I have updated my trading list: http://antennaheadnews.blogspot.com/2009/10/zz-top-shows-to-trade.html. I am very interested in the 10/26/1981 London show. Also anything from their European tour in 1983.
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In addition to trading shows on my list, I also have some ZZ Top memorabilia that I would be willing to trade in exchange for recordings. Please contact me at truckfan81@yahoo.com if you are interested.
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If you haven't seen it already make sure to go to YouTube and check out Billy's performance on Conan O'Brien. Appears he enjoyed himself. Living in the LA area accommodates such spontaneous appearances.
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Things have been quiet, maybe we should start taking guesses at the name of the new album?!
Saturday, January 23, 2010
Monday, January 18, 2010
Antenna Thoughts
Once again proving his strength and persuasion as a negotiator, Bill Ham successful signed the band to a new recording contract with RCA records, reportedly worth $35 million. Whether this is a testimony to how well he can convince record executives, or an indication of how daft those in the recording industry can be, is undetermined. Nonetheless, the new contract proved to be both a positive, and a burden, for ZZ Top.
1993. The Top performs at the 90th Harley Davidson Anniversary. One of only a few performances the band would conduct that year, the show proved to be well above average. Featuring a number of rarities, as well as the last performances to date of classics such as "Arrested For Driving While Blind" it showed that ZZ were still on top of their game and could still shake 'em on down.
Having just committed a large sum of money RCA records were obviously interested in realizing a return on their investment. The band set to the task of working on a new album. But herein began the problem; what sound should the band pursue? "Recycler" had taken a beating from critic's, who panned what sounded to them like overused and overdone mid-eighties pop. The band did not want to continue the formula of the last three albums, but were unsure of chasing the "Tres Hombres" style as well. What emerged was unique. Clean tones, clean lines, more structured and complex guitar workings, and more emphasis on rock rather than blues. In the background, the distant background, are rumblings of a keyboard, a synthesizer, serving to flesh out and add fullness to the sound. Dusty referred to the soft spoken keyboard layers as "Seasoning..." at the time. The album, to the dedicated fan, proved fresh and intoxicating. To the casual fan, and the critics, it proved subpar.
The opener of Pincushion set the tone quickly. Pummeling and aggressive guitar, combined with rasp, full, deep vocals from Billy gave the track a maturity that suited the beginning of the album well. The band's fondness for the song is evident in it's continued live playing today. Next was "Breakaway", a very unique track for ZZ. Neither a ballad nor a blues, the track has proved to be an enigma in the band's catalogue. The only questionable issue was placing a slower track so early on the album, especially right after the powerful Pincushion (note that foreign markets featured a different track sequence, with "Breakaway" coming later in the set). "World of Swirl" proves to be a relatively simple exercise, but cranked loud the song convinces. "Fuzzbox Voodoo" and "Girl In a T-Shirt" beg for refining, the former being a routine riff and sing number, and the latter featuring some unimaginative guitar soloing.
In my opinion the next track is the best on the album, and one of the band's best songs ever. While lyrically weak (what ZZ song isn't) "Antenna Head" features some of the best guitar work ever done in the studio. With layered textures, clean crisp lines and full tones Billy conveys a renewed confidence, swagger and ego with his instrument of choice. Listen closely to the song, their are a number of things going on in the background all based on the guitar. With multiple changes in tempo and structure the outro solo proves to be an intoxicating and engrossing listen, culminating in a group of bluesy, sustained notes to meet the fadeout. Well done. The remaining tracks prove only to be adequate, pleasant to hear but rarely getting struck in the mind. The obligatory one blues track "Cover Your Rig", while conveying a good message, disappointments in it's subject matter and delivery. Overseas markets contained the bonus "Everything", which is an above average number but sounds out of place compared to the rest of the album.
To me "Antenna" is the last album where the band tried too hard to give the fans what the band thought they wanted. It seems forced, $35 million can create a lot of pressure to match your past successes. The next album "Rhythmeen" finally found the group making an album for themselves, which proved to be a needed remedy as it is a much more consistent, dirty and bluesy effort from the Top.
The record would prove to be the last Platinum (1million copies) seller for the band. The comparasion to the band's most recent effort is striking, "Mescalero" having sold only a little over 100 thousand. It would also be the group's last album to be released on vinyl (not all markets had vinyl copies, including America). I have come across a number of opportunities to buy the vinyl edition, but have always passed due to the steep prices being asked in exchange for the rarity.
If the album proved to be a disappointment, the accompaning live tour did not. The "Antenna" show would be the last large scale production from the group. Featuring telephone wires running throughout the arenas, an oversized replica of a vehicle's interior dash, mic'd in pre-recorded sequences and skits, and perhaps most pleasing a number of attractive women performing various dances, moves and choreography.
The set list for the shows would prove to be the most dramatic overhaul since 1983. Gone were the absolutes of "Manic Mechanic" and "Ten Foot Pole" (which has not returned since). No "Got Me Under Pressure" or "Tube Snake Boogie". 1994 was a time when the group still promoted their new albums live. The band began with three straight "Antenna" tracks; "World of Swirl", "Pincushion" and "Breakaway". The last of the three was performed extremely well, and was stretched out to over 6 minutes with long solos from Billy. They also included "Fuzzbox Voodoo", "Antenna Head", and "PCH". Very early shows featured "Cover Your Rig", another track stretched to over 6 minutes with help from Billy's guitar. The concerts were long and exciting, and left the attendee feeling satisfied, confident and awestruck at how much power the band still had.
The four year gap since "Recycler" was too long for some to wait, and for many of those that did wait the album would be a nail in the coffin; subsequent releases would not be purchased. The effort would cause the band to quickly fall from RCA's graces, and the quick decline into forgotten rock icons was hard to swallow. Thankfully the band has kept at it, and the three albums since "Antenna" have each been unique and exciting, pleasing the fans that will always be here.
1993. The Top performs at the 90th Harley Davidson Anniversary. One of only a few performances the band would conduct that year, the show proved to be well above average. Featuring a number of rarities, as well as the last performances to date of classics such as "Arrested For Driving While Blind" it showed that ZZ were still on top of their game and could still shake 'em on down.
Having just committed a large sum of money RCA records were obviously interested in realizing a return on their investment. The band set to the task of working on a new album. But herein began the problem; what sound should the band pursue? "Recycler" had taken a beating from critic's, who panned what sounded to them like overused and overdone mid-eighties pop. The band did not want to continue the formula of the last three albums, but were unsure of chasing the "Tres Hombres" style as well. What emerged was unique. Clean tones, clean lines, more structured and complex guitar workings, and more emphasis on rock rather than blues. In the background, the distant background, are rumblings of a keyboard, a synthesizer, serving to flesh out and add fullness to the sound. Dusty referred to the soft spoken keyboard layers as "Seasoning..." at the time. The album, to the dedicated fan, proved fresh and intoxicating. To the casual fan, and the critics, it proved subpar.
The opener of Pincushion set the tone quickly. Pummeling and aggressive guitar, combined with rasp, full, deep vocals from Billy gave the track a maturity that suited the beginning of the album well. The band's fondness for the song is evident in it's continued live playing today. Next was "Breakaway", a very unique track for ZZ. Neither a ballad nor a blues, the track has proved to be an enigma in the band's catalogue. The only questionable issue was placing a slower track so early on the album, especially right after the powerful Pincushion (note that foreign markets featured a different track sequence, with "Breakaway" coming later in the set). "World of Swirl" proves to be a relatively simple exercise, but cranked loud the song convinces. "Fuzzbox Voodoo" and "Girl In a T-Shirt" beg for refining, the former being a routine riff and sing number, and the latter featuring some unimaginative guitar soloing.
In my opinion the next track is the best on the album, and one of the band's best songs ever. While lyrically weak (what ZZ song isn't) "Antenna Head" features some of the best guitar work ever done in the studio. With layered textures, clean crisp lines and full tones Billy conveys a renewed confidence, swagger and ego with his instrument of choice. Listen closely to the song, their are a number of things going on in the background all based on the guitar. With multiple changes in tempo and structure the outro solo proves to be an intoxicating and engrossing listen, culminating in a group of bluesy, sustained notes to meet the fadeout. Well done. The remaining tracks prove only to be adequate, pleasant to hear but rarely getting struck in the mind. The obligatory one blues track "Cover Your Rig", while conveying a good message, disappointments in it's subject matter and delivery. Overseas markets contained the bonus "Everything", which is an above average number but sounds out of place compared to the rest of the album.
To me "Antenna" is the last album where the band tried too hard to give the fans what the band thought they wanted. It seems forced, $35 million can create a lot of pressure to match your past successes. The next album "Rhythmeen" finally found the group making an album for themselves, which proved to be a needed remedy as it is a much more consistent, dirty and bluesy effort from the Top.
The record would prove to be the last Platinum (1million copies) seller for the band. The comparasion to the band's most recent effort is striking, "Mescalero" having sold only a little over 100 thousand. It would also be the group's last album to be released on vinyl (not all markets had vinyl copies, including America). I have come across a number of opportunities to buy the vinyl edition, but have always passed due to the steep prices being asked in exchange for the rarity.
If the album proved to be a disappointment, the accompaning live tour did not. The "Antenna" show would be the last large scale production from the group. Featuring telephone wires running throughout the arenas, an oversized replica of a vehicle's interior dash, mic'd in pre-recorded sequences and skits, and perhaps most pleasing a number of attractive women performing various dances, moves and choreography.
The set list for the shows would prove to be the most dramatic overhaul since 1983. Gone were the absolutes of "Manic Mechanic" and "Ten Foot Pole" (which has not returned since). No "Got Me Under Pressure" or "Tube Snake Boogie". 1994 was a time when the group still promoted their new albums live. The band began with three straight "Antenna" tracks; "World of Swirl", "Pincushion" and "Breakaway". The last of the three was performed extremely well, and was stretched out to over 6 minutes with long solos from Billy. They also included "Fuzzbox Voodoo", "Antenna Head", and "PCH". Very early shows featured "Cover Your Rig", another track stretched to over 6 minutes with help from Billy's guitar. The concerts were long and exciting, and left the attendee feeling satisfied, confident and awestruck at how much power the band still had.
The four year gap since "Recycler" was too long for some to wait, and for many of those that did wait the album would be a nail in the coffin; subsequent releases would not be purchased. The effort would cause the band to quickly fall from RCA's graces, and the quick decline into forgotten rock icons was hard to swallow. Thankfully the band has kept at it, and the three albums since "Antenna" have each been unique and exciting, pleasing the fans that will always be here.
Saturday, January 9, 2010
The Failings of being "In Your Face"
Fall 2008. ZZ Top decides to get back to their roots, reconnect with their audience, and create a renewed intimacy and sincerity in their live performances. Great intentions, but flawed results.
The announcement of the "In Your Face" tour was met with much excitement and anticipation. The band had been quoted as saying they would pull out some rarities, using the opportunity of playing in smaller venues to perform something besides the usual MTV hits and "Pincushion". But it didn't happen. Brought in were "Future Blues" and "Catfish Blues". These were not rarities, and had been performed by the band many many times in the not too distant past.
This was and is astounding, confusing in it's reality. The Top has a huge back catalogue of incredible music. Album after album of varied and outstanding tracks, each containing many elements that reflect the Top's ability to change with the times, to play what they see and hear. How can the band members elect to play "Future Blues" when they could have played "Nasty Dogs and Funky Kings", "El Diablo", "Sheik" and "Just Got Back From Baby's"? How about some that have never been played live; "Penthouse Eyes", "Isn't Love Amazing" or "Mescalero"? I can only thing of one reason, one excuse: apathy. An impressive display of indifference, the tour's lack of previous gems reflected an apparent disconnect with the fans that have supported the band for 15, 25, 35 years. Of course these long standing fans will go see the group live when they come through town, but that doesn't mean they won't be disappointed by the lack of nostalgia. I can confidently say that nobody really wants to have "Legs" and "Tush" pounded into their brains show after show. If it's what they love to play, cool, play the hits. But pull some rabbits out of your hat. The disappointingly brief appearance of "It's Only Love" earlier in 2008 was just that, brief. It's an awesome song, true fans love it. Just because the drunk 40-something year old didn't scream at the top of his lungs when you played it doesn't mean the audience doesn't want to hear it.
To be fair, the group did breakout "Hey Joe". A satisfying deviation from "Foxy Lady", the track was well received. But it didn't matter, the opportunity to break the 10 year rut had been missed.
1970 through 1983 saw the band mixing up the set list, often night to night. How great would it be to go to a show and not actually be able to predict the evening's proceedings?
Give the fans credit. They love ZZ Top, no matter what they play, but showing a legitimate and cognizant awareness of your back catalogue, and the fans appreciation of same, would go a long way towards creating a true intimate, sincere and genuine live experience.
The announcement of the "In Your Face" tour was met with much excitement and anticipation. The band had been quoted as saying they would pull out some rarities, using the opportunity of playing in smaller venues to perform something besides the usual MTV hits and "Pincushion". But it didn't happen. Brought in were "Future Blues" and "Catfish Blues". These were not rarities, and had been performed by the band many many times in the not too distant past.
This was and is astounding, confusing in it's reality. The Top has a huge back catalogue of incredible music. Album after album of varied and outstanding tracks, each containing many elements that reflect the Top's ability to change with the times, to play what they see and hear. How can the band members elect to play "Future Blues" when they could have played "Nasty Dogs and Funky Kings", "El Diablo", "Sheik" and "Just Got Back From Baby's"? How about some that have never been played live; "Penthouse Eyes", "Isn't Love Amazing" or "Mescalero"? I can only thing of one reason, one excuse: apathy. An impressive display of indifference, the tour's lack of previous gems reflected an apparent disconnect with the fans that have supported the band for 15, 25, 35 years. Of course these long standing fans will go see the group live when they come through town, but that doesn't mean they won't be disappointed by the lack of nostalgia. I can confidently say that nobody really wants to have "Legs" and "Tush" pounded into their brains show after show. If it's what they love to play, cool, play the hits. But pull some rabbits out of your hat. The disappointingly brief appearance of "It's Only Love" earlier in 2008 was just that, brief. It's an awesome song, true fans love it. Just because the drunk 40-something year old didn't scream at the top of his lungs when you played it doesn't mean the audience doesn't want to hear it.
To be fair, the group did breakout "Hey Joe". A satisfying deviation from "Foxy Lady", the track was well received. But it didn't matter, the opportunity to break the 10 year rut had been missed.
1970 through 1983 saw the band mixing up the set list, often night to night. How great would it be to go to a show and not actually be able to predict the evening's proceedings?
Give the fans credit. They love ZZ Top, no matter what they play, but showing a legitimate and cognizant awareness of your back catalogue, and the fans appreciation of same, would go a long way towards creating a true intimate, sincere and genuine live experience.
Friday, January 1, 2010
Bring 'Em Back
All is very quiet on the ZZ Top front. The official 40th anniversary of the band recently occurred. No tour dates have been confirmed until May. Maybe they are working on the new album after all.
Regarding the live scene, 2009 did see some variations in the set list as the year progressed, notably the additions of "Brown Sugar", "Party On the Patio", "I Loved A Woman", and "Mexican Blackbird". Early 2008 featured a very brief (for a few shows) appearance of "It's Only Love" and "Thank You".
So I was thinking, what songs would be great to hear live again. Songs that haven't been played in 5, 10 or 20 years. Here's five I would like to see:
"Dust My Broom" -
Last known time played: 2002 (one show, Atlantic City):
** Abbreviated rendition: 2009 Boston **
Always sounding better live than it's studio counterpart, Rockaplast was the perfect example of how good this song comes across on stage. Granted the solo would be a little tough nowadays (if played like Billy played it in 1980), but it's energy is undeniable. There was a very memorable and striking performance of the track in Boston this past September, featuring Billy alone with his guitar accompanying. Very unique version, awesome to hear.
"Just Got Back From Baby's" -
Last known performance: 1994 Antenna Tour
A staple of the group's set lists in the early to mid '70's, the song would be gloriously resurrected during 1994's Antenna Tour. Some of the best blues the group ever did. "Brown Sugar" is brought back every so often, why not this gem?
"Precious and Grace" -
Last known performance: 2003 Beer Drinkers and Hell Raisers Tour
This song kicks ass. Awesome on the official record and awesome onstage. Why this didn't become a staple in the same way as "La Grange" and "Tush" is a mystery. Great energy, great riff, great story, great song. Bring it back.
"Breakaway" -
Last known performance: 1994 Antenna Tour
One of only a handful of ballads by the Top, the live version of this simmering blues lament killed. Stretched to six minutes in length and featuring an awesome and melodic outro solo from Billy, the song was very well received by audiences (no doubt in part due to the onstage antics that took place during the song, i.e. slow dancing tour girls). I understand the song is low on the radar as far as the general public is concerned, but the track was a unique and pleasant surprise in it's variation from the group's usual double entadae formula. I'm willing to bet audiences would enjoy hearing the number, regardless of whether they recognize it.
"Arrested For Driving While Blind"
Last known performance: 1993 Harley Davidson 90th Anniversary show
This is a big one. A rock in the set list beginning with the Worldwide Texas Tour, the subtle masterpiece was played through 1987's Japan tour. Brought back for a one off appearance at the classic 1991 Hamburg Germany show (one of the top 10 best concerts from the band ever) it was last played at the '93 Harley Davidson Anniversary. The song was developed further and stretched in late' 81 / early '82, bringing in the "Hit It / Quit It" medley. This featured Billy yelling out "Quit It" and the group coming to an abrupt stop, only to restart seamlessly after Billy's "Hit It" cry. The medley often featured a funky arrangement, and for a period in the spring and summer of 1982 was played in such a manner so as to demonstrate the closest the band will ever get to a Reggae sound. Incredible.
There are more, but these are some big ones in my opinion. What songs would you like to see brought back?
Regarding the live scene, 2009 did see some variations in the set list as the year progressed, notably the additions of "Brown Sugar", "Party On the Patio", "I Loved A Woman", and "Mexican Blackbird". Early 2008 featured a very brief (for a few shows) appearance of "It's Only Love" and "Thank You".
So I was thinking, what songs would be great to hear live again. Songs that haven't been played in 5, 10 or 20 years. Here's five I would like to see:
"Dust My Broom" -
Last known time played: 2002 (one show, Atlantic City):
** Abbreviated rendition: 2009 Boston **
Always sounding better live than it's studio counterpart, Rockaplast was the perfect example of how good this song comes across on stage. Granted the solo would be a little tough nowadays (if played like Billy played it in 1980), but it's energy is undeniable. There was a very memorable and striking performance of the track in Boston this past September, featuring Billy alone with his guitar accompanying. Very unique version, awesome to hear.
"Just Got Back From Baby's" -
Last known performance: 1994 Antenna Tour
A staple of the group's set lists in the early to mid '70's, the song would be gloriously resurrected during 1994's Antenna Tour. Some of the best blues the group ever did. "Brown Sugar" is brought back every so often, why not this gem?
"Precious and Grace" -
Last known performance: 2003 Beer Drinkers and Hell Raisers Tour
This song kicks ass. Awesome on the official record and awesome onstage. Why this didn't become a staple in the same way as "La Grange" and "Tush" is a mystery. Great energy, great riff, great story, great song. Bring it back.
"Breakaway" -
Last known performance: 1994 Antenna Tour
One of only a handful of ballads by the Top, the live version of this simmering blues lament killed. Stretched to six minutes in length and featuring an awesome and melodic outro solo from Billy, the song was very well received by audiences (no doubt in part due to the onstage antics that took place during the song, i.e. slow dancing tour girls). I understand the song is low on the radar as far as the general public is concerned, but the track was a unique and pleasant surprise in it's variation from the group's usual double entadae formula. I'm willing to bet audiences would enjoy hearing the number, regardless of whether they recognize it.
"Arrested For Driving While Blind"
Last known performance: 1993 Harley Davidson 90th Anniversary show
This is a big one. A rock in the set list beginning with the Worldwide Texas Tour, the subtle masterpiece was played through 1987's Japan tour. Brought back for a one off appearance at the classic 1991 Hamburg Germany show (one of the top 10 best concerts from the band ever) it was last played at the '93 Harley Davidson Anniversary. The song was developed further and stretched in late' 81 / early '82, bringing in the "Hit It / Quit It" medley. This featured Billy yelling out "Quit It" and the group coming to an abrupt stop, only to restart seamlessly after Billy's "Hit It" cry. The medley often featured a funky arrangement, and for a period in the spring and summer of 1982 was played in such a manner so as to demonstrate the closest the band will ever get to a Reggae sound. Incredible.
There are more, but these are some big ones in my opinion. What songs would you like to see brought back?
Wednesday, December 23, 2009
Singing the Blues
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?
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?
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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