Everybody likes to have a good time. But it appears Mr. Gibbons perhaps had one too many shots of Pure Vida, or one too many hits of high mountain range foliage, or one too many piquant substances...
http://www.youtube.com/watch?v=3YykMpTp97U
Sunday, January 30, 2011
Tuesday, January 25, 2011
Glory days
So what to you represents the glory days of ZZ Top. Purists and long time fans would likely find this to be the entire 1970's and early '80's. The end begins with Eliminator for some.
Others, certainly the more casual and perhaps pop oriented masses, would find 1983 through the early '90's to represent all that ZZ Top were and are. The videos, the songs with the catchy hooks, the choreography, the arena tours.
And still some, in all estimates a small majority, may find the "Antenna" and "Rhythmeen" 1990's to be all they know of the group.
For myself, I tend to think of the group in two distinct halves, with a two year crossover period in the middle. Young, eager, energetic and hungry, the band makes me of slowly rising stars working hard to make it to the big time - this would comprise the years 1970 through 1983.
The transition period, 1985 through 1987, personifies riding the wave of worldwide fame, playing in sold out stadiums and thousands of fans singing along to every word. This also however represents the decay of synergy, spontaneity, drive and ambition. The slow decay of becoming, and exhibiting, what is comfortable, commercial, translucent, and ultimately easy and non-challenging.
The latter half to me is from 1990 through the present. Don't get me wrong, there are some great songs and great live performances during this period, but the inconsistencies are striking. Many nights would find the band simply plodding along, "dialing it in", and working more on "entertaining" the audiences rather than exciting and enthralling the crowd with the music itself.
I theorize this change to result from two factors, one inevitable, the other regrettable. Age has a lot to do with it, and expecting to have the energy to perform when your 50 like you did when you were 25 is simply unrealistic. The second factor is success. Very similar to Pink Floyd after "Dark Side of the Moon", ZZ Top found the dizzying heights of "Eliminator" created a overwhelming sense of accomplishment, and forever lessened the need to "make it" and continue to hone one's skills. Sad but true.
So what are the "Glory Days" to you? Perhaps we should still consider the possibility of a third era; rejuvenation anyone?
Others, certainly the more casual and perhaps pop oriented masses, would find 1983 through the early '90's to represent all that ZZ Top were and are. The videos, the songs with the catchy hooks, the choreography, the arena tours.
And still some, in all estimates a small majority, may find the "Antenna" and "Rhythmeen" 1990's to be all they know of the group.
For myself, I tend to think of the group in two distinct halves, with a two year crossover period in the middle. Young, eager, energetic and hungry, the band makes me of slowly rising stars working hard to make it to the big time - this would comprise the years 1970 through 1983.
The transition period, 1985 through 1987, personifies riding the wave of worldwide fame, playing in sold out stadiums and thousands of fans singing along to every word. This also however represents the decay of synergy, spontaneity, drive and ambition. The slow decay of becoming, and exhibiting, what is comfortable, commercial, translucent, and ultimately easy and non-challenging.
The latter half to me is from 1990 through the present. Don't get me wrong, there are some great songs and great live performances during this period, but the inconsistencies are striking. Many nights would find the band simply plodding along, "dialing it in", and working more on "entertaining" the audiences rather than exciting and enthralling the crowd with the music itself.
I theorize this change to result from two factors, one inevitable, the other regrettable. Age has a lot to do with it, and expecting to have the energy to perform when your 50 like you did when you were 25 is simply unrealistic. The second factor is success. Very similar to Pink Floyd after "Dark Side of the Moon", ZZ Top found the dizzying heights of "Eliminator" created a overwhelming sense of accomplishment, and forever lessened the need to "make it" and continue to hone one's skills. Sad but true.
So what are the "Glory Days" to you? Perhaps we should still consider the possibility of a third era; rejuvenation anyone?
Sunday, January 23, 2011
Tuesday, January 18, 2011
ZZ Top - Stockholm, Sweden 1981-10-02
This entry contains what I consider to be a real special treat for ZZ Top fans. For those that may have taken a look at my trading list I consider this performance to be the band's greatest ever (at least among the 300 or so shows that I have heard). The perfect combination of youth, energy, skill and spontaneity. Here are 12 photos of this legendary concert - more will hopefully follow in a few days. I must thank my good friend Roger for allowing me to share these and for all his generosity.
And now, its a stunning and persuasive pleasure, to bring to you.... (some of you will get that!) -
And now, its a stunning and persuasive pleasure, to bring to you.... (some of you will get that!) -
Monday, January 10, 2011
2011 Houston Rodeo - No Top
No ZZ Top this year at the Houston Rodeo. I'm somewhat disappointed as they didn't play it last year either and they tend to do it every other year.
Here's the really bad news - instead of seeing ZZ you can go see KISS, the absolute worst band of all time. I will not be going to Texas this spring.
Here's the really bad news - instead of seeing ZZ you can go see KISS, the absolute worst band of all time. I will not be going to Texas this spring.
Thursday, January 6, 2011
Impressive tribute album in the works?
Appears that there may be a tribute album in the works dedicated to our favorite band, consisting of contributions from some big names. Apparently Steven Tyler, Stevie McVie, Mick Fleetwood and Johnny Lang are all playing a part, and that's just on one track. Who knows who else could be involved?
A link to some info can be found here: http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=151835
Note this ZZ info was already revealed yesterday on the excellent "Totally Unoffical ZZ Top Blog" found here: http://zztopeurope2007.blogspot.com/
I never have been much of a fan of tribute albums, I prefer the real thing. But I suppose this could be interesting and hopefully it will be well produced. I would much rather hear some info about a new album or the upcoming Houston Rodeo though....maybe we will know something in the next week or two.
A link to some info can be found here: http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=151835
Note this ZZ info was already revealed yesterday on the excellent "Totally Unoffical ZZ Top Blog" found here: http://zztopeurope2007.blogspot.com/
I never have been much of a fan of tribute albums, I prefer the real thing. But I suppose this could be interesting and hopefully it will be well produced. I would much rather hear some info about a new album or the upcoming Houston Rodeo though....maybe we will know something in the next week or two.
Friday, December 31, 2010
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.
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.
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