Some Albums Not Transferring From Old Phone To New Phone History of ZZ Top

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History of ZZ Top

Like the state of Texas where they come from ZZ Top combines rural primitivism and urban image in a way that resulted in a perfect synthesis between provincial rock and roll and high technology.

When Forbes magazine published its list of the world’s highest-earning entertainment celebrities in the late 1980s, only one rock group, U2, ranked higher than ZZ Top among those who amassed greater fortunes. However, they managed to stay away from the rock and roll circus of high society and remain immune to the “rock messiah” syndrome that usually haunts other artists of their level. For almost thirty years they have toured the entire planet, although they have never been away from their base in southern North America for long, and someone described them when they first started as “that little old band from Texas”, even today they fit like a glove.

Billy Gibbons, who was a graphic arts student, began playing guitar in The Moving Sidewalks, a 1960s psychedelic “garage” group whose debut single, “99th Floor,” was a chart-topper. Texas roster for five weeks in 1967. Dusty slide and Frank Beard, meanwhile, graduated from The American Blues, a Dallas group better known for wearing their hair blue than anything else. The three met in 1970, and the pact they made then has stood the test of time with remarkable durability. With the exception of a brief contribution of guitar accompaniment by a stranger on one of his first albums, the three men independently performed to the last note and the last beat what was included on their albums, even if they had even the knowledge to play the saxophone or perform a section of three metals, as it happens in some songs of their album Degüello. They never enriched their live performances with additional musicians, nor did they record or play with other bands.

Their manager and producer from day one was Bill Hamm, a maverick Texan with a management style very similar to Led Zeppelin’s first manager, Peter Grant. Throughout the 1970s, Hamm strictly separated ZZ Top from television, preferring the band’s live performances to other routines that guaranteed easier success. Although such principles should have been firm, the truth is that the band’s foundations were already unbreakable in 1976, when the Taking Texas to the People tour took place, an ambitious production on which they spent a lot of time. along with all their equipment for outdoor living and a large fauna (an ox, a 2,000-pound buffalo, half a dozen vultures, two rattlesnakes six feet each, a pig, and a wolf). Their aversion to television softened in the Eighties when they became MTV stars of sorts thanks to a trilogy of videos directed by Tim Newman for the tracks “Gimme All Your Lovin'”, “Sharp Dressed Man” and “Legs”, all of which were included on his successful album 1983 Eliminator of the year.

Billing themselves as “rock mausoleums” since the Eighties, ZZ Top is the only band to seriously challenge ageism in a rock ‘n’ roll market that always trades in the currency of youth. This durability was undoubtedly helped by the image that Gibbons and Hill conceived for the group when their members barely reached the age of thirty, an image in which the most prominent note is the long beards that had not been fashionable since the days of the Old Testament. This strategy has freed them from worries since then, since unless they gain a lot of weight, they won’t look any older in twenty years than they do now.

Considering the huge number of works published by this team throughout its history, only those that were most relevant are mentioned. The first is a 1973 LP called Tres hombres, which at the time ranked third in his output. Some people believe that this is the best album of his career. The album’s opening tracks, “Waitin’ for the Bus” and “Jesus Just Left Chicago,” are two of the all-time great opening salvos, along with “Route 66” from the Rolling Stones’ first album and Led’s “Whole Lotta Love.” Zeppelin II. In fact, the two inseparable songs continued to be an essential component in the set of themes addressed directly during the Recycler tour in 1991. Another interesting version is “La Grange”, a debauchery story set in a brothel that was a minor success in the U.S. States, as well as “Precious and Grace” and the surreal “Master of Sparks”, whose unconventional lyrics are decorated with somewhat dubious Texas folklore. Although Tres Hombres reached number eight in the US charts, it was never recorded in of the UK and is one of the most overlooked great albums in rock history.

Another ZZ Top masterpiece is Degüello, released in 1979. It’s a new collection of decidedly casual brilliance that highlights, among other things, Gibbons’ impeccable control of guitar texture. He oscillates between the perfect Fender sound on “A Fool for Your Stockings” and the Marshall sound on “Cheap Sunglasses.” Half a decade before Michael Jackson and LL Cool J hit the scene, ZZ Top demonstrated a remarkable familiarity with street language on “I’m Bad, I’m Nationwide.” The band’s passion for car racing also comes through in another one of those surreal fantasy lyrics, “Manic Mechanic,” which Gibbons sings as if he’s speaking through a broken megaphone. Dazzling versions of “I Thank You” by Isaac Hayes and “Dust My Broom” by Elmore James round out the spectacularly packed set.

When someone asked Gibbons what a guitarist could do to improve his technique, he replied that he would go and buy an album called The Sound of the Drags (a record that has a kind of car racing sound), and I took in all the warmth of the feeling that it radiates. The success of Eliminator, released in 1983, is based precisely on capturing that “warm feeling”; So much so that the record became part of the legendary history of rock and roll along with the car, the girls, the video and ten million copies sold. The trick they discovered was simple, but surprisingly effective. They trumpeted the guitar sound, made the choruses more dynamic and got rid of all rhythmic congestion. Contrary to what is often found on heavy rock albums, “Gimme All Your Lovin'”, “Got Me Under Pressure”, “Sharp Dressed Man”, “Legs”, “Dirty Dog” and “If I Could Only Flag Her Down” are conducted exclusively from the main pulse of the battery.

In addition to Afterburner (1985), which went to number two in the UK, the band’s two compilations must also be mentioned: The Best of ZZ Top (1977) and Greatest Hits (1992), compilations that share only two themes, “Mascara” and ” La Grange”, which speaks well of the group’s creativity. The Best of ZZ Top compiles a decent selection of the band’s work up to 1977, paying particular attention to Tres Hombres (which puts four songs out of a total of ten). Greatest Hits, which catapulted up the singles charts for its version of “Viva Las Vegas,” shows the most modern and commercial side of ZZ Top. However, there are a few notable omissions (“TV Dinners”, “Velcro Fly”, “Stages”) and other rather questionable inclusions (“Gun Love”, “Give It Up”) that make this, according to some, a summary of low credibility.

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