XXX - Love it, Like it, or Hate it

ZZ's 1999 release, XXX, seems to be a major target for dismissive, and rather aggressive, criticism. Loathed by critics at the time, and still panned to this day, the album appears to have been a missed opportunity by the band to capitalize on the 30 year anniversary of the greatest thing to emerge from Texas since freshly discovered crude, that being the Little Ol' Band from Texas.

Produced in large part by Billy it is a collection of great, and ultimately not-so-great, studio and live cuts. Receiving minimal promotion by RCA save for a quiet release of "Fearless Boogie" and "36-22-36" as singles, the effort was further evidence of Bill Ham's fading interest in his most successful enterprise. Without the push, enthusiasm and drive of Mr. Ham the band's releases seemed to attract less and less attention from the music buying public, both potential new fans and long standing old fans (some of whom left for good upon the techno / rock genius of Eliminator).

The tour to promote the album, beginning in the fall of 1999, did nothing to encourage word of mouth about the new release. Choosing to tour with Lynyrd Skynyrd (interesting dynamics here; Skynard was always the opening act throughout however served as the main attraction in the deep south; and ZZ as the main attraction in the West and Northeast) the Top only played one song from XXX, "Fearless Boogie". This was the first indication of a continuing tradition of a lack of interest by the band in playing new tracks, seemingly stemming from either poor confidence in the new material, hesitation to 'disappoint' fans, or just plain laziness. Instead Billy and the Boyzz choose to fill the shortened playlist with cornerstones such as "Sunglasses" and "Nationwide". Having ended the US portion in March of 2000 they did go on to add three more tracks from the album upon arriving in Australia in April. Sadly due to Dusty's impending health issues the European jaunt was cancelled, which no doubt would have lead to a successful live campaign and likely increased exposure and sales of XXX in Europe.

In my opinion the album is overall quite good, of course I am a little biased. "Poke Chop Sandwich", a product of Frank's suggestion and ideas, is awesome - a very unique track in ZZ's history that is unlike anything they did before or since. "Fearless Boogie" and "36-22-36" are also strong. Some are indeed on the low end of the group's output, namely "Made Into a Movie" and "Trippin". But the real appeal here, seemingly glossed over by casual fans aka critics, are the live tracks. "Belt Buckle" and "Hey Mr. Millionaire" are excellent examples of the creativity and engrossing experience that ZZ can convey when they actually apply themselves live (some would argue they haven't done this since 1983). Full of complex starts and stops and blazing leads anchored by the professional rhythm section of Dusty and Frank, the songs sound amazing pumped loud through your stereo of choice. But the real gem here, no question about it, is "Teddy Bear". Oozing the slow bravado and assertive confidence of Dusty's finest lead vocal work, the Elvis cover is the equivalent of "Poke Chop Sandwich" in its shining example of the still harnessed commanding and capable abilities of the Texas Trio. An absolutely glaring omission from the US tour, it was brought to the stage upon arriving in Australia in April 2000 where it no doubt was extremely well received. The band completely missed the boat on this opportunity to show the still obvious vitality and viability of these middle age rockers.

Overall, an incredible effort like "Rhythmeen" is going to be difficult to follow in any circumstance, and Billy and Mr. Ham did themselves no favors when it came to promoting XXX. But that doesn't mean you and I can't still enjoy it. It you have it, find it and crank it up. If you don't have it, go on ebay or Amazon and get it, now. Upon hearing Dusty's "Teddy Bear" or Billy's "Poke Chop" you'll wonder why you waited so long to buy the album, and will likely recognize once and for all that critics are just that, critics, and you can make up your own mind when it comes to the quality and appeal of ZZ's releases.