ZZ Top Get Whacked

Texas blues trio celebrates thirty-five years with intimate New York show

November 15, 2005 12:00 AM ET

ZZ Top ended their 2005 Whack Attack tour with lime-green jackets, white-fur guitars and a hundred minutes of streamlined boogie at New York's Beacon Theater on Friday night. At one point in the show, the second of a two-night stand, guitarist Billy Gibbons, bassist Dusty Hill and drummer Frank Beard paused to toast their crew with glasses of champagne. (The roadies presumably got their swigs after the gear was back in the trucks.)

This was a big night for everyone, though, especially the crowd. It's a rough guess, but the last time the biggest little band in Texas made this much noise in a room this small was probably in the waning days of the Nixon administration. And in this intimacy, it was possible to see and hear in extreme close-up why ZZ Top are, under the rabbinical facial hair and Eighties-video comedy, a great electric blues band, authentic in their passion yet devious in their simplicity.

Gibbons' soloing, in particular, was a renewed revelation: unretouched psychedelic skid and snarl, with just a few notes in each phrase but every one armed with maximum torque and articulated bite. His breaks in "Jesus Just Left Chicago" and "Brown Sugar" (the original on ZZ Top's First Album) were at once precise and unhinged, models of concentrated overdrive. In a cover of Muddy Waters' "Catfish Blues," Gibbons took off with nothing more than heated hammering on a single note, which -- just as you thought he was going nowhere else -- exploded into a dazzling series of controlled-feedback shrieks and razor-wire curls: Jimi Hendrix-style lightning honed to lethal effect.

Shtick came naturally to ZZ Top -- as far back as 1976, when they toured the U.S, with an entourage of Lone Star flora and fauna (cacti, a buzzard, longhorn cattle). But the real devilry was in the musical details, and those twists jumped out of tonight's din: Gibbons' and Hill's synchronized guitar-bass spins in "Got Me Under Pressure" and "Waitin' for the Bus"; the rhythmic turnarounds in "I'm Bad, I'm Nationwide" and "Heard It on the X"; Beard's tumbling drum break into Gibbons' tearaway key-change solo in "La Grange." A closing threesome of "Gimme All Your Lovin'," "Sharp Dressed Man" and "Legs" from 1983's mega-platinum Eliminator showed how easily ZZ Top adapted their allegiances to Albert Collins, Freddy King and Lightnin' Hopkins to dance-floor zoom, while a paucity of material from recent RCA albums seemed to acknowledge the band's struggle to improve on that modernism, at least in the studio.

But at the Beacon, there was no denying the immensity of the basic math that is ZZ Top: "the same three guys," as Gibbons told the audience early in the set, "playing the same three chords for thirty-five years."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Music Main Next
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.


We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“Whoomp! (There It Is)”

Tag Team | 1993

Cecil Glenn — a.k.a., "D.C." — was a cook at Magic City, a nude dance club in Atlanta, when he first heard women shout "Whoomp — there it is!" Inspired by the party chant, he and partner Steve "Roll'n" Gibson wrote a song around it. Undaunted by label rejections, they borrowed $2,500 from Glenn's parents and pressed 800 singles, which quickly sold out in the Atlanta area. A record deal came soon after. Glenn said the song was meant for positive partying. "If you're going to say 'Whoomp there it is,' and you're doing something negative, we'd rather it not have come out of your mouth."

More Song Stories entries »