973 Honolulu, HI 1 A 1

1974: 
07/08/1974 New York, NY 1 B- U (remaster)
07/10/1974 Detroit, MI 1 C+ 1
07/15/1974 Cambridge, MA 1 B+ M
08/06/1974 Milwaukee, WI 1 B+ M

1975:
01/09/1975 Toronto, ON B+ U
05/17/1975 Lewiston, ME 1 B+ M

1976:
01/09/1976 Toronto, ON B- U (different show from 1975 Toronto)

1977:
03/08/1977 Binghamton, NY 2 B 2
03/16/1977 Boston, MA 2 B U
07/30/1977 Birmingham, AL 2 B+ 2
12/30/1977 San Antonio, TX 1 B- 2

1980:
03/29/1980 Philadelphia, PA 1 A (Soundboard)
04/15/1980 Pine Knob, MI 1 A 2 (Soundboard)
04/20/1980 Essen, Germany 2 A++ M
04/21/1980 Paris 1 B+ M (Complete audience, Serge master)
04/21/1980 Paris 1 B+ M (Soundboard feed, six tracks)
05/01/1980 Springfield, MA 1 B- 1
05/30/1980 Passaic, NJ 1 B+ 1st (rare complete 21 song set)
05/30/1980 Passaic, NJ 1 A U (13 track soundboard)

1981:
07/21/1981 Philadelphia 1 B 1
08/27/1981 Springfield, MA 1 C+ 1
10/02/1981 Stockholm 2 A 1 (Possibly greatest show ever!)
10/06/1981 Nuremberg, Germany 1 B+ U
10/11/1981 Berlin, Germany 1 C+ 1
10/14/1981 Munich, Germany 1 A- 1 (upgraded version)
10/23/1981 Dijon, France 1 B+ U
10/25/1981 Paris, France 1 A M (Serge master)
10/26/1981 London, England 1 B+ 1

1982:
03/21/1982 San Francisco, CA 1 B+ 1
03/26/1982 Los Angeles, CA 1 B- U
04/10/1982 Salisbury, MD 1 C+ U
05/21/1982 Netherlands 1 C- U
05/28/1982 Dortmund, Germany 1 B+ U (Complete Show)
05/28/1982 Dortmund, Germany 1 A+ M (Soundboard, partial)
05/29/1982 Wurzburg, Germany 1 A- 1
05/30/1982 Munich, Germany 1 A- 1
08/08/1982 Austin, TX 1 A U
10/01/1982 Milwaukee, WI 1 B- 1
12/31/1982 Phoenix, AZ 2 C+ U

1983:
01/08/1983 Baton Rouge, LA 1 A- 2
05/13/1983 Memphis, TN 1 A- 2
06/12/1983 Jackson, MS 1 B U
06/23/1983 San Diego, CA 1 B 1
06/25/1983 Los Angeles, CA 1 B+ 1
08/18/1983 Dublin, Ireland 1 B- 1
08/20/1983 Donington, UK 1 B- 1 (complete show, audience recording)
08/20/1983 Donington, UK 1 A+ M (FM source)
09/03/1983 Troy, WI 1 A- M
09/24/1983 New York, NY 1 C+ 2
10/16/1983 London, England 1 B+ U
10/17/1983 Stockholm, Sweden 1 B U
10/19/1983 Gothenburg, Sweden 1 B+ U
10/20/1983 Oslo, Norway 1 B 1
10/21/1983 Stockholm, Sweden 1 A U
10/23/1983 Copenhagen, Denmark 1 B+ 1
10/25/1983 Berlin, Germany 1 A- U
10/27/1983 Russelsheim, Germany 1 B+ 1
10/28/1983 Munich, Germany 1 A U
11/01/1983 Ludwigshafer, Germany 1 A U
11/03/1983 Saint Quen, France 1 B+ U
11/03/1983 Saint Quen, France 1 A+ M (2nd source, Serge master)
11/04/1983 Clermont Ferrand, France 1 B+ 1
11/11/1983 Bordeaux, France 1 B+ U
11/13/1983 Dijon, France 1 A U
11/15/1983 Brussels, Belgium 1 A U
11/20/1983 Hanley, England 1 B 2
11/22/1983 Manchester, England 1 B+ 1
11/23/1983 Newcastle, England 1 C+ U
11/24/1983 Glasgow, Scotland 1 A- U
11/25/1983 Birmingham, England 1 A U
11/27/1983 London, England 1 A- 1
11/28/1983 London, England 1 A 1
11/30/1983 London, England 2 B+ M

1984: 
01/13/1984 Las Cruces, NM 1 B- U

1985:
01/12/1985 Autin, TX 1 A- U (Billy with Roomful of Blues)
08/15/1985 Ostend, Belgium 1 B- U
08/17/1985 Derbyshire, UK 2 A- 1
12/01/1985 Montreal, Quebec 2 B 1
12/09/1985 Winnipeg, Manitoba 2 B+ 1

1986:
02/05/1986 Madison, Wisconsin 2 A M
02/07/1986 St. Paul, MN 1 A U
02/14/1986 Ames, IA 2 B M
03/18/1986 Jacksonville, FL 1 A U
03/30/1986 Raleigh, NC 1 A 1
04/03/1986 Greensboro, NC 2 A U
04/10/1986 Pittsburgh, PA 1 B- U
04/15/1986 Buffalo, NY 1 A 1
04/21/1986 Worcester, MA 1 B+ 1
04/22/1986 Worcester, MA 1 B+ 1
04/26/1986 Hartford, CT 1 B- U
04/30/1986 Indianapolils, IN 1 B+ 1
06/07/1986 Saratoga, NY 1 B+ 1
06/09/1986 East Rutherford, NJ 2 A- M
06/15/1986 Detroit, MI 2 B+ 1
06/20/1986 Troy, MI 1 B+ 1
07/20/1986 Calaveras County, CA 1 A- U
07/20/1986 Calaveras County, CA 1 A+ 1 (2nd source, ShotGun Edition)
08/27/1986 Houston, TX 1 A U
08/30/1986 Dallas, TX 1 A- 1
08/31/1986 Dallas, TX 1 B+ 1
09/01/1986 Dallas, TX 2 B+ 1
09/02/1986 Dallas, TX 1 B- 1
09/12/1986 Stockholm, Sweden 2 A U
09/13/1986 Stockholm, Sweden 2 A- U
09/14/1986 Gothenburg, Sweden 1 B 1
09/16/1986 Helsinki, Finland 1 B- 1
09/22/1986 Mannheim, Germany 1 B+ U
09/23/1986 Frankfurt, Germany 1 B+ 1
09/27/1986 Munich, Germany 1 A 1
09/29/1986 Paris France 1 A U
09/30/1986 Paris France 1 A- M
10/01/1986 Paris France 1 A U
10/05/1986 Nimes, France 1 A- U
10/06/1986 Bordeaux, France 1 C+ 1
10/08/1986 Clermont - Ferrand 1 A 1
10/12/1986 Brussels, Belgium 1 D+ 1
10/13/1986 Arnhem, Holland 1 A- U
10/18/1986 Stafford, UK 1 B 1
10/20/1986 London, England 1 B+ U
10/21/1986 London, England 1 B 1
10/23/1986 London, England 1 A 1
10/25/1986 Berlin, Germany 1 B+ U (Complete show)

1987:
02/17/1987 Tokyo, Japan 2 A 1
02/19/1987 Osaka, Japan 1 A+ M (Soundboard)
02/25/1987 Melbourne, Australia 1 B 3

1990:
10/02/1990 Vancouver, BC 2 A- M
10/11/1990 Toronto, ON 2 A U
11/23/1990 Reno, NV 2 B- 1
11/29/1990 Sacramento, CA 2 B+ 1
12/01/1990 Dale City, CA 2 A- M
12/02/1990 Dale City, CA 2 C+ U
12/08/1990 Phoenix, AZ 2 A M
12/08/1990 Phoenix, AZ 2 A- M (second source)
12/10/1990 San Diego, CA 2 A- M
12/15/1990 Little Rock, AR 2 A 1

1991:
01/04/1991 New Orleans, LA 2 A U
01/12/1991 Charleston, WV 2 B 1
01/18/1991 Hartford, CT 2 A- M
01/26/1991 Nassau, NY 2 B+ U
01/28/1991 New York, NY 2 B 1
01/29/1991 New York, NY 2 A 1
02/09/1991 Syracuse, NY 2 B U
02/11/1991 Cleveland, OH 2 B- U
02/16/1991 Rosemont, IL 2 B+ U
03/11/1991 Philadelphia, PA 2 B+ M
03/15/1991 Pittsburgh, PA 2 B 1
03/29/1991 Charlotte, NC 2 A M
03/29/1991 Charlotte, NC 2 A+ M (96K Digital Source)
04/11/1991 Lakeland, FL 1 B M
05/02/1991 Lubbock, TX 2 A 1
05/31/1991 Hamburg, Germany 1 A- U
06/05/1991 Helsinki, Finland 2 A 1
06/06/1991 London, England 2 C+ U
06/08/1991 Stockholm, Sweden 2 A 1
06/15/1991 Mannheim, Germany 2 A- U
06/20/1991 Berlin, Germany 2 A- U
06/22/1991 Cologne, Germany 2 B M
06/23/1991 Switzerland 2 A- M
06/25/1991 Paris, France 2 A- 1
06/27/1991 Nantes, France 2 A M
06/28/1991 Paris, France 2 B 1
08/03/1991 Bismark, ND 2 B+ 1
08/10/1991 San Jose, CA 2 C-
08/11/1991 Laguna Hills, CA 2 A- 1
08/22/1991 Rockford, IL 2 B+ 1
08/29/1991 Saratoga Springs, NY 2 A+ 1 (amazing sound!)
08/30/1991 East Rutherford, NJ 2 B+ M
09/06/1991 Hamilton, ON 1 B+ 1
09/13/1991 Wheeling, WV 2 A+ 1

1993:
06/12/1993 Milwaukee, WI 2 A- U
10/01/1993 Birmingham, England 1 B+ U
10/02/1993 Birmingham, England 1 B+ U (second night)

1994:
05/07/1994 St. Louis, MO 2 B- 1
05/18/1994 Albany, NY 2 A- 1
05/22/1994 Worcester, MA A- 1
05/24/1994 Hartford, CT 2 A U
05/25/1994 Binghamton, NY 2 B+ 1
05/29/1994 Toronto, ON 2 A+ 1
06/01/1994 Montreal, Canada 2 B+ 3
06/06/1994 New York, NY 1 A 1
06/18/1994 Landover,MD 2 A M (Soundboard Recording)
06/25/1994 Pittsburgh, PA 2 B M
07/06/1994 Wells, Austria 2 B 1
07/08/1994 Dortmund, Germany 2 A 1
07/09/1994 Schuttorf, Germany 2 B U
07/11/1994 Belfort, France 2 B- U
07/30/1994 Milwaukee, WI 2 A+ 1
08/05/1994 Minneapolis, MN 2 A+ 1
08/06/1994 Nassau, NY 2 A M
08/19/1994 San Diego, CA 2 A- M
08/26/1994 San Jose, CA 2 A- 2
08/28/1994 Sacramento, CA 2 B+ 1
09/27/1994 Savannah, GA 2 A 1
10/15/1994 Memphis, TN 2 B+ 1
11/23/1994 Lyon, France 2 A 1
11/24/1994 Milan, Italy 2 A 1
11/27/1994 Lausanne, Switzerland 2 A- U
12/02/1994 Gothenburg, Sweden 1 A 1 (rare complete show)
12/03/1994 Stockholm, Sweden 2 B+ 1
12/09/1994 Paris, France 2 B+ U
12/07/1994 Frankfurt, Germany 2 B+ U
12/11/1994 Brussels, Belgium 2 A U
12/14/1994 Stuttgart, Germany 2 A U
12/18/1994 Bayreuth, Germany 2 B+ M
12/19/1994 Essen, Germany 2 A- 2

1996:
06/07/1996 Montreux, Switzerland 1 B+ U
06/14/1996 London, UK 2 C+ 1
06/14/1996 London, UK 2 B+ 1 (second source)
06/21/1996 Zurich, Switzerland 2 B+ 1
06/24/1996 Paris, France 2 B+ U
06/27/1996 Bremen, Germany 2 B 1
07/02/1996 Oslo 2 B M
07/17/1996 Wr. Neustadt, Austria 2 A 1
09/11/1996 Berkley, CA 2 A- U
10/24/1996 Worcester, MA 2 A 1
10/25/1996 NY, NY 2 A M
10/26/1996 Fairfax, VA 2 A- 1
10/27/1996 Upper Darby, PA 2 A 1
11/04/1996 Minneapolis, MN 2 B U
11/13/1996 Mesa, AZ 2 B+ 1
11/21/1996 New Orleans, LA 2 B 1

1997:
01/31/1997 Stockholm, Sweden 2 B+ 1
02/01/1997 Borlange, Sweden 2 B 1
02/20/1997 Berne, Switzerland 2 B 1
02/27/1997 Paris, France 2 C+ U
02/28/1997 Bordeaux, France 2 B+ M
03/06/1997 Madrid, Spain 2 A 1
05/16/1997 Dallas, TX 2 B+ 1
05/24/1997 Los Angeles, CA 2 A U
06/01/1997 Vancouver, BC 2 B+ 2
06/03/1997 Anchorage, AK 2 A+ 1
06/04/1997 Anchorage, AK 2 A+ 1 (second night)
06/16/1997 Pittsburgh, PA 1 B+ 1
06/22/1997 Scranton, PA 2 B M
06/27/1997 Virginia Beach, VA 2 B+ 2
07/10/1997 Atlantic City, NJ 2 C M
07/11/1997 Holmdel, NJ 2 B 1
07/13/1997 Wantagh, NY 2 B M
08/07/1997 West Allis, WI 2 A- U
08/08/1997 Springfield, IL 2 B+ 1
08/09/1997 Omaha, NE 2 A U
08/18/1997 Moline, IL 2 A U
08/23/1997 St. Paul, MN 2 A- 1
08/26/1997 Saratoga Springs, NY 2 A U
09/19/1997 Phoenix, AZ 2 B 1
10/11/1997 Honolulu, HI 2 B+ U

1999:
07/28/1999 Paso Robles, 2 A U
08/01/1999 Nigata, Japan 2 A 1
09/12/1999 Denver, CO 2 A M
09/18/1999 Ft. Lauderdale, FL 1 A U
10/02/1999 Philadelphia, PA 1 B+ M
10/06/1999 Buffalo, NY 1 A M
10/10/1999 Fairfax, VA 1 A M
10/19/1999 Moline, IL 1 B+ 1
10/22/1999 Chicago, IL 1 A M
10/23/1999 Ames, IA 1 A U
10/26/1999 Minneapolis, MN 1 A M
11/10/1999 Little Rock, AR 1 A M
11/17/1999 Rapid City, SD 1 C M
12/01/1999 Sacramento, CA 1 A M
12/03/1999 Oakland, CA 1 A M
12/05/1999 San Diego, CA 1 A+ M
12/09/1999 Tucson, AZ 1 A 1
12/10/1999 Phoenix, AZ 1 A 1
12/17/1999 Dallas, TX 1 A U
12/30/1999 Austin, TX 1 A U

2000:
01/14/2000 Hershey, PA 1 C- U
01/18/2000 Scranton, PA 1 A M
01/23/2000 Uniondale, NY 1 B+ M
01/24/2000 Atlantic City, NJ 2 A 1
01/26/2000 Portland, ME 1 B M
02/04/2000 Savannah, GA 1 A- M
02/13/2000 Ft. Worth, TX 1 A M
02/20/2000 Raleigh, NC 1 A 1
02/29/2000 Peoria, IL 1 B+ M
03/03/2000 Cape Girardeau, 1 A- M

2002:
02/21/2002 Houston, TX 1 A 1 (Rodeo show)
05/04/2002 Atlantic City, NJ 2 A M
05/11/2002 Las Vegas, NV 2 A M
10/03/2002 Stockholm, Sweden 2 B+ U
10/11/2002 Leipzig, Germany 2 A U
10/12/2002 Frankfurt, Germany 2 A U
10/14/2002 Paris, France 2 A M
10/15/2002 Saarbruecken, Germany 2 A+ M
10/22/2002 Vienna, Austria 2 A U (lossy)
10/24/2002 Zagreb, Croatia 2 A M
10/26/2002 Zurich, Switzerland 2 A U (lossy)
10/27/2002 Milan, Italy 2 A- M
10/29/2002 Amsterdam, Holland 2 A- U
11/01/2002 London, England 2 A M

2003:
03/04/2003 Houston, TX 2 B M (Rodeo show)
04/26/2003 Pelham, AL 2 A M
05/03/2003 Jackson, MS 2 B+ M
05/10/2003 Charlotte, NC 2 B M
05/12/2003 Bristow, VA 2 A- U 
05/18/2003 Youngstown, OH 2 B+ U
05/21/2003 Camden, NJ 2 A M
05/24/2003 Tinley Park, IL 2 A M
05/25/2003 East Troy, MI 2 A 1
05/31/2003 St. Louis, MO 1 B+ M (one song only)
06/06/2003 Marysville, CA 2 B+ M
06/21/2003 Atlanta, GA 2 A M
07/04/2003 Sweden 2 A 1
07/05/2003 Sunne, Sweden 2 A U
07/06/2003 Oslo, Norway 2 A U
07/09/2003 Bonn, Germany 2 A+ M
07/14/2003 Montereau, France 2 A M
07/23/2003 Budapest 1 A U
07/27/2003 Birmingham, England 2 A U
07/28/2003 Newcastle, England 2 B U
07/30/2003 London, England 2 A 1
08/09/2003 Leige, Belgium 1 A 1
08/20/2003 Las Vegas, NV 2 A U
08/26/2003 Englewood, CO 2 A+ M
09/12/2003 Green Bay, WI 2 A U
11/07/2003 Bakersfield, CA 2 A M
11/22/2003 Houston, TX 2 A U

2004:
06/05/2004 Dallas, TX (Crossroads rehearsal w/ Jeff Beck) 1 A U
06/06/2004 Dallas, TX (Crossroads Festival) 1 A U
06/26/2004 Beaumont, TX 2 B+ M
07/04/2004 Tinley Park, IL 2 A- M
07/28/2004 Pala, California 1 A 1
07/31/2004 Paso Robles, CA 2 A U
08/12/2004 Sioux Falls, SD 2 A M
09/02/2004 Allentown, PA 2 A 1
09/12/2004 Albuquerque, NM 2 B 1

2005:
06/25/2005 Greeley, CO 2 B+ M
07/09/2005 Big Flats, NY 2 A M
08/10/2005 Reading, PA 2 A- U
08/12/2005 Gilford, NH 2 C- M
08/15/2005 Lewisburg, WV 2 A 1
08/23/2005 Trenton, NJ 2 B+ M
08/27/2005 Canandaigua, NY 2 B- U
08/31/2005 Bushkill, PA 2 A U
09/13/2005 Mankato, MN 2 A- U
09/25/2005 Los Angeles, CA 2 A 1
10/12/2005 Colorado Springs, CO 2 A- M
10/20/2005 Clearwater, FL 2 A- U
11/11/2005 NY, NY 2 C+ M

2007:
03/09/2007 Clearwater, FL 2 A- U
05/18/2007 Youngstown, OH 2 A U
07/23/2007 Atlantic City, NJ 2 A U
07/25/2007 Sterling Heights, MI 1 B U
07/29/2007 St. Louis, MO 2 A- M
07/31/2007 Pelham, AL 2 B+ U
08/09/2007 Sturgis, SD 2 A 1
08/17/2007 Fresno, CA 2 A 1
08/21/2007 Sacramento, CA 2 A 1
09/15/2007 Kansas City, KS 2 B+ M
11/01/2007 Dallas, TX 2 A++ M (complete full audio only)

2008:
05/23/2008 Orange Beach, AL 1 A- M
05/31/2008 Ft. Knox, KY 1 C+ M
06/03/2008 Knoxville, TN 2 B- M
07/10/2008 Paris, France 2 A M
07/10/2008 Paris, France 2 A M (2nd source)
07/12/2008 Potsdam 2 A M
07/18/2008 France 2 A+ M
08/26/2008 Allentown, PA 2 A M (w/ Brooks & Dunn)
09/09/2008 York, PA 1 A- M
10/10/2008 Columbus, OH 2 B+ M

2009:
03/22/2009 Houston, TX 1 B- M (Rodeo show)
05/29/2009 Berlin, Germany 2 A M
06/04/2009 Solvesborg, Sweden 2 C+ U
06/04/2009 Solvesborg, Sweden 2 B 1 (second source)
06/09/2009 Munich, Germany 2 A- U
06/12/2009 Brussels, Belgium 2 A M
06/14/2009 Castle Donington, England 1 A M
06/26/2009 Wantagh, NY 2 A M
06/24/2009 Burgettstown, PA 1 C- M
07/19/2009 Dallas, TX 1 B- M (Gibbons & Aerosmith encore)
07/30/2009 Tulsa, OK 1 B+ M
08/20/2009 Anaheim, CA 1 B+ M
09/11/2009 Roanoke, VA 2 B+ M
09/15/2009 Boston, MA 2 A- M
09/18/2009 New York, NY 2 A- M
09/20/2009 Reading, PA 2 B+ M
09/25/2009 Singapore 1 A+ M (one song, "Gimme" only)
10/12/2009 Vienna, Austria 2 A- M
10/12/2009 Vienna, Austria 2 A M (2nd source, High Voltage)
10/27/2009 Wolverhamptom, UK 2 A M (Amazing show!)
10/28/2009 London, UK 2 B+ M

2010:
04/29/2010 West Palm Beach, FL 2 A M
05/05/2010 Columbus, GA  2 A M
05/08/2010 Chastain Park, GA 2 A M
05/08/2010 Chastain Park, GA 2 A M (2nd source, taper RN)
05/23/2010 Porto Alegre, Brazil 2 B+ M
06/16/2010 Thunder Bay, ON 2 A M
06/23/2010 Bloomington, IL 2 A+ M
06/25/2010 Milwaukee, WI 1 A M
06/26/2010 Bridgeview, IL 1 A M
07/02/2010 Skanevik, Norway 2 A+ M
07/06/2010 Toulouse, France 2 A M (first source)
07/06/2010 Toulouse, France 2 A M (second source SP-CMC-2)
07/06/2010 Toulouse, France 2 A M (third source, taper PH)
07/08/2010 Bayonne, France 2 A M
07/12/2010 Rome, Italy 2 A M
07/13/2010 Lucca, Italy 1 B M (7 songs only, encore w/ Jeff Beck)
07/20/2010 Tienen, Belgium 2 A++ M (stunning recording)
07/22/2010 Nantes, France 2 A M
08/19/2010 Albuquerque, NM 2 A M
09/13/2010 New York City, NY 1 B+ M
09/16/2010 Tampa, FL 2 A+ M
09/20/2010 Charlotte, FL 2 A M
09/20/2010 Charlotte, FL 2 A+ M (96K Digital Source)
10/14/2010 Graz, Austria 2 A M
10/16/2010 Paris, France 2 A M
10/19/2010 Enschede, Netherlands 2 A M
10/21/2010 Copenhagen, Denmark 1 A M
10/22/2010 Gothenburg, Sweden 2 A M
10/29/2010 Moscow, Russia 2 A+ M

2011:
04/18/2011 Melbourne, Australia 2 A M
04/28/2011 Sydney, Australia 2 A M
05/29/2011 Orange Beach, AL 1 A M
06/02/2011 Charlotte, NC 2 A M
06/08/2011 Hollywood, FL 2 A M
06/25/2011 Sursee, Switzerland 2 A- M
07/02/2011 Hérouville Saint-Clair, France 1 A M
07/03/2011 Tours, France 2 A M
07/06/2011 Clermont Ferrand, France 2 A M
07/07/2011 Cognac, France 2 A M
07/13/2011 Barcelona, Spain 2 A- M
08/06/2011 Greenville, WI 2 A- M
08/06/2011 Greenville, WI 2 A+ M (second source)
08/19/2011 Pittsburgh, PA 2 A M
08/20/2011 Tamiment, PA 1 A M
08/23/2011 Lancaster, PA 1 A M
08/26/2011 Mashantucket, CT 1 A M
09/04/2011 Cherokee, NC 1 A M
09/24/2011 Thackerville, OK 1 A M
10/22/2011 Bee Cave, TX 1 A++ M (1st Annual La Grange Fest)

2012:
02/24/2012 New York, New York 2 A- M (Billy only, Hubert tribute)
03/08/2012 Houston, TX 1 (A to C-) M
05/25/2012 Manchester, NH 1 A M
06/05/2012 Richmond, VA 1 B M
06/27/2012 Clarkston, MI 1 A M
06/30/2012 Milwaukee, WI 1 A M
07/16/2012 Moscow, Russia 1 A M
07/24/2012 Copenhagen, Denmark 2 A M
09/10/2012 New York, NY 1 A++ M
09/12/2012 New York, NY 1 C- M
10/06/2012 Columbia, MD 1 A M
10/16/2012 Kansas City, MO 1 A M
10/19/2012 Thackerville, MO 1 A M
11/07/2012 Montreal, Quebec 1 A M

              Video (DVD):

??/??/1976 Largo, MD 1 C- U
??/??/1980 Old Grey Whistle Test 1 A U
04/21/1980 Paris, France 1 C+ U
05/28/1982 Dortmund, Germany 1 A 1
05/31/1982 Netherlands 1 B+ U
09/11/1983 Stockholm, Sweden 1 A 1
12/01/1985 Montreal, Quebec 1 B 1
06/15/1986 Detroit, MI 1 B 1
02/25/1987 Melbourne, Australia 1 B 3
1990 Recycler World Premiere Broadcast
1990 The ZZ Top Story
10/11/1990 Toronto, ON 1 A U
01/18/1991 Hartford, CT 1 A- M
05/07/1994 St. Louis, MO 1 A 1
05/18/1994 Albany, NY 1 A 1
07/06/1994 Wells, Austria 1 B 1
07/09/1994 Schuttorf, Germany 1 B U
08/26/1994 San Jose, CA 1 A 2
12/07/1994 Frankfurt, Germany 1 B U
12/18/1994 Bayreuth, Germany 1 B+ M
06/14/1996 London, England 1 B 1
07/02/1996 Oslo 1 B M
10/25/1996 NY, NY 1 B M
01/31/1997 Stockholm, Sweden 1 A 1
02/20/1997 Berne, Switzerland 1 B 1
07/13/1997 Wantagh, NY 1 B M
08/18/1997 Moline, IL 1 A U
09/18/1999 Ft. Lauderdale, FL 1 A U
10/19/1999 Moline, IL 1 B+ 1
01/18/2000 Scranton, PA 1 A M
02/29/2000 Peoria, IL 1 B+ M
05/21/2003 Camden, NJ 2 A M
11/07/2003 Bakersfield, CA 1 A M
08/31/2005 Bushkill, PA 2 A U
11/11/2005 NY, NY 2 C+ M
08/09/2007 Sturgis, SD 2 A 1st
08/17/2007 Fresno, CA 2 A 1st
07/10/2008 Paris, France 2 A M
08/26/2008 Allentown, PA 2 A M (w/ Brooks & Dunn)
06/04/2009 Solvesborg, Sweden 1 A M
06/26/2009 Wantagh, NY 2 A M
09/25/2009 Singapore 1 A+ M (one song, "Gimme" only)
05/05/2010 Columbus, GA 2 A M
05/23/2010 Porto Alegre, Brazil 2 B+ M
07/22/2010 Nantes, France 1 B+ M
09/13/2010 New York City, NY 1 B+ M
10/16/2010 Paris, France 1 B+ M
07/06/2011 Clermont Ferrand, France 1 A- M
07/16/2012 Moscow, Russia 1 A- M
07/27/2012 Paris, France 1 A M

            Various:

1970...B-Sides (audio)
1970 - 1980 Live Rarities (audio)
1982 Billy Gibbons phone interview (rare)
1982 Innerview
1980-1990 TV Rarities (DVD)
05/13/1983 Interview (in Memphis, TN)
08/19/1983 Interview Chris Tetley, London, England (audio)
10/??/1983 Interview Chris Tetley, Manchester, England (audio)
1983 Interview Radio One, BBC (audio)
1985-08-17 Interview Radio One, BBC (audio)
1983-2009 (Pro-Shot footage, 120 minutes) (DVD)
1986 Stockholm, Sweden Interview
03/28/1994 Interview, Westwood One
12/16/1996 Interview Westwood One
03/09/1998 Interview, In the Studio (Eliminator 15th Anniversary Special)
03/03/2002 Nashville, TN w/ Brooks & Dunn (DVD)
03/15/2004 Rock N' Roll Hall of Fame (DVD)
11/14/2005 Interview, Billy Gibbons, Howard Stern Show
11/17/2005 Interview, Billy Gibbons, Man Cow Show
12/18/2005 Interview, Billy Gibbons, Off the Record
05/24/2007 Rock Honors (DVD)
02/24/2008 Sprint Cup Auto (DVD)
08/26/2009 Rockline Interview

Friday, October 2, 2009

Who do you want to emulate?

ZZ Top - what creates the cool persona that the band emits so well? Wouldn't a life on the road, playing songs with your friends of 40 years be the good life? Maybe if you had practiced the bass harder in high school. Or if your Pearly Gates had been in the form of a six string vs. a fine young thing.

For years Bill Ham worked on creating and maintaining the bands mystique, the mysterious long bearded 20 or 30 yr old somethings. How did a group that looked like that write songs like "Sleeping Bag", "Pearl Necklace" and "Legs" (that's a topic for another day). Mr. Ham's strategy worked brilliantly, for a time, and the band reached high places. But as the inevitable fall took place, the mystique technique began to create more harm than good. No one stays on top forever, ZZ was no exception. It would appear Billy realized a few years ago that the band, while still strong, couldn't go on forever. And he wanted to branch out and work with other people. So the band ended the relationship w/ Mr. Ham, who at 10 years Billy's senior, may not have been on top of his game like he used to.

The band has received some high exposure moments the past few years: American Idol, NASCAR, WWE, a live release, and the 25th anniversary of Eliminator. A resurgence in the "coolness" of the band has taken place. Let's face it, everything about Billy and the Boyzz looks and appears "cool". The clothes, the music, the road, the pretty wives, it's awesome to see and hear. And I would be hard pressed to find a man that would not want to have similar circumstances. Don't take me for a fool, we all have demons and trials, and "most people think that everything is just what they assume" (Van Morrison). No doubt there have been hard times, but in our mind's eye the journey is a good one, and the road stretches out forever. The music separates one from their troubles, and let's worry escape and excitement and fantasy come in. And like the persona, that's "cool".