Transitioning to a gravely, low rumble B.F.Gibbons voice has changed from it's once clear and youthful tone. The past 10 to 15 years has seen a dramatic shift in the comfortable vocal range of what Billy can sing. This isn't a bad thing necessarily, and more or less serves to add labor, vintage and maturity to ZZ's songs. But it also has it's disadvantages.
A number of the group's songs over the years have been lip-synced, some out of necessity. "Manic Mechanic" has had vocals piped in, and so did "Ten Foot Pole". These songs contained muddy and indistinguishable lyrics on the actual albums so it made sense to have a similar sound onstage. Others, such as "Sharp Dressed Man" and "Legs" have been lip-synced from almost the very beginning. Perhaps now it makes sense as the songs cannot be sung by Billy in their original key, but why they were synced in the 80's is a mystery, at least to me. Perhaps the band was never happy with how the vocals sounded live.
Dusty's voice on the other hand remains for the most part very strong. While recent live renditions of "Party On the Patio" have proven to be a bit of a stretch you have to admire the guts in belting out the tune in it's original key. To my point, performances such as "I Loved a Woman" have shown Dusty at his continued finest, full of range and power.
Based on this contrast, do I suggest that Dusty have a chance to sing more songs on the new album, maybe half, maybe the majority? Two albums feature Dusty extensively, "Tejas" and "Antenna". "Rhythmeen" and "Mescalero" only had one track each featuring "the Dust" on lead vocals, and "XXX" didn't have any (I'm pretty sure as I think about it and write this)! Maybe it's time to mix things up. Dusty has been known to say he loves singing as much as playing bass. His performances on "Loaded" and "Piece" show that, even with the most simplistic of lyrics, he can make a song his own. Here's to an album with more than one Dusty song! How about another Elvis cover? How about a live performance of something other than "Jailhouse Rock".
Nobody beats Billy for singing down and out Blues, down and dirty funk. Dusty's complement to this is excitement and gusto. With a good mixture of both the next album could set a new benchmark, a new style, a new version of ZZ Top, 40+ years on.
?Has anybody heard if Frank Beard can sing?
Wednesday, December 23, 2009
Tuesday, December 15, 2009
Winter Solstice
The cold has set in, the days are short and the nights are long, and ZZ Top has gone away to hibernate once again. What will be the fruits of this Winter's passing? Will work be done, will songs be written, will tracks be laid down.
Patterns of late would indicate no. Despite a new recording contract, an assertive producer, and invitations and meetings with other bands nothing substantial has come through. The band simply returns in the Spring with a new and endless stretch of tour dates, U.S. and Europe, back and forth.
If one is an optimist they would view the "delay" in the South American dates as a positive sign, an indication the band wishes to hunker down and work on the new album. Since 2005 the Top has been quoted as saying they want to get a new record out, but they can't seem to gather the discipline, patience and willingness to commit. The band loves to tour, no fault in that. Fans love to see them on stage, no fault in that. But a healthy band has got to keep it fresh, else boredom can creep in, both for the players and the listeners. Sure, a large part of the crowd wants to hear "Gimme All Your Lovin" over any new track, but the long term fans, the ones that have been there for 20, 30, 40 years, they would love to have something new. Something to maintain and substantiate their belief that ZZ is one of the best bands in the world. That they are immortal, untouched and unabashed by the punishments of time, the labors of life and work.
A band that can still write new music together is an indication of musicians that still love what it's all about, the music. So what if there are less people interested in what you have to say, the message is as important as ever.
Here's hoping the band feeds off the energy and good vibes that began with the "Necessity Is a Mother" tour and continued until the last show in Calgary, 12/01. Convey that excitement and motivation into the studio, make it bass, drums and fuzzy guitar, and emerge once again reaffirming your proper place as the most creative, intuitive and timeless rock band ever.
Patterns of late would indicate no. Despite a new recording contract, an assertive producer, and invitations and meetings with other bands nothing substantial has come through. The band simply returns in the Spring with a new and endless stretch of tour dates, U.S. and Europe, back and forth.
If one is an optimist they would view the "delay" in the South American dates as a positive sign, an indication the band wishes to hunker down and work on the new album. Since 2005 the Top has been quoted as saying they want to get a new record out, but they can't seem to gather the discipline, patience and willingness to commit. The band loves to tour, no fault in that. Fans love to see them on stage, no fault in that. But a healthy band has got to keep it fresh, else boredom can creep in, both for the players and the listeners. Sure, a large part of the crowd wants to hear "Gimme All Your Lovin" over any new track, but the long term fans, the ones that have been there for 20, 30, 40 years, they would love to have something new. Something to maintain and substantiate their belief that ZZ is one of the best bands in the world. That they are immortal, untouched and unabashed by the punishments of time, the labors of life and work.
A band that can still write new music together is an indication of musicians that still love what it's all about, the music. So what if there are less people interested in what you have to say, the message is as important as ever.
Here's hoping the band feeds off the energy and good vibes that began with the "Necessity Is a Mother" tour and continued until the last show in Calgary, 12/01. Convey that excitement and motivation into the studio, make it bass, drums and fuzzy guitar, and emerge once again reaffirming your proper place as the most creative, intuitive and timeless rock band ever.
Sunday, December 6, 2009
English Blues - 10/27/2009 - Wolverhampton show review
Performance: 9
Crowd: 9
Sound: 8
Set List:
Got Me Under Pressure
Waitin' For The Bus
Jesus Just Left Chicago
Pincushion
I'm Bad, I'm Nationwide
Future Blues
Cheap Sunglasses
Mexican Blackbird
My Head's in Mississippi
I Need You Tonight
I Loved A Woman
Foxy Lady
Party On the Patio
Just Got Paid
Gimme All Your Lovin'
Sharp Dressed Man
Legs
Encore:
La Grange (medley w/ Sloppy Drunk and Bar-B-Que)
Tush
Second Encore:
Tube Steak Boogie
I thought it best to take a look at a more recent show for a change. The group's performance in Wolverhampton proved to be outstanding, with an enthusiastic call and response between the band and the crowd.
The city is northwest of London and is equal in size to Laredo, TX. The local venue would be the Civic Hall, a small club setting which apparently attracts a number of talented acts.
From the beginning one gets a sense the group is in a good mood. "Got Me Under Pressure", while reflecting little variation, can be an indication of the energy within the band. Tonight it's delivered with speed and fluency, and Billy's voice, gravely as it may be, is warmed up from the beginning.
Moving to the predictable Bus/Chicago, Billy has some fun within "Chicago" teasing the audience, jokingly advising Wolverhampton is a hard word to pronounce. Billy throughout the night shows a relaxed approach, joking with the crowd to confirm he's not in Birmingham, to which the crowd boos at the very mention of the nearby city.
Next up is Pincushion. While still enjoyable to listen to, I can't help but think the band should extend a little energy during rehearsals and dust off another tune from the RCA era, perhaps "Bang Bang" or "Mescalero".
"I'm Bad, I'm Nationwide" is again lacking variety, and receives the anticipated positive response from the crowd.
Since August Billy, prior to the delivery of "Future Blues", would call on two technicians to assist him with his mojo by bringing him his blues hat, to be exact the old-style steam boiler variety. One of the technicians is his young and very attractive wife. Both of the woman are pleasingly dressed, and Billy has fun with the presentation, slowly drawing out the word "dang" to the laughter of the crowd.
"Future Blues" is awesome to hear, and showcases Dusty's voice for the first time of the night.
Billy continues the comfortable mood, commenting that he visited the "pound" store prior to the show (relating it the U.S. "dollar" store). He jokes that the "pound" store would equal the "dollar and 63 cents store". "Cheap Sunglasses" is typical, featuring the rushed ending. I can't help but think that the outro would serve as an excellent vehicle for the group to jam and mix things up, but they never do.
"Mexican Blackbird" follows. It's good to hear as it serves as a rarity in the group's set list, but I would love to see some of the stronger tracks from the group's 70's sound being played ("El Diablo", "Nasty Dogs and Funky Kings", etc.).
Up next is the first strong highlight of the evening. Starting with a performance in Roanoke, VA, Billy would teasingly play "My Head's In Mississippi", ending after approx 30 seconds with "my head's in Roanoke City, or New York City, or Boston City, correlating with where they were playing. Tonight the crowd, continuing their active call outs and involvement with the band, beginning to sing along with Billy. During the "my head's in..." the crowd continues "...Mississippi" and starts to clap rhythmically. Billy comments "let's get down tonight" pauses and then continues with the real song. He stumbles a little, trying to remember the lyrics, and continues unaccompanied by the rhythm section. He does play through all three verses however, and the track stretches out to over two minutes. Awesome to hear, and the crowd loves it. The next night he would again shorten the track to a tease. Pity.
"I Need You Tonight" came on like a burning blaze when it was resurrected in early 2008. After over 100 performances the song is still great to listen to, but it may be time to bring back some "Fool For Your Stockings".
Next up is the ultimate version of "I Loved A Woman". Dusty's voice shines, perfectly soaring and shifting through the lyrics, and conveying an emotional quality that makes you think its the first time the group has ever played the track. Billy's licks are clean and precise, along with Frank's timely starts and stops on the drums. An outstanding performance, perhaps the best rendition I have ever heard. Interestingly the song has not been played since. Maybe the group realized that it could never get any better.
"Foxy Lady" calls back a swagger and confidence that the group so often displayed in the early 80's. Obviously a favorite of the Top's it proves to be a favorite of the audience as well.
I have mixed, but mostly positive feelings about the next number, "Party On the Patio". Dusty gives it his all, and hits notes that I can't reach at half his age. Notably some versions of the song from the late 90's feature a dropped tuning, wherein the whole song is performed an octave lower, including Dusty's singing. Not here. Original tuning, original notes. Dusty manages to reach all but the highest points. Of note is the next night in Wembley showcases a stronger performance of the track by Dusty, maybe perhaps in part due to the omittance of "I Loved A Woman". Hard to say for sure.
"Just Got Paid" is badass. That's it, simply badass. Shifting from the normal blues intro of approx 40 seconds of licks, Billy quickly and strikingly rifles off a series of harmonics, culminating in a perfect pitch note, stretched out to allow it to echo off the walls. Seamlessly transitioning into the opening riff, Billy again strikes a perfect note just after the drums come in, allowing it to sustain and screech until the speakers explode in high pitched pain. A devastating performance, calling upon all the blues, rock and funk influences that have pushed the group into musical expression for 40+ years.
The Eliminator trio follows, assuredly a continuance of the good times for the audience, but a strain to the ears of this diehard.
"La Grange" is excellent, featuring the now familiar medley. It is stretched out in good fashion, with a longer than usual instrumental interlude prior to "Bar-B-Que". "Tush" and "Tube Snake Boogie" prove pleasing in their closure of an excellent show.
The recording capturing the performance is excellent, if only a little distant. On a good stereo, cranked up to 11, the rhythm section comes pounding through the floor while the guitar shoots chills through the brain.
The next night the Top would roll into London at Wembley. While the band states they prefer to play in front of larger audiences, the two contrasting shows do not support this. The larger crowd in London, while treated to a good show overall, misses out on the intimacy, creativity and personalization of the Wolverhampton show.
A true stunner. Quintessential Top, and therefore essential Top.
Crowd: 9
Sound: 8
Set List:
Got Me Under Pressure
Waitin' For The Bus
Jesus Just Left Chicago
Pincushion
I'm Bad, I'm Nationwide
Future Blues
Cheap Sunglasses
Mexican Blackbird
My Head's in Mississippi
I Need You Tonight
I Loved A Woman
Foxy Lady
Party On the Patio
Just Got Paid
Gimme All Your Lovin'
Sharp Dressed Man
Legs
Encore:
La Grange (medley w/ Sloppy Drunk and Bar-B-Que)
Tush
Second Encore:
Tube Steak Boogie
I thought it best to take a look at a more recent show for a change. The group's performance in Wolverhampton proved to be outstanding, with an enthusiastic call and response between the band and the crowd.
The city is northwest of London and is equal in size to Laredo, TX. The local venue would be the Civic Hall, a small club setting which apparently attracts a number of talented acts.
From the beginning one gets a sense the group is in a good mood. "Got Me Under Pressure", while reflecting little variation, can be an indication of the energy within the band. Tonight it's delivered with speed and fluency, and Billy's voice, gravely as it may be, is warmed up from the beginning.
Moving to the predictable Bus/Chicago, Billy has some fun within "Chicago" teasing the audience, jokingly advising Wolverhampton is a hard word to pronounce. Billy throughout the night shows a relaxed approach, joking with the crowd to confirm he's not in Birmingham, to which the crowd boos at the very mention of the nearby city.
Next up is Pincushion. While still enjoyable to listen to, I can't help but think the band should extend a little energy during rehearsals and dust off another tune from the RCA era, perhaps "Bang Bang" or "Mescalero".
"I'm Bad, I'm Nationwide" is again lacking variety, and receives the anticipated positive response from the crowd.
Since August Billy, prior to the delivery of "Future Blues", would call on two technicians to assist him with his mojo by bringing him his blues hat, to be exact the old-style steam boiler variety. One of the technicians is his young and very attractive wife. Both of the woman are pleasingly dressed, and Billy has fun with the presentation, slowly drawing out the word "dang" to the laughter of the crowd.
"Future Blues" is awesome to hear, and showcases Dusty's voice for the first time of the night.
Billy continues the comfortable mood, commenting that he visited the "pound" store prior to the show (relating it the U.S. "dollar" store). He jokes that the "pound" store would equal the "dollar and 63 cents store". "Cheap Sunglasses" is typical, featuring the rushed ending. I can't help but think that the outro would serve as an excellent vehicle for the group to jam and mix things up, but they never do.
"Mexican Blackbird" follows. It's good to hear as it serves as a rarity in the group's set list, but I would love to see some of the stronger tracks from the group's 70's sound being played ("El Diablo", "Nasty Dogs and Funky Kings", etc.).
Up next is the first strong highlight of the evening. Starting with a performance in Roanoke, VA, Billy would teasingly play "My Head's In Mississippi", ending after approx 30 seconds with "my head's in Roanoke City, or New York City, or Boston City, correlating with where they were playing. Tonight the crowd, continuing their active call outs and involvement with the band, beginning to sing along with Billy. During the "my head's in..." the crowd continues "...Mississippi" and starts to clap rhythmically. Billy comments "let's get down tonight" pauses and then continues with the real song. He stumbles a little, trying to remember the lyrics, and continues unaccompanied by the rhythm section. He does play through all three verses however, and the track stretches out to over two minutes. Awesome to hear, and the crowd loves it. The next night he would again shorten the track to a tease. Pity.
"I Need You Tonight" came on like a burning blaze when it was resurrected in early 2008. After over 100 performances the song is still great to listen to, but it may be time to bring back some "Fool For Your Stockings".
Next up is the ultimate version of "I Loved A Woman". Dusty's voice shines, perfectly soaring and shifting through the lyrics, and conveying an emotional quality that makes you think its the first time the group has ever played the track. Billy's licks are clean and precise, along with Frank's timely starts and stops on the drums. An outstanding performance, perhaps the best rendition I have ever heard. Interestingly the song has not been played since. Maybe the group realized that it could never get any better.
"Foxy Lady" calls back a swagger and confidence that the group so often displayed in the early 80's. Obviously a favorite of the Top's it proves to be a favorite of the audience as well.
I have mixed, but mostly positive feelings about the next number, "Party On the Patio". Dusty gives it his all, and hits notes that I can't reach at half his age. Notably some versions of the song from the late 90's feature a dropped tuning, wherein the whole song is performed an octave lower, including Dusty's singing. Not here. Original tuning, original notes. Dusty manages to reach all but the highest points. Of note is the next night in Wembley showcases a stronger performance of the track by Dusty, maybe perhaps in part due to the omittance of "I Loved A Woman". Hard to say for sure.
"Just Got Paid" is badass. That's it, simply badass. Shifting from the normal blues intro of approx 40 seconds of licks, Billy quickly and strikingly rifles off a series of harmonics, culminating in a perfect pitch note, stretched out to allow it to echo off the walls. Seamlessly transitioning into the opening riff, Billy again strikes a perfect note just after the drums come in, allowing it to sustain and screech until the speakers explode in high pitched pain. A devastating performance, calling upon all the blues, rock and funk influences that have pushed the group into musical expression for 40+ years.
The Eliminator trio follows, assuredly a continuance of the good times for the audience, but a strain to the ears of this diehard.
"La Grange" is excellent, featuring the now familiar medley. It is stretched out in good fashion, with a longer than usual instrumental interlude prior to "Bar-B-Que". "Tush" and "Tube Snake Boogie" prove pleasing in their closure of an excellent show.
The recording capturing the performance is excellent, if only a little distant. On a good stereo, cranked up to 11, the rhythm section comes pounding through the floor while the guitar shoots chills through the brain.
The next night the Top would roll into London at Wembley. While the band states they prefer to play in front of larger audiences, the two contrasting shows do not support this. The larger crowd in London, while treated to a good show overall, misses out on the intimacy, creativity and personalization of the Wolverhampton show.
A true stunner. Quintessential Top, and therefore essential Top.
Saturday, November 28, 2009
Mean Rhythm
1977. Worldwide Texas Tour. ZZ Top is hitting an intense stride, night after night playing loud, gritty, powerful Texas blues.
1980. Touring on the strength of "Deguello". The beginning of countless renditions of "Cheap Sunglasses" and "I'm Bad, I'm Nationdwide". Each show is full of energy, moderate variation, guts and glory.
1981. "El Loco". Flawless and more polished performances. Featuring cuts such as "Don't Tease Me" and "I Wanna Drive You Home". Billy especially is aggressive and fluent in his leads.
A study of ZZ's performances over the years inevitably results in an analysis of what period, or what year, the band reached their live peak. The very early years, '70 - '75, shows the band fleshing out their sound, full of boundless enthusiasm but lacking the structure and confidence of a mature band, wherein each member is assured of the other members' next move.
To me the band would reach a summit under the stage lights in 1977, during the Texas tour. The shows featured an abundance of "Tejas" material (an underrated record) as well as an ever changing collection of the group's earlier works. Each 28 years of age, they display the perfect combination of youth and maturity, looseness and structure, grit and polish. The tour was very well received by fans and critics, and did much to get the groups name on the public's mind.
But then, having exhausted themselves, the band took a break, a long one. Two years. The return to the stage in 1980 would present a different group. Still hungry, but with a new mindset. A determination to make it big, really big. The group played hard, sang hard, toured hard. They would present to festivals and multi-band concerts. They would push their name, riding the success of the rock radio play of select tracks from "Deguello". ZZ would also begin to flesh out their live sound, piping in basic keyboard chords and drum beats. This would serve to further polish the live presentation, perhaps at the expense of the rugged and aggressive playing of the past.
"El Loco" as an album, while pleasing to the ZZ fan, would present as a misfire. Featuring minor hits in the form of "Tube Snake Boogie" and "Pearl Necklace" the album did little to enhance the popularity of the Texas trio. The subsequent tour however once again proved to be an exhibition of the band's ability to motive and cultivate the audience into a frenzy. 1981 may have been the last year Billy let fly on the guitar, consistently changing his solos to reflect his moods. His playing would prove flawless, full of intense blues and blazing notes, set against the background of a mean rhythm section. The setlist itself became more structured and featured less frequent inclusions of rare tracks, the occasional variation often coming during the encore.
We all know what happened in 1983. There have been other excellent tours, 1994's Antenna (excellent) and 1990's Recycler (very long shows). But post '81, the group just didn't mix it up as much, and became increasing predictable, to the extent that each night would showcase the same moves, the same sequence of songs, the same solos. But history shows that many bands, as they mature, leave spontanaeity behind. Of late the band, especially Billy, have received moments of inspiration, and have broken out into "Dust My Broom" and an almost complete "My Head's In Mississippi". A refreshing change, leaving one wanting more and longing for nostalga.
1977. Worldwide Texas Tour. ZZ Top is hitting an intense stride, night after night playing loud, gritty, powerful Texas blues.
1980. Touring on the strength of "Deguello". The beginning of countless renditions of "Cheap Sunglasses" and "I'm Bad, I'm Nationdwide". Each show is full of energy, moderate variation, guts and glory.
1981. "El Loco". Flawless and more polished performances. Featuring cuts such as "Don't Tease Me" and "I Wanna Drive You Home". Billy especially is aggressive and fluent in his leads.
A study of ZZ's performances over the years inevitably results in an analysis of what period, or what year, the band reached their live peak. The very early years, '70 - '75, shows the band fleshing out their sound, full of boundless enthusiasm but lacking the structure and confidence of a mature band, wherein each member is assured of the other members' next move.
To me the band would reach a summit under the stage lights in 1977, during the Texas tour. The shows featured an abundance of "Tejas" material (an underrated record) as well as an ever changing collection of the group's earlier works. Each 28 years of age, they display the perfect combination of youth and maturity, looseness and structure, grit and polish. The tour was very well received by fans and critics, and did much to get the groups name on the public's mind.
But then, having exhausted themselves, the band took a break, a long one. Two years. The return to the stage in 1980 would present a different group. Still hungry, but with a new mindset. A determination to make it big, really big. The group played hard, sang hard, toured hard. They would present to festivals and multi-band concerts. They would push their name, riding the success of the rock radio play of select tracks from "Deguello". ZZ would also begin to flesh out their live sound, piping in basic keyboard chords and drum beats. This would serve to further polish the live presentation, perhaps at the expense of the rugged and aggressive playing of the past.
"El Loco" as an album, while pleasing to the ZZ fan, would present as a misfire. Featuring minor hits in the form of "Tube Snake Boogie" and "Pearl Necklace" the album did little to enhance the popularity of the Texas trio. The subsequent tour however once again proved to be an exhibition of the band's ability to motive and cultivate the audience into a frenzy. 1981 may have been the last year Billy let fly on the guitar, consistently changing his solos to reflect his moods. His playing would prove flawless, full of intense blues and blazing notes, set against the background of a mean rhythm section. The setlist itself became more structured and featured less frequent inclusions of rare tracks, the occasional variation often coming during the encore.
We all know what happened in 1983. There have been other excellent tours, 1994's Antenna (excellent) and 1990's Recycler (very long shows). But post '81, the group just didn't mix it up as much, and became increasing predictable, to the extent that each night would showcase the same moves, the same sequence of songs, the same solos. But history shows that many bands, as they mature, leave spontanaeity behind. Of late the band, especially Billy, have received moments of inspiration, and have broken out into "Dust My Broom" and an almost complete "My Head's In Mississippi". A refreshing change, leaving one wanting more and longing for nostalga.
1977. Worldwide Texas Tour. ZZ Top is hitting an intense stride, night after night playing loud, gritty, powerful Texas blues.
Monday, November 23, 2009
Thank you / What type of fan?
Sorry about the slow down in updates this month. As the holidays approach things get busy. I would like to take this opportunity to thank those who visit the site and come back to see updates. I try to bring a good mixture of subjective vs. objective, opinion vs. fact in the various topics. I've got some considerations for future entries however would love to here any ideas for topics, design changes, additions or new features. Please don't hesitate to e-mail me or make suggestions under the comments section.
I mainly created the blog as there is little info out there about the band. Despite being around for 40 years the band is somewhat of an underground scene. There are the diehards, the casuals, and the indifferents. The diehards will come to the show in their town, hell or high water be damned. Diehards will love everything the band does, regardless of any ruts or routines the band may be in. They will rarely if ever criticize. The casuals will present to the shows if it's convenient. They will buy the albums if they remember too. They can become frustrated and disillusioned, and will limit the spending of their greenbacks with regard to the concert scene. They also associate ZZ to be just a part of the many bands within the blues / rock genre that they dig hearing. Casuals have Tres Hombres and Eliminator, and maybe Fandango. The indifferents left the band behind long ago, after the heights of Eliminator and Afterburner faded from view.
I would have to place myself as a diehard / casual hybrid. I love the band, and am quick to hunt down any news or info regarding the band. I will happily see the band when they come 'round my way, even if the set list is the same old. I will however criticize and call out the frustrations that I, and many fans, can often feel about certain aspects of the band's current state. I will never however be an indifferent.
So what type of fan are you? With 40 years of music to choose from it's hard to lose interest, and there is a ZZ album to suit any mood. Fans are what motivate the group. What do you love about the Top? What do you love about their music? What keeps you from being an indifferent?
I mainly created the blog as there is little info out there about the band. Despite being around for 40 years the band is somewhat of an underground scene. There are the diehards, the casuals, and the indifferents. The diehards will come to the show in their town, hell or high water be damned. Diehards will love everything the band does, regardless of any ruts or routines the band may be in. They will rarely if ever criticize. The casuals will present to the shows if it's convenient. They will buy the albums if they remember too. They can become frustrated and disillusioned, and will limit the spending of their greenbacks with regard to the concert scene. They also associate ZZ to be just a part of the many bands within the blues / rock genre that they dig hearing. Casuals have Tres Hombres and Eliminator, and maybe Fandango. The indifferents left the band behind long ago, after the heights of Eliminator and Afterburner faded from view.
I would have to place myself as a diehard / casual hybrid. I love the band, and am quick to hunt down any news or info regarding the band. I will happily see the band when they come 'round my way, even if the set list is the same old. I will however criticize and call out the frustrations that I, and many fans, can often feel about certain aspects of the band's current state. I will never however be an indifferent.
So what type of fan are you? With 40 years of music to choose from it's hard to lose interest, and there is a ZZ album to suit any mood. Fans are what motivate the group. What do you love about the Top? What do you love about their music? What keeps you from being an indifferent?
Monday, November 16, 2009
For Your Entertainment
ZZ Top - entertaining through the medium of music.
Ever fan of music has there favorite genres, favorite styles, favorite instruments, favorite musicians. Consciously, or subconsciously, the musician or performer's attitude and presentation influences the listeners interpretation of the sounds and lyrics. Celine Dion singing Zeppelin's "In My Time of Dying" is not going to come across in any shape or form as well as Plant's rendition. The listener is not going to "feel" the swagger, the ego, the pomp and circumstance of Zeppelin's lofty heights in the mid '70's. I suppose the listener would not "feel" the sincerity and passion if Plant covered a Dion tune. No matter, not my tastes, but some people dig it.
This sets up the question: Has ZZ over applied the attitude and presentation to the detriment of the sounds and lyrics. Certainly "El Loco" was the last album to feature the majority of songs containing meaningful lyrics, "Pearl Necklace" and "Heaven, Hell or Houston" notwithstanding. Most of the albums since have been very simplistic in their lyrical approach, even if the song isn't full of double entades. There is a stark contrast between the musical and lyrical approach of the band's songs in the 1970's and the post "El Loco" period. Maybe perhaps the band didn't approach songwriting differently, the results were just different.
My argument is that live the band has gone over the top with regard to "entertaining" and has as a consequence lost the feel for the music. There has been limited variation in the band's set list since 1997, wherein a few tracks from the current or most recent album are played but the core songs are hammered on year after year. "Cheap Sunglasses", "Nationwide", "Got Me Under Pressure", the Eliminator trilogy, "La Grange", "Tush", "Pincushion", Bus / Chicago, "Tube Snake Boogie". I mean come on, do you have to end with Tush EVERY NIGHT. The Top, like every good band, feeds off the energy of the audience. An the argument can be made that these songs result in the most enthusiastic response. But go back to 1977. The band played every song from "Tejas" save for "Asleep In the Desert" during the tour, often featuring seven or eight of the songs a night. They would bring out the rare, obscure number, like "Neighbor Neighbor", a song that wasn't a hit per se and was a blip on ZZ's first album. The confidence in the music and the desire and excitement in playing the new songs is infectious, and shows a band at the top of their musical chops and ability (in a live forum).
I believe the lack of a new album in six years is a direct result of this overemphasis on "entertaining". Why waste time in the studio when you can perform for the masses? Of course, this whole topic is mitigated and tempered by the fact the band has been together for 40 years. They don't need to prove a thing, and the wealth of music they have given fans over the past four decades is a fantastic gift. Many bands burn out overnight, petty in their disagreements and financial discontent. ZZ doesn't have that problem. They have proven to be shining examples of longevity. But perhaps a change of focus is needed in order to keep things from getting stale. Perhaps a renewed focus on the music. Perhaps a new album.
Ever fan of music has there favorite genres, favorite styles, favorite instruments, favorite musicians. Consciously, or subconsciously, the musician or performer's attitude and presentation influences the listeners interpretation of the sounds and lyrics. Celine Dion singing Zeppelin's "In My Time of Dying" is not going to come across in any shape or form as well as Plant's rendition. The listener is not going to "feel" the swagger, the ego, the pomp and circumstance of Zeppelin's lofty heights in the mid '70's. I suppose the listener would not "feel" the sincerity and passion if Plant covered a Dion tune. No matter, not my tastes, but some people dig it.
This sets up the question: Has ZZ over applied the attitude and presentation to the detriment of the sounds and lyrics. Certainly "El Loco" was the last album to feature the majority of songs containing meaningful lyrics, "Pearl Necklace" and "Heaven, Hell or Houston" notwithstanding. Most of the albums since have been very simplistic in their lyrical approach, even if the song isn't full of double entades. There is a stark contrast between the musical and lyrical approach of the band's songs in the 1970's and the post "El Loco" period. Maybe perhaps the band didn't approach songwriting differently, the results were just different.
My argument is that live the band has gone over the top with regard to "entertaining" and has as a consequence lost the feel for the music. There has been limited variation in the band's set list since 1997, wherein a few tracks from the current or most recent album are played but the core songs are hammered on year after year. "Cheap Sunglasses", "Nationwide", "Got Me Under Pressure", the Eliminator trilogy, "La Grange", "Tush", "Pincushion", Bus / Chicago, "Tube Snake Boogie". I mean come on, do you have to end with Tush EVERY NIGHT. The Top, like every good band, feeds off the energy of the audience. An the argument can be made that these songs result in the most enthusiastic response. But go back to 1977. The band played every song from "Tejas" save for "Asleep In the Desert" during the tour, often featuring seven or eight of the songs a night. They would bring out the rare, obscure number, like "Neighbor Neighbor", a song that wasn't a hit per se and was a blip on ZZ's first album. The confidence in the music and the desire and excitement in playing the new songs is infectious, and shows a band at the top of their musical chops and ability (in a live forum).
I believe the lack of a new album in six years is a direct result of this overemphasis on "entertaining". Why waste time in the studio when you can perform for the masses? Of course, this whole topic is mitigated and tempered by the fact the band has been together for 40 years. They don't need to prove a thing, and the wealth of music they have given fans over the past four decades is a fantastic gift. Many bands burn out overnight, petty in their disagreements and financial discontent. ZZ doesn't have that problem. They have proven to be shining examples of longevity. But perhaps a change of focus is needed in order to keep things from getting stale. Perhaps a renewed focus on the music. Perhaps a new album.
Friday, November 6, 2009
Liver than you'll ever be / One bullet in the chamber
So the Top touring machine continues. The train has rolled, unabated, since early 2007. The group obviously loves to play, both for the joy of working together and the response of the audience. They continue to this day to have a strong following in Europe, despite the fact they did not catch on across the pond until Eliminator.
The band has always sounded and acted, at each stage of their career, younger than they were. Listen to a performance in 1977 and hear Billy scorch and jump, Dusty hit notes in Robert Plant fashion, and Frank mixing up the beat. By this time the group had been around 8 years and the three were nearing 30. I know that's not old, but to 16 year old kids, 30 is old. Listen to Dusty belt out "I Got The Six" in 1983. They were 34. Listen to "Sleeping Bag" in 1991, they were 42. And the assault of "Fool For Your Stockings" from '05, at the age of 56. As recently as earlier this month, "Just Got Paid" is as dirty, grungy and bad ass as ever, after 40 years of playing together and 60 years on this earth.
Perhaps performing live serves as a fountain of youth, each second a moment in time when the rules of Father Time and the obligations of aging don't apply. I would love to be 60 and play to adoring fans, some a quarter of my years.
But time will not yield. All roads come to an end. The Rolling Stones have proved that you can keep going well into your 60's, although the quality of their current work is debatable. Bill Wyman, who granted has not been a member for a long time, is 73! Charlie Watts is 68! My point is ZZ's fans need to celebrate and enjoy every minute of the Top's touring machine, especially as it continues to run flawlessly. The excitement the band continues to create is unique for artists who exceed 50. Soak it up.
The ever increasing gap of 6 years + since the last album may need to be heeded as a warning. Exactly how many more albums do you expect this band to make before they hang it up? Billy and Dusty have been quoted for years (since 2005) stating they are preparing to work on a new album, discussing in interviews the sound they are looking to make and noting the number of tracks and ideas that have been laid down in rough draft form. There may only be one album left in the chamber, one final go round. Perhaps Billy wants it to be perfect. Maybe encompassing of all of ZZ's sounds through the years. Maybe reflective and somber. Maybe energetic and timeless. Probably none of these. But he may simply be biding his time until the moment is right, so that perhaps this final album can make the definitive statement about the band, a group of boys who sure could play.
The band has always sounded and acted, at each stage of their career, younger than they were. Listen to a performance in 1977 and hear Billy scorch and jump, Dusty hit notes in Robert Plant fashion, and Frank mixing up the beat. By this time the group had been around 8 years and the three were nearing 30. I know that's not old, but to 16 year old kids, 30 is old. Listen to Dusty belt out "I Got The Six" in 1983. They were 34. Listen to "Sleeping Bag" in 1991, they were 42. And the assault of "Fool For Your Stockings" from '05, at the age of 56. As recently as earlier this month, "Just Got Paid" is as dirty, grungy and bad ass as ever, after 40 years of playing together and 60 years on this earth.
Perhaps performing live serves as a fountain of youth, each second a moment in time when the rules of Father Time and the obligations of aging don't apply. I would love to be 60 and play to adoring fans, some a quarter of my years.
But time will not yield. All roads come to an end. The Rolling Stones have proved that you can keep going well into your 60's, although the quality of their current work is debatable. Bill Wyman, who granted has not been a member for a long time, is 73! Charlie Watts is 68! My point is ZZ's fans need to celebrate and enjoy every minute of the Top's touring machine, especially as it continues to run flawlessly. The excitement the band continues to create is unique for artists who exceed 50. Soak it up.
The ever increasing gap of 6 years + since the last album may need to be heeded as a warning. Exactly how many more albums do you expect this band to make before they hang it up? Billy and Dusty have been quoted for years (since 2005) stating they are preparing to work on a new album, discussing in interviews the sound they are looking to make and noting the number of tracks and ideas that have been laid down in rough draft form. There may only be one album left in the chamber, one final go round. Perhaps Billy wants it to be perfect. Maybe encompassing of all of ZZ's sounds through the years. Maybe reflective and somber. Maybe energetic and timeless. Probably none of these. But he may simply be biding his time until the moment is right, so that perhaps this final album can make the definitive statement about the band, a group of boys who sure could play.
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.
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.
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
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.
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
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".
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".
Monday, September 28, 2009
Bang Bang - What's the aversion?
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
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 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!
**
Thursday, August 27, 2009
Live ramblings - Eliminator, Afterburner, Double Down...
Last year the 25th Edition of the "Eliminator" album was released, containing the original "Legs" and a handful of live tracks. While a few complained that the sound of the live tracks was less than optimal, the fact they were included was a selling point, and a very worthy addition to the release in my opinion. It also indicates Billy and the band have a number of shows in the can in very good quality. The shows where the cuts were taken from have been available in trading circles for years, and while good, did not have the quality of the "Eliminator" release. If "Double Down Live" sells well, which I anticipate it will, maybe the band will be persuaded to release other shows or compilations, or actually have a web site worth visiting where these shows could be downloaded, for free or a small fee.
So will "Afterburner" receive the 25th Anniversary treatment? This album is a unique one, and serves as the Mason-Dixon line for many fans. Some like ZZ up to but excluding "Afterburner", and some like the band starting with "Eliminator" and then moving forward. I personally like almost everything the band has done, with the somewhat puzzling exception of "Deguello". "Afterburner" is a great album, the band's second best selling as a matter of fact. The tours in support of the album were also very good, and saw the band at the height of their popularity. Maybe Billy can find some live versions of "Sleeping Bag" and "Delirious" and add those to a remastered copy.
Anyway, there has been a slight lull in touring activity, and the band is supposed to be in the studio working on the next record. They will begin again in September. Check out http://www.lowpft.com/, an excellent site, for touring schedules and setlists.
Have Mercy!
So will "Afterburner" receive the 25th Anniversary treatment? This album is a unique one, and serves as the Mason-Dixon line for many fans. Some like ZZ up to but excluding "Afterburner", and some like the band starting with "Eliminator" and then moving forward. I personally like almost everything the band has done, with the somewhat puzzling exception of "Deguello". "Afterburner" is a great album, the band's second best selling as a matter of fact. The tours in support of the album were also very good, and saw the band at the height of their popularity. Maybe Billy can find some live versions of "Sleeping Bag" and "Delirious" and add those to a remastered copy.
Anyway, there has been a slight lull in touring activity, and the band is supposed to be in the studio working on the next record. They will begin again in September. Check out http://www.lowpft.com/, an excellent site, for touring schedules and setlists.
Have Mercy!
Sunday, August 23, 2009
Tracks from the Far East and beyond
Okay, each of the four RCA albums (Antenna, Rhythmeen, XXX and Mescalero) contain a bonus track on the Japan editions. If I recall correctly I believe this is to encourage the Japanese consumer to purchase the Japanese release as it can often be cheaper for them to find the English version, whether from import stores or through the internet. There are a total of six tracks that are not on the standard albums, these comprise:
Everything (Antenna)
Isn't Love Amazing (Rhythmeen)
Ninja Shack (XXX)
Sanctify (Mescalero)
Mary's (Breakaway single)
Stop Breakin' Down Blues (What's Up With That single) - cover, not an original song
I own copies of each, with the exception of "Everything". I haven't found the right price on that yet.
Anyway, this are all generally outstanding songs, with the exception of Mary's. It's bad, really bad. But hey, that's just my opinion.
I'll occasionally write about each of these, sort of a review. Also how each meshes with their respective album.
First up, "Isn't Love Amazing" from Rhythmeen. Amazing track from an amazing album. I can't imagine listening to this 1996 masterpiece without the bonus song. Very simple in structure, verse-chorus-verse-chorus- guitar solo (45 seconds, give or take) - verse-chorus - outro solo (1 min 30 sec, give or take) - drum solo (!). Lyrics are typical nonsensical latter day ZZ - intriguing but simplistic. "Ferociousness is all she craves, precociousness don't get me laid" - sounds awesome when you sing it, but I can't find a definition for the word that makes sense to the song. "She got something best of all, and it put my yah-yah gainst a wall" - you get the idea. The best part is the outro solo - like the rest of the album Dusty lays down a low, low bass rythym while Frank hits the cymbals. Billy rips it up with timely blues licks and brings it full circle with a sustained, distorted note that he bends and releases several times - sounds awesome. Dusty and Billy drop out and Frank continues with a 10 second drum finale, completed by Billy's enthusiastic and maniacal laugh and shouts of "oh yeah! oh yeah!".
The track fits the album perfectly. It you can find it for a good price (think Ebay) then pick it up. You will love it.
Everything (Antenna)
Isn't Love Amazing (Rhythmeen)
Ninja Shack (XXX)
Sanctify (Mescalero)
Mary's (Breakaway single)
Stop Breakin' Down Blues (What's Up With That single) - cover, not an original song
I own copies of each, with the exception of "Everything". I haven't found the right price on that yet.
Anyway, this are all generally outstanding songs, with the exception of Mary's. It's bad, really bad. But hey, that's just my opinion.
I'll occasionally write about each of these, sort of a review. Also how each meshes with their respective album.
First up, "Isn't Love Amazing" from Rhythmeen. Amazing track from an amazing album. I can't imagine listening to this 1996 masterpiece without the bonus song. Very simple in structure, verse-chorus-verse-chorus- guitar solo (45 seconds, give or take) - verse-chorus - outro solo (1 min 30 sec, give or take) - drum solo (!). Lyrics are typical nonsensical latter day ZZ - intriguing but simplistic. "Ferociousness is all she craves, precociousness don't get me laid" - sounds awesome when you sing it, but I can't find a definition for the word that makes sense to the song. "She got something best of all, and it put my yah-yah gainst a wall" - you get the idea. The best part is the outro solo - like the rest of the album Dusty lays down a low, low bass rythym while Frank hits the cymbals. Billy rips it up with timely blues licks and brings it full circle with a sustained, distorted note that he bends and releases several times - sounds awesome. Dusty and Billy drop out and Frank continues with a 10 second drum finale, completed by Billy's enthusiastic and maniacal laugh and shouts of "oh yeah! oh yeah!".
The track fits the album perfectly. It you can find it for a good price (think Ebay) then pick it up. You will love it.
Friday, August 21, 2009
ZZ Top plays it dangerous
Looks like ZZ is mixin it up a little bit:
Set List: Anaheim House of Blues: 08/20/2009 (Courtesy of Totally Unofficial ZZ Top Tour Blog at http://zztopeurope2007.blogspot.com/)
Under Pressure
Waitin' for the Bus
Jesus Just Left Chicago
Pincushion
I'm Bad, I'm Nationwide
Future Blues
Cheap Sunglasses
Mexican Blackbird
I Need You Tonight
Brown Sugar
Foxy Lady
Just Got Paid
Gimme All Your Lovin'
Sharp Dressed Man
Legs
Encore
Tube Snake Boogie
LaGrange/Sloppy Drunk/BBQ
Tush
Awesome to see "Brown Sugar" in the set. This is an excellent song and the band always does a great rendition. I don't believe it's been played since early 2007. The song kicks and is always played with enthusiasm from the band.
Also good to see "Mexican Blackbird". The band usually keeps it loose on this and chugs through the beat.
I'm excited and hopeful the Top will try to mix it up every few nights and have some fun.
If anyone finds any recordings for these smaller shows please let me know! I have lots to trade!
Set List: Anaheim House of Blues: 08/20/2009 (Courtesy of Totally Unofficial ZZ Top Tour Blog at http://zztopeurope2007.blogspot.com/)
Under Pressure
Waitin' for the Bus
Jesus Just Left Chicago
Pincushion
I'm Bad, I'm Nationwide
Future Blues
Cheap Sunglasses
Mexican Blackbird
I Need You Tonight
Brown Sugar
Foxy Lady
Just Got Paid
Gimme All Your Lovin'
Sharp Dressed Man
Legs
Encore
Tube Snake Boogie
LaGrange/Sloppy Drunk/BBQ
Tush
Awesome to see "Brown Sugar" in the set. This is an excellent song and the band always does a great rendition. I don't believe it's been played since early 2007. The song kicks and is always played with enthusiasm from the band.
Also good to see "Mexican Blackbird". The band usually keeps it loose on this and chugs through the beat.
I'm excited and hopeful the Top will try to mix it up every few nights and have some fun.
If anyone finds any recordings for these smaller shows please let me know! I have lots to trade!
Monday, August 17, 2009
ZZ Top - Full Steam Ahead
Okay, so Aerosmith is done. For the year. Maybe forever, hopefully not. It would seem that band needs to have a sit down and work some things out.
Either way, ZZ is alive and well.
Dates have been scheduled to comprise a club tour, with smaller venues, many House of Blues locations. The first date is tomorrow, 08/18, in Redding, California. Billy has stated the show will be "no frills and no holds barred". Maybe the informality of the tour will spill over into their live show, and the band will dust off some old numbers. That is something I think every fan would like to see.
It is also rumoured the band will be entering the studio at some point in the next four to six weeks to work with producer Rick Rubin. I imagine little in the way of finalization will take place, however some experimentation and jamming, possibly song structuring, along with concept brainstorming, is a distinct possibility.
Then comes the Double Down Live Tour on 10/08 and the subsequent release of the Double Down Live set.
This would appear to be an exciting time. As fans lets enjoy the ride. As you know, all trains stop rollin eventually.
Either way, ZZ is alive and well.
Dates have been scheduled to comprise a club tour, with smaller venues, many House of Blues locations. The first date is tomorrow, 08/18, in Redding, California. Billy has stated the show will be "no frills and no holds barred". Maybe the informality of the tour will spill over into their live show, and the band will dust off some old numbers. That is something I think every fan would like to see.
It is also rumoured the band will be entering the studio at some point in the next four to six weeks to work with producer Rick Rubin. I imagine little in the way of finalization will take place, however some experimentation and jamming, possibly song structuring, along with concept brainstorming, is a distinct possibility.
Then comes the Double Down Live Tour on 10/08 and the subsequent release of the Double Down Live set.
This would appear to be an exciting time. As fans lets enjoy the ride. As you know, all trains stop rollin eventually.
Thursday, August 13, 2009
What if...
Ever think about what your favorite band's ideal set list would be like:
~~~~~~ZZ Top set list to end all set lists~~~~~~~~
Sleeping Bag
Planet of Women
Nasty Dogs and Funky Kings
It's Only Love
Pretty Head
El Diablo
Just Got Back From Baby's
Sure Got Cold After the Rain Fell
It's So Hard
Antenna Head
Precious and Grace
Piece
My Head's In Mississippi
Mescalero
Hairdresser
Encore:
Poke Chop Sandwich
Ten Dollar Man
Loaded
No Legs, Tush, Gimme, Sharp, Bus/Chicago, Pressure, Tube, Sunglasses, Nationwide, or La Grange. I've got to be honest, just taking out Bus/Chicago would be great, the only time I think they didn't play it was on the Continential Safari in '96. But hey, if these are the songs the band enjoys playing more power to them. I just think they have a fantastic back catalogue that they could lean on a little more often.
~~~~~~ZZ Top set list to end all set lists~~~~~~~~
Sleeping Bag
Planet of Women
Nasty Dogs and Funky Kings
It's Only Love
Pretty Head
El Diablo
Just Got Back From Baby's
Sure Got Cold After the Rain Fell
It's So Hard
Antenna Head
Precious and Grace
Piece
My Head's In Mississippi
Mescalero
Hairdresser
Encore:
Poke Chop Sandwich
Ten Dollar Man
Loaded
No Legs, Tush, Gimme, Sharp, Bus/Chicago, Pressure, Tube, Sunglasses, Nationwide, or La Grange. I've got to be honest, just taking out Bus/Chicago would be great, the only time I think they didn't play it was on the Continential Safari in '96. But hey, if these are the songs the band enjoys playing more power to them. I just think they have a fantastic back catalogue that they could lean on a little more often.
Monday, August 10, 2009
New uncirculated ZZ Top recording / Live Top
This year has proven to be a good one if you're into live Top. A number of improved lineages of existing shows and several uncirculated concerts have made an appearance this year. Live ZZ is something of an enigma, there is a lot out there but it is much harder to find than say Zeppelin or the Rolling Stones.
Look for torrent cites online that only share unreleased live music. Don't download official recordings, support the bands. There are a lot of traders out there too.
Recently an uncirculated (to my knowledge anyway) recording of ZZ in Alpine Valley, Troy WI (09/03/1983) came out. It has renditions of both "I Need You Tonight" and "Fool For Your Stockings", two blockbuster blues tunes in the band's catalogue. I haven't yet had an opportunity to listen to it, but I will soon.
ZZ live can be very routine and predictable (especially in the post 1997 to today period). But there are a great number of shows where rarely played songs or extended jams take place. I'll try to hit on these unique shows as the blog progresses.
ZZ Blues
Look for torrent cites online that only share unreleased live music. Don't download official recordings, support the bands. There are a lot of traders out there too.
Recently an uncirculated (to my knowledge anyway) recording of ZZ in Alpine Valley, Troy WI (09/03/1983) came out. It has renditions of both "I Need You Tonight" and "Fool For Your Stockings", two blockbuster blues tunes in the band's catalogue. I haven't yet had an opportunity to listen to it, but I will soon.
ZZ live can be very routine and predictable (especially in the post 1997 to today period). But there are a great number of shows where rarely played songs or extended jams take place. I'll try to hit on these unique shows as the blog progresses.
ZZ Blues
Friday, August 7, 2009
Aerosmith / ZZ Top Tour over?
I greatly enjoy Aerosmith. 1994's Get a Grip album was awesome. I even enjoy the 80's pop ballads "What It Takes" and "Angel". Based on this I was more positive regarding ZZ opening for Aero than other fans of the Top were. I figured it would allow ZZ to cater to and play in front of individuals that may otherwise not hear ZZ live.
It would appear the Train, for now, has stopped rollin'.
Mr. Tyler fell off the stage at a show in Sturgis, SD while dancing. Steven has always been an enthusiastic and dancing lead singer, and it seems he got a little too excited and a little too unaware of the size of the catwalk platform. So he fell off and fractured his shoulder. Based on all the complications and injuries Aerosmith has dealt with on this tour, I would assume this is the final straw. I would not expect the tour to continue.
So what does ZZ Top do with their new found time. I would propose they are reviewing their plans for the Double Down Live tour. This would also be a fantastic time to get into the studio while the band is hot and lay down some basic song structures for the new album.
Unfortunately it does not look like ZZ will occupy Madison Square Garden or the L.A. Forum this year. That's okay though. The band has a strong dedicated fan base who will always be at the ready to see and hear the next show.
Best wishes for recovery to Mr. Tyler.
It would appear the Train, for now, has stopped rollin'.
Mr. Tyler fell off the stage at a show in Sturgis, SD while dancing. Steven has always been an enthusiastic and dancing lead singer, and it seems he got a little too excited and a little too unaware of the size of the catwalk platform. So he fell off and fractured his shoulder. Based on all the complications and injuries Aerosmith has dealt with on this tour, I would assume this is the final straw. I would not expect the tour to continue.
So what does ZZ Top do with their new found time. I would propose they are reviewing their plans for the Double Down Live tour. This would also be a fantastic time to get into the studio while the band is hot and lay down some basic song structures for the new album.
Unfortunately it does not look like ZZ will occupy Madison Square Garden or the L.A. Forum this year. That's okay though. The band has a strong dedicated fan base who will always be at the ready to see and hear the next show.
Best wishes for recovery to Mr. Tyler.
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