12/26/2023 0 Comments Zz top tejas![]() Read more reviews, listen to song samples,Īlibris connects shoppers with thousands of No comments so far, be the first to comment. Robert Christgau, Christgau's Record Guide, 1981. You think Kinky Friedman will cover "Arrested for Driving While Blind"? C+ But this is the first trio to hark back to country music as well as blues, and they're brawnier than anything that comes out of Austin. Touring the way this band does tears you up by the roots, until the digs at Rolling Stone assume an authenticity lacking in the tales of the Pan-Am Highway. Best cuts: "Pan Am Highway Blues," "Ten Dollar Man," "Enjoy And Get It On," "Snappy Kakkie." hard-rockers out of the outlaw country influence. ZZ Top's vastly successful 1976 tours and the high-quality goodtime rock throughout this album could well be its ticket to a long overdue respect as peerless U.S. The threesome stays entertaining and increasingly identifiable in a distinctive style that can only come from long-term confidence and a strong sense of its own identity. ZZ Top hasn't lost any of its energy and conviction through the years of grueling work and stays solidly in touch with the roots of its power-trio music that carries just a hint of pleasing laidback Texas countryish raunch in the unpretentious vocals. all year for this consistent and hardworking platinum album group. Good old basic raunchy rock 'n' roll that has filled arenas and stadiums across the U.S. Rock wouldn't be on the rocks if more of it's post-1970 bands played this well. It doesn't have much in the way of lyrics that you can't afford to miss, but it has considerable instrumental depth and variety for a three-piece blues-based rock band. Not bad, though, taken as a whole, even if it does have titles like "Enjoy" and "Get It On" in it. ![]() I couldn't find much contrast in the last couple of ZZ Top recordings, which were mostly bash and crash and other things ending (or likely to) in ash, but this one's different. Dan Oppenheimer, Rolling Stone, 3/10/77. Tunes like "El Diablo" and "Arrested for Driving While Blind" bode well for spreading and elevating the tradition. ![]() But, renewing older styles as they incorporate innovations, ZZ Top uses their roots not as something to leave behind but as a solid block to build upon. "Asleep in the Desert" sounds like a Clint Eastwood soundtrack, and the country tune, "She's a Heartbreaker," has woefully thin lyrics. Now that they're exploring unfamiliar ground, some of the songs lose steam. When they cut "La Grange" on their third album in 1973, the forceful playing, especially by Gibbons, covered the fact that the tune was a three-chord simpleton dating back 30 years or more. But they're experimenting more and the playing is growing.Įxpanding the form without disturbing their energy may be tricky, though. King and Albert Collins, along with rock interpreters like Johnny Winter and early Steve Miller. What's going on here? Certainly not an outright break with the traditions they draw from - ZZ's roots are still John Lee Hooker, B.B. This is new stuff for ZZ, and not predicted by the group's first four albums. Frank Beard's Cobham-inspired double-bass drumming moves beneath Dusty Hill's laconic bass notes. After two quick vocal choruses, Billy Gibbons' terse guitar break sounds inspired more by John McLaughlin than Hopkins. "El Diablo" opens with a simple blues riff that could have come from an old Lightnin' Hopkins or Robert Johnson record. With Tejas, ZZ Top moves ahead slightly from their madcap boogies to a more sophisticated sound.
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