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- <text id=94TT0328>
- <title>
- Mar. 21, 1994: The Arts & Media:Music
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1994
- Mar. 21, 1994 Hard Times For Hillary
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- THE ARTS & MEDIA, Page 74
- Music
- The Lone Rangers Ride Again
- </hdr>
- <body>
- <p>Still bristly after all these years, a revived ZZ Top gets back
- to its boot-stompin' roots with a gloriously gritty new album
- </p>
- <p>By Guy Garcia
- </p>
- <p> ZZ Top, the hirsute Texas trio, has always cut a jagged diagonal
- across the pop landscape. During the egocentric '80s, when Madonna,
- Duran Duran and Michael Jackson were using MTV to magnify their
- star appeal, ZZ Top put an ironic distance between itself and
- the camera, vamping behind Rip Van Winkle beards, trench coats
- and sunglasses. The group's slyly salacious videos about glossy
- cars and sassy girls were always delivered with a knowing wink.
- One clip ends with the band standing on the edge of a dusty
- desert, striking its trademark truckin' pose before fading like
- a mirage on an overheated highway.
- </p>
- <p> ZZ Top might have disappeared permanently if not for its canny
- ability simultaneously to buck and ride the new-wave trend,
- grafting its brawny, blues-inflected guitar licks onto slick
- synthesizer grooves and pulsing dance beats. On multiplatinum-selling
- albums such as 1983's Eliminator and 1985's Afterburner, guitarist
- Billy Gibbons, bassist Dusty Hill and drummer Frank Beard (the
- only bandmate without one) perfected a progressive yet reassuringly
- familiar rock stance and tapped a huge audience that shared
- their ambivalence. By the end of the decade, however, their
- sound had become all too accurately described by the title of
- their 1990 effort, Recycler.
- </p>
- <p> Now, on Antenna--the 14th album for ZZ Top, and its first
- since signing a $35 million, five-album deal with RCA--the
- band has returned to its roadhouse roots and emerged renewed
- and as bristly as ever. The album kicks off with the high-voltage
- Pincushion and never lets up. From the syncopated stomp of Fuzzbox
- Voodoo to the scrawl of searing guitar notes on Cherry Red,
- the trio, led by Gibbons' supple guitar work, rocks with earnest,
- no-frills intensity that harks back to ZZ Top's first hit, La
- Grange.
- </p>
- <p> The stripped-down sound came only partly by design. "The day
- we were supposed to start recording, our equipment truck was
- late," Gibbons explains. He wound up jamming on a borrowed,
- primitive Fender Esquire guitar and a 1949 amplifier. The lyrics
- on Antenna also stick to the basics, concentrating on the pleasures--and dangers--of women and fast vehicles. Still, there are
- signs that the outlook of the band has mellowed and deepened
- since the days when it cranked out such adolescent anthems as
- Legs and Tube Snake Boogie. There's a brooding fatalism in Deal
- Goin' Down: "When the deal go down and the noose is bein' tied/
- Ain't no gettin' round it fade black and let it lie."
- </p>
- <p> Antenna's title was inspired by the band's collective memory
- of growing up in Texas when the only way to hear records by
- such guitar masters as B.B. King and Lightnin' Hopkins was to
- tune late at night to far-flung radio outposts like Chicago's
- WLS and pirate stations along the Mexican border. Twenty-four
- years and many albums later, that shared appreciation is still
- the glue that binds "the little ol' band from Texas." "We wanted
- to listen mostly to the blues and early rock bands that drove
- our parents crazy," recalls Gibbons. "They still stand with
- an intensity that has not evaporated." Teenagers all over America
- will no doubt tune in to Antenna for the very same reason.
- </p>
-
- </body>
- </article>
- </text>
-
-