1997 - The Top fuel machine continues it's touring jaunt, again taking in some far away locations. The set list would somewhat devolve, incorporating less and less "Rhythmeen" material. The band did reach a solid groove however, reflected in some very impressive, aggressive and fluent playing from all three members. A number of recordings exist from the tour, but high quality sounding versions are tough to come by.
1998 - Relatively quiet period. After the extensive touring of the two prior years a rest was well warranted.
1999 - Work towards ZZ's new album was initiated and completed in the Winter and Spring. "XXX", a nod to the number of years the band had been in operation at the time, would ultimately be a mixed effort. Opening with the stunner "Poke Chop Sandwich" and it's aggressive power chords and catchy lyrical hooks, it quickly asserted the continued creativity and originality of the band. Ultimaley it would prove to me a more uneven effort than its predecessor. Some tracks such as "36-22-36" and "Fearless Boogie" were classic Top, solid all around. Others such as "Crucifixx-A-Flatt" and "Trippin'" were harder to love. "Made Into A Movie", the album's token and expected blues laden effort, serves as the most muddied, oil grudged, chopped and screwed track ZZ Top has ever performed - it doesn't get any heavier. The Japan only bonus track, "Ninja Shack", again features distorted and sharp guitar in line with the album's other offerings.
The group would initiate a tour in late July to get an early start on live promotion of the album, which would be released in late September. Except they didn't actually play any tracks from the record. Okay, they played one, "Fearless Boogie". But no "Poke Chop" or " 36-22-36"? Come on.
Granted part of the tour was traveled together with "Lynyrd Skynyrd" shortening the set list as a result, similar to this past Summer's tour with Aerosmith. But the lack of live reproduction was stunning. Set lists available online indicate that towards the end of the tour in April 2000 they broke out some additional tracks to the assumed delight of Australia and New Zealand. Little too late in my opinion.
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Okay, so there it is, ZZ Top in the Nineties in four parts. Not my most liberated postings, and more or less the benefit of (or consequence if you found the writings labored) the quiet period that has been ZZ Top in the Winter of 2010.
The group entered the '90's with the question of what type of album to record, what type of sound to exemplify. They ended the decade returning to their roots, playing what they wanted to play and recording what they wanted to record - public at large and RCA approval be damned. A decade of continuing evolution, fitting for a group that has never stayed the same for long.
Saturday, February 27, 2010
Saturday, February 20, 2010
ZZ Top Trading List update / Thanks! / Wanted: Europe 1983
I have updated my trading list, to include a number of new shows and, for the first time, sound quality ratings. I hope this makes the recordings more attractive to potential traders.
I have met a large number of very kind and professional traders and fellow ZZ Top fans over the past year, and want those who I have communicated with to know their knowledge, friendship and support is greatly appreciated! For those I haven't spoken with, send me an e-mail or comment, I would love to talk with you!
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I am aggressively seeking recordings of ZZ's European shows in the fall of 1983. I will trade 3 to 1 for concerts from this era. If you are looking for something and don't see it on my list, let me know and I will do my best to locate it for you. Thank you for your interest!
I have met a large number of very kind and professional traders and fellow ZZ Top fans over the past year, and want those who I have communicated with to know their knowledge, friendship and support is greatly appreciated! For those I haven't spoken with, send me an e-mail or comment, I would love to talk with you!
-----
I am aggressively seeking recordings of ZZ's European shows in the fall of 1983. I will trade 3 to 1 for concerts from this era. If you are looking for something and don't see it on my list, let me know and I will do my best to locate it for you. Thank you for your interest!
Thursday, February 18, 2010
ZZ Top - The Ninties - Part III
1996 - Rhythmeen
"Solid silver beat machine, hunkin' down....Here comes another dope fiend, tradin' up for rhythmeen..."
In late 1995 director Quentin Tarantino asked the members of ZZ Top to contribute to the soundtrack for his new film "Dusk till Dawn". The group sat down, traded off ideas and, alone with their respective instruments, laid down the most straight lined, unfiltered rock sounds they had produced in years. Strong, fluid guitar, deep thumping bass and upfront, hammering high drums came through with a breath of fresh air that brought about a sense of rejuvenation and new purpose. The track would prove to be a motivator for the group, ultimately foretelling the sound of the next album to come.
Released in September "Rhythmeen" proved to be the answer to prayers of long time fans, a throwback to the down n' dirty blues rock that was so prevalent back in the day and put the band on the map in the 1970's. From the opening guitar sequence of the title track, drenched in drop-tuned fuzzy funk, the low, low pounding bass, and the hypnotizing, recurring beat, the listener was instantly hooked and intrigued by the apparent new direction. "Bang Bang" showcased a new, grizzled attitude, full of confident ego swagger. "Hairdresser" and "Pretty Head", at first glance appearing simplistic and even trite, compel and eventually convince the ears of the brilliance of the mind-numbing, mind-altering sounds emitting from the instruments of the maturing trio. "Loaded" features Dusty in all the glory of pompous cock rock strutting, and "Hummbucking Pt.2" has such an intense, extensive plethora of sounds in the background that each time the track is played one hears a different song.
The album would sell well, but would prove to be the first record in 15 years by the Top not to achieve Platinum sales status in the U.S, reaching a peak of #29 on the Billboard 200. Many fans commented they would have preferred this alleged return to form to have occurred in 1990, instead of the somewhat befuddled malaise of "Recycler". The group was no longer in the living rooms of the public, a combination of the lessening interest in the group's sounds and the shift of MTV's programming to more "shows" vs. music videos. The band's 1980's fans had grown up and their musical tastes matured. All that remained were those that had been there before the "El Liminator" madness. But it also seemed that the band was comfortable with the burning out of the meteor, as evidenced by the renewed focus on recording what they wanted to play, vs. what they thought the public wanted to hear.
The reason for the renewed vigor and relatively quick recording of a new album within two years of the last one is unknown. Personally I surmise that Billy, unhappy with the success of "Antenna", wanted to show that the group had not lost their mojo, their skill, their relevance. For those that listened the message was received loud and clear, this band could still rock.
The lack of sales did not overly please their label RCA, who didn't help their own cause by choosing to invest little in the promotion of the new release. It didn't matter though, the fans that cared, the ones who will always support the group, were captivated and ecstatic, and were more than happy to show off the album to their friends.
Well prior to the drop date the group embarked on a world wide tour, appropriately named "Continental Safari". Some locales had never seen ZZ in person, and overall the endeavor proved to be a great success. The set list featured an extensive number of selections from the yet to be released album, further indicating the band's appreciation for the new material.
Arguably the greatest work in the latter half of the band's catalogue, the album is an essential piece of even the casual fans collection.
"Solid silver beat machine, hunkin' down....Here comes another dope fiend, tradin' up for rhythmeen..."
In late 1995 director Quentin Tarantino asked the members of ZZ Top to contribute to the soundtrack for his new film "Dusk till Dawn". The group sat down, traded off ideas and, alone with their respective instruments, laid down the most straight lined, unfiltered rock sounds they had produced in years. Strong, fluid guitar, deep thumping bass and upfront, hammering high drums came through with a breath of fresh air that brought about a sense of rejuvenation and new purpose. The track would prove to be a motivator for the group, ultimately foretelling the sound of the next album to come.
Released in September "Rhythmeen" proved to be the answer to prayers of long time fans, a throwback to the down n' dirty blues rock that was so prevalent back in the day and put the band on the map in the 1970's. From the opening guitar sequence of the title track, drenched in drop-tuned fuzzy funk, the low, low pounding bass, and the hypnotizing, recurring beat, the listener was instantly hooked and intrigued by the apparent new direction. "Bang Bang" showcased a new, grizzled attitude, full of confident ego swagger. "Hairdresser" and "Pretty Head", at first glance appearing simplistic and even trite, compel and eventually convince the ears of the brilliance of the mind-numbing, mind-altering sounds emitting from the instruments of the maturing trio. "Loaded" features Dusty in all the glory of pompous cock rock strutting, and "Hummbucking Pt.2" has such an intense, extensive plethora of sounds in the background that each time the track is played one hears a different song.
The album would sell well, but would prove to be the first record in 15 years by the Top not to achieve Platinum sales status in the U.S, reaching a peak of #29 on the Billboard 200. Many fans commented they would have preferred this alleged return to form to have occurred in 1990, instead of the somewhat befuddled malaise of "Recycler". The group was no longer in the living rooms of the public, a combination of the lessening interest in the group's sounds and the shift of MTV's programming to more "shows" vs. music videos. The band's 1980's fans had grown up and their musical tastes matured. All that remained were those that had been there before the "El Liminator" madness. But it also seemed that the band was comfortable with the burning out of the meteor, as evidenced by the renewed focus on recording what they wanted to play, vs. what they thought the public wanted to hear.
The reason for the renewed vigor and relatively quick recording of a new album within two years of the last one is unknown. Personally I surmise that Billy, unhappy with the success of "Antenna", wanted to show that the group had not lost their mojo, their skill, their relevance. For those that listened the message was received loud and clear, this band could still rock.
The lack of sales did not overly please their label RCA, who didn't help their own cause by choosing to invest little in the promotion of the new release. It didn't matter though, the fans that cared, the ones who will always support the group, were captivated and ecstatic, and were more than happy to show off the album to their friends.
Well prior to the drop date the group embarked on a world wide tour, appropriately named "Continental Safari". Some locales had never seen ZZ in person, and overall the endeavor proved to be a great success. The set list featured an extensive number of selections from the yet to be released album, further indicating the band's appreciation for the new material.
Arguably the greatest work in the latter half of the band's catalogue, the album is an essential piece of even the casual fans collection.
Monday, February 8, 2010
The Ninties - Part II
1993 - At some point during the year the band's manager Bill Ham once again proved his exceeding worth, negotiating a recording contract with RCA reportedly worth approx $35 million. This was an extensive sum, and RCA had to know they were taking at least somewhat of a gamble, banking on a group who's most recent album (Recycler) had failed to move units like its two predecessors. "Recycler" had sold over a million copies, but had not induced the social and pop phenomena like in the past. The band had the immediate task of working on a new album before them.
1994 - January - "Antenna". Focusing on a long felt calling, the album would seek to recreate and reemphasize the musical mentor of the band's youth, the X. "Antenna waves be burning up my radio". Continuing with the hand drawn themes, the album cover displayed tall radio towers, straddling the Rio Grande. "I'm turnin' up the V's on the airwaves". The band have always cited the influences and contributions of Mexican radio, and had payed homage to the frequencies with "Heard It On the X". A good concept, if not completely original.
The results of the album however are somewhat of a mixed bag. Opening with the barn-burner "Pincushion" the record got off to a great start. A full, hard rock sound booming through the speakers greeted the listener and no doubt set to ease the anxiousness and curiosity the longtime fan had felt anticipating the new album, the new sound. This was not a second installment of "ZZ Top lite" as some had labeled "Recycler" to be. The next track, "Breakaway" proved to be a pleasant surprise, a rare mature love song, perhaps the first since "Its So Hard" from the "El Loco" album. Continuing the momentum was "World of Swirl", a rocker with the advantage of Dusty's lead vocals. Ultimately Dusty would sing on three tracks, the most work he had seen since "Tejas". After these first three songs however the record becomes inconsistent, with a number of relatively simply tracks and questionable material on an album of 11 songs from a group who had not committed to the studio in four years. "Antenna Head" however would prove to be a showstopper. In my opinion the best track on the album, the song features extensive and technical cord progressions and harmonics from Billy, reflecting a focus and swagger that had not been seen from the man in some time. Combined with Dusty's gutsy vocals it proves to be an essential part of the band's catalogue.
The Antenna tour proceeded to be the last blockbuster effort, the last extensive stage show. With a larger than life mock car dashboard set up, a complex light show, antennas and power wires running throughout the arenas, and a group of attractive dancing stage girls the shows proved to be quite a thrill to the eyes and ears. Displaying the band's confidence in their latest effort, the show's opened with a quick 1-2-3 punch, courtesy of "World of Swirl", "Pincushion" and "Breakaway". Also played from the new album was "Fuzzbox Voodoo", "PCH" and "Antenna Head". "Cover Your Rig" was played at the first few shows of the tour but quickly dropped. "Rough Boy" was brought back and the chestnut "She Loves My Automobile" was a surprise addition. A mini blues set was included as well, comprising of "Just Got Back from Baby's", "Fool For Your Stockings" and the aforementioned "Rough Boy".
The shows were long for ZZ standards, approaching two hours, and overall the tour proved to be a very satisfying experience for the band and fan alike.
1995 - Very quiet. Not much is known about this year. Anyone care to comment?
Next up: Mean Rhythm
1994 - January - "Antenna". Focusing on a long felt calling, the album would seek to recreate and reemphasize the musical mentor of the band's youth, the X. "Antenna waves be burning up my radio". Continuing with the hand drawn themes, the album cover displayed tall radio towers, straddling the Rio Grande. "I'm turnin' up the V's on the airwaves". The band have always cited the influences and contributions of Mexican radio, and had payed homage to the frequencies with "Heard It On the X". A good concept, if not completely original.
The results of the album however are somewhat of a mixed bag. Opening with the barn-burner "Pincushion" the record got off to a great start. A full, hard rock sound booming through the speakers greeted the listener and no doubt set to ease the anxiousness and curiosity the longtime fan had felt anticipating the new album, the new sound. This was not a second installment of "ZZ Top lite" as some had labeled "Recycler" to be. The next track, "Breakaway" proved to be a pleasant surprise, a rare mature love song, perhaps the first since "Its So Hard" from the "El Loco" album. Continuing the momentum was "World of Swirl", a rocker with the advantage of Dusty's lead vocals. Ultimately Dusty would sing on three tracks, the most work he had seen since "Tejas". After these first three songs however the record becomes inconsistent, with a number of relatively simply tracks and questionable material on an album of 11 songs from a group who had not committed to the studio in four years. "Antenna Head" however would prove to be a showstopper. In my opinion the best track on the album, the song features extensive and technical cord progressions and harmonics from Billy, reflecting a focus and swagger that had not been seen from the man in some time. Combined with Dusty's gutsy vocals it proves to be an essential part of the band's catalogue.
The Antenna tour proceeded to be the last blockbuster effort, the last extensive stage show. With a larger than life mock car dashboard set up, a complex light show, antennas and power wires running throughout the arenas, and a group of attractive dancing stage girls the shows proved to be quite a thrill to the eyes and ears. Displaying the band's confidence in their latest effort, the show's opened with a quick 1-2-3 punch, courtesy of "World of Swirl", "Pincushion" and "Breakaway". Also played from the new album was "Fuzzbox Voodoo", "PCH" and "Antenna Head". "Cover Your Rig" was played at the first few shows of the tour but quickly dropped. "Rough Boy" was brought back and the chestnut "She Loves My Automobile" was a surprise addition. A mini blues set was included as well, comprising of "Just Got Back from Baby's", "Fool For Your Stockings" and the aforementioned "Rough Boy".
The shows were long for ZZ standards, approaching two hours, and overall the tour proved to be a very satisfying experience for the band and fan alike.
1995 - Very quiet. Not much is known about this year. Anyone care to comment?
Next up: Mean Rhythm
Tuesday, February 2, 2010
The Nineties - Part One
Much is made about ZZ Top in the 1980's. The mysterious men with the long beards, the classic cars and the pretty ladies. Composers of brilliant pop/rock, "Sharp Dressed Man", "Legs", "Sleeping Bag" and "Rough Boy". Platinum albums, monster tours.
Much is made about ZZ Top in the 1970's. Young, tough Texas blues. Southern rock, southern sounds. "Just Got Paid", "La Grange", "Tush" and "Fool For Your Stockings". Bringing Texas to the people, World Wide style.
What about the 1990's? Where is the nostalgia? Where is the fond look back? A decade in which the band faded from the mainstream conscience, ZZ Top continued working hard, releasing four albums and undertaking tour upon tour. Let's look at the highlights:
1990 - Recycler - much criticized for it's "ironic" title, which was not an intended pun by the band, the trio seemed to struggle with the type of sound to commit towards. One of the first tracks to be recorded, "Doubleback", sounded like mid-80's Top, complete with keyboards and pop vocal hooks. Subsequent recordings however would be more traditional, yet did suffer from being over polished and produced, resulting in a flat sound. "My Head's In Mississippi" is a monster, one of the best tracks of the decade, and perfectly combines the Texas blues of the early days and modern pop of the recent past. The accompanying tour was well received and featured a longer set list and show duration than anything in the prior 10 years. A wide selection of Recycler tracks were played, and the album (platinum) and tour both proved to be highly successful.
1992 - Greatest Hits - ZZ Top recorded two new tracks for this greatest hits package, "Gun Love" and "Viva Las Vegas". I have read average to favorable reviews for "Gun Love" but personally I find the song to be a lackluster composition from the band. Lacking any evidence of dedication and feeling the song is surprisingly empty in its delivery. "Viva Las Vegas" on the other hand is a tune I greatly enjoy. Interestingly, in opposition to the attempt to return to a more traditional sound ala Recycler, "Viva" is one of the most synthesized tunes in the catalogue. Featuring various artificial sound effects it somehow comes together to form a satisfying experience for the listener. Of course, due to his undying love for Elvis lead vocals are delivered by Dusty, who does a terrific job.
1993 - ZZ Top plays at the Harley Davidson 90th Anniversary in Milwaukee, WI. One of only a handful of shows performed that year, the concert featured a number of noteworthy and unique songs. Both "Gun Love" and "Viva Las Vegas" from the recent Greatest Hits were performed. "Arrested For Driving While Blind" was played for the last time to date, and "I Loved a Woman" was played for the first time in 10 years. Classic hits "Francene" and "Mexican Blackbird" were brought back, as well as the long absent "She Loves My Automobile". Dusty sang the rarity "Blue Monday" and the usual closing track "Tush" transitioned into one of the most bizarre renditions the group has ever played, a spaced out and riff heavy performance of the "Beverly Hillbillies" TV theme song, complete with vocals. Got to be heard to be believed.
Much is made about ZZ Top in the 1970's. Young, tough Texas blues. Southern rock, southern sounds. "Just Got Paid", "La Grange", "Tush" and "Fool For Your Stockings". Bringing Texas to the people, World Wide style.
What about the 1990's? Where is the nostalgia? Where is the fond look back? A decade in which the band faded from the mainstream conscience, ZZ Top continued working hard, releasing four albums and undertaking tour upon tour. Let's look at the highlights:
1990 - Recycler - much criticized for it's "ironic" title, which was not an intended pun by the band, the trio seemed to struggle with the type of sound to commit towards. One of the first tracks to be recorded, "Doubleback", sounded like mid-80's Top, complete with keyboards and pop vocal hooks. Subsequent recordings however would be more traditional, yet did suffer from being over polished and produced, resulting in a flat sound. "My Head's In Mississippi" is a monster, one of the best tracks of the decade, and perfectly combines the Texas blues of the early days and modern pop of the recent past. The accompanying tour was well received and featured a longer set list and show duration than anything in the prior 10 years. A wide selection of Recycler tracks were played, and the album (platinum) and tour both proved to be highly successful.
1992 - Greatest Hits - ZZ Top recorded two new tracks for this greatest hits package, "Gun Love" and "Viva Las Vegas". I have read average to favorable reviews for "Gun Love" but personally I find the song to be a lackluster composition from the band. Lacking any evidence of dedication and feeling the song is surprisingly empty in its delivery. "Viva Las Vegas" on the other hand is a tune I greatly enjoy. Interestingly, in opposition to the attempt to return to a more traditional sound ala Recycler, "Viva" is one of the most synthesized tunes in the catalogue. Featuring various artificial sound effects it somehow comes together to form a satisfying experience for the listener. Of course, due to his undying love for Elvis lead vocals are delivered by Dusty, who does a terrific job.
1993 - ZZ Top plays at the Harley Davidson 90th Anniversary in Milwaukee, WI. One of only a handful of shows performed that year, the concert featured a number of noteworthy and unique songs. Both "Gun Love" and "Viva Las Vegas" from the recent Greatest Hits were performed. "Arrested For Driving While Blind" was played for the last time to date, and "I Loved a Woman" was played for the first time in 10 years. Classic hits "Francene" and "Mexican Blackbird" were brought back, as well as the long absent "She Loves My Automobile". Dusty sang the rarity "Blue Monday" and the usual closing track "Tush" transitioned into one of the most bizarre renditions the group has ever played, a spaced out and riff heavy performance of the "Beverly Hillbillies" TV theme song, complete with vocals. Got to be heard to be believed.
Saturday, January 23, 2010
Update to Trading List - seeking shows - "Freebird"
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?!
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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?!
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.
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