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.
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