ZZ Top front man Billy F. Gibbons debuted the video for his new holiday tune this week.
Gibbons debuted the video for his new single, ‘Jingle Bell Blues‘ Thursday. Gibbons debuted the song by itself Nov. 9. The song is a cover of ‘Jingle Bells’ covered in Gibbons’/ZZ Top’s signature style, complete with pulsing harmonica solo. It is a 12-bar blues tune that gives the song a much deserved blues update, but also updates the song’s lyrics to a bit, too.
Gibbons talked about the new video in a prepared statement.
“The animators put me in a hot rod that looks suspiciously like our very own ’34 Ford-based ‘Whiskey Runner’ though they’ve made some few seasonal adjustments,” said Gibbons. “There’s considerable snowfall so the wheels are replaced midway by a set of skis and now there’s a pickup bed in the back so gifts can rain down from it. They have me doing a header into a chimney but it’s not clear if I get to to enjoy any cookies and milk for my efforts. Just the same, I’m really digging the snowman blowing some great blues harp in the time-honored Jimmy Reed style.”
Gibbons released his latest studio offering, his new album, Hardware early this year through Concord Records. It came less than two years after the release of his sophomore solo record, The Big Bad Blues.
More information on Billy F. Gibbons’ new single is available along with all of his latest news at:
When Nathaniel Rateliff and the Night Sweats released its album, Tearing at the Seams in 2018, it went without saying that the record (the band’s second) was very much a sophomore slump for the band. That is because by comparison to the group’s self-titled 2015 album, it was far from what audiences and critics had hoped for. Now more than three years after that record’s release, the collective has returned to form in its third album, The Future. The 11-song record is aptly-titled as its musical and lyrical content collectively shows that the group is indeed looking to the future rather than the past. One of the songs that serves so well to prove this comes right from the album’s outset in its title track. This song will be discussed shortly. ‘Love Me Till I’m Gone,’ which comes later in the record’s 41-minute run time, is another notable addition to The Future. It will be examined a little later. Much the same can be said of ‘I’m On Your Side,’ which comes even later in the album’s sequence. It will also be examined later. Each song noted here does its own share to make The Future an enjoyable new offering from Nathaniel Rateliff and the Night Sweats. When they are considered alongside the rest of the album’s entries, the whole makes the album overall a successful new offering from the group.
Nathaniel Rateliff and The Night Sweats’ third album, The Future is a fresh new breath of air from the collective, following the mulligan that was the band’s sophomore album, Tearing at the Seams. This latest offering from the collective shines, as noted, due to its collective musical and lyrical themes. The album’s opener/title track does well to support the noted statements. The song’s musical arrangement is part of the composition’s success. Right from its own outset, Rateliff and company present a great vintage country music style work. Rateliff’s own vocal delivery adds to the interest as it is immediately comparable to that of the one and only Bob Dylan. Even as Rateliff hits some high notes, really pushing his limits, that comparison remains. That duality, and the production that went into the song to add to the depth of the song’s sound and impact, makes the arrangement so engaging and entertaining in itself. It is just one part of what makes the song stand out, too. The lyrical theme (or rather seeming theme) that accompanies the song’s musical arrangement makes for its own interest.
The lyrical theme (or seeming theme) featured in the record is so interesting because of its contemplative nature. Right from the song’s opening, Rateliff asks, “Is the future open?/Is the future seen?” before continuing, “You’d have to pray forever/And if you don’t believe/They’ll come down on you/From the longest fall.” This very line seems to hint at the way people react to those who disagree with their own views while worrying about the future because of the present. That is of course just this critic’s own interpretation and should not be taken as the only interpretation. Rateliff even seems to address those self-righteous types as he states, “When they’ve all been vanquished and they’ve all been tried/Like it’s some great penalty/And they got no follow through/They hold the weakest stance.” He then adds, “Yeah, well they’ll come to steal and divide/All that’s good.” This collective commentary seems to be a statement about not only those who want everyone to give in to their beliefs and way of life, but those above them and how hard they will try to divide and steal all that’s good because they want their way or no way. Interestingly enough, from there, Rateliff seems to continue the noted commentary, this time seemingly pointing the finger at those who give in to that and just want to get even with the other side. That is inferred as he sings, “You say you thirst for vengeance/And you crave for fire/On the roofs of innocence/You watch them rage and writhe/And it don’t bother you/You feel so brave/You’re standing in the water/You think that you’ve been saved/With your blind ignorance/In comes a crushing wave/Now see what drown men do in your watery grave.” This really comes across even more as an indictment of those who want to force others to live life like them. It is a sort of “look at you” statement to those people. Again, this is all the interpretation of this critic and should not be taken as the only interpretation. Regardless, the unique way in which Rateliff ruminates on what is clearly a social commentary makes for so much engagement and entertainment. When that ensured interest is joined with the song’s equally enjoyable musical arrangement, the whole makes the song overall doubtless, a great addition to the album and just one example of what makes the album a success. ‘Love Me Till I’m Gone’ is another positive way in which the album shows its strength.
‘Love Me Till I’m Gone’ stands out in part because of its musical arrangement. The arrangement is a completely immersive work that blends elements of jazz and R&B from decades gone by. The use of the keyboards and horns here pairs with Rateliff’s vocals, which change here with the music) for a sound that lends itself to comparison to works from Ray Charles, Stevie Wonder, and other similar acts. The casual, relaxed sense that the arrangement establishes is such a wonderful starting point for the song. It is certain to engage and entertain audiences, and is just part of what makes the song stand out. The equally accessible lyrical theme featured in the song makes for even more entertainment.
The lyrical theme featured in this song is in fact a love song, but not the type that one might expect. In the case of this song, the song’s subject is in fact someone who is just looking for that reassurance that we all want. This is made clear as Rateliff sings, “Will you hold me tight when you’re close/And then/Will you love me when I’m worn out and I start to cave?” The subject adds, “These kind of moments come in waves, you know/Some take your breath and fill your days/It’s a powerful love you want to know/Ah, as we walk hand in hand/I’m just here to say that, ya/We want back time that we never have/Hours just turn into days/To love me now like you loved me then/And will you love me even when you know that I’m wrong?” The ask for that reassurance continues in the song’s closing lines in similar fashion. Keeping that in mind, the theme here, again, is not just the typical love song theme. It is a theme of someone who just wants to know that his/her loved one will be there no matter what. Again, interestingly enough, such a theme would typically conjure thoughts of a song whose musical arrangement is much more somber and reserved. That this song’s arrangement does not take that course just as the song’s theme is atypical in its own right, the whole gains that much more interest. It shows even more why The Future is worth hearing. It is just one more of the album’s most notable works, too. ‘I’m On Your Side’ is yet another way in which the album proves its enjoyment.
The musical arrangement featured in ‘I’m On Your Side’ is another composition that is rooted in the soul and funk sounds of the 1960s and 70s. That is clearly evidenced through the use of the horns and keyboards along the rich sounds of the drums, bass, and vocals. The thing here is that even with the noted influence so clear, the arrangement here boasts its own unique identity that blends in some modern rock influence a la Bruce Springsteen for a whole that is so infectious from start to end of its three minute, 19 second run time. The energy in the song’s arrangement works so well in partner with the song’s lyrical theme, which itself serves as a great companion to ‘Love Me Till I’m Gone.’ Where ‘Love Me Till I’m Gone’ finds the song’s subject needing that reassurance in what is clearly a moment of self-doubt, ‘I’m On Your Side’ is that other person essentially responding positively.
The noted statement is made clear right from the song’s title and enriched as Rateliff sings, “I’m on your side through thick and thin/We’ll cross divides and we will stand/In hope and light/But if you ain’t alright/Just remember/I’m on your side.” He also notes in the song’s lead verse, “Did you realize?/Or you can’t remember/Well, adjust your eyes and let ‘em clear/But if you ain’t alright/Just remember/I’m on your side.” This is that reassurance that the subject wanted, again, in the previously examined song. This is the other person saying to the other, “clear your eyes” as he asks that person, “do you not remember I’m here and will be?” It is a great statement, and together with the positive vibes that the song’s musical arrangement establishes, helps to show even more why the song stands out. When the two sides are joined, they make the song in whole yet another example of what makes The Future a welcome return for Nathaniel Rateliff and the Night Sweats. When it and the other songs examined here are considered along with the rest of the album’s entries, the overall presentation makes The Future a strong new offering from the group that is a nice return to form for the group.
Nathaniel Rateliff and the Night Sweats’ new album, The Future, is a welcome new offering from the group that sets right what went wrong with Tearing at the Seams. Its musical and lyrical arrangements do well to prove that as they bring the group back to form while still giving audiences something new instead of just re-hashing the content from the band’s self-titled 2015 debut. All three of the songs examined here do well to support the noted statements. When they are considered along with the rest of the album’s entries, the album in whole gives hope for The Future of Nathaniel Rateliff and the Night Sweats.
The Future is available now through Stax/Fantasy/Concord. More information on the album is available along with all of Nathaniel Rateliff and the Night Sweats’ latest news at:
The band is scheduled to release its new EP, Purgatory Friday through Fantasy/Concord Records. In anticipation, the band will release the alternate version of its single, ‘Wasteland‘ Tuesday. The song was originally featured in the band’s 2020 album, Si Vis Pacem, Para Bellum. The new “alternate take” stays true to the source material, with the band opting instead this time for a softer, semi-acoustic take on the song. The updated take is comparable to works from Staind.
Front man Shaun Morgan said during a recent interview, he was looking forward to the release of the band’s new EP.
“We are really excited to release The Purgatory EP as a companion to our latest single, ‘Wasteland,’ he said. “I’m especially proud of how the alternate version of the track turned out and really happy that people will finally hear it!”
In other news, Seether launched an extensive new tour in support of its new EP. The tour launched July 17 in Huber Heights, OH and is scheduled to run through Oct. 16 in West Palm Beach, FL. Performances in cities nationwide, such as Nashville, TN; Boise, ID and Sterling Heights, MI are among the many dates on the tour’s schedule, which is noted below.
Jul 29 Thu- Bossier City, LA-Brookshire Grocery Arena
Jul 30 Fri-Sugar Land, TX-Smart Financial Centre at Sugar Land
Jul 31 Sat-Irving, TX-Irving Music Factory
Aug 5 Thu-Tinley Park, IL-Hollywood Casino Amphitheatre
Aug 6 Fri-Indianapolis, IN-TCU Amphitheater at White River State Park
Aug 7 Sat- Sterling Heights, MI-Michigan Lottery Amphitheatre at Freedom Hill
Aug 12 Thu-Council Bluffs, IA-Harrah’s Council Bluffs Hotel & Casino
Aug 13 Fri-Moorhead, MN-Bluestem Amphitheater
Aug 14 Sat- Belcourt, ND-Sky Dancer Casino & Resort
Aug 19 Thu-Wantagh, NY-Northwell Health at Jones Beach Theater
Aug 20 Fri-Baltimore, MD-MECU Pavilion
Aug 21 Sat-Philadelphia, PA-The Mann Center
Aug 26 Thu-Kennewick, WA-Benton Franklin Fair & Rodeo
Aug 27 Fri-Boise, ID-Expo Idaho
Aug 28 Sat-Salem, OR-Oregon State Fair
Aug 31 Tue-San Jose, CA-San Jose Civic
Sep 2 Thu-Corning, CA-Rolling Hills Casino Corning Ca
Sep 3 Fri-Reno, NV-Grand Theatre at Grand Sierra Resort
Sep 5 Sun-Las Vegas, NV-Fremont Street Experience
Sep 7 Tue-West Valley City, UT-USANA Amphitheatre
Sep 8 Wed-Denver, CO-Bellco Theatre
Sep 10 Fri-Newark, NJ-WDHA’S Family Reunion
Sep 11 Sat-Danville, VA-Blue Ridge Rock Festival 2021
Sep 17 Fri-Minneapolis, MN-93X’s Family Reunion
Sep 19 Sun-Maryland Heights, MO-105.7 The Point 2021 Fest
Sep 23 Thu-Brandon, MS-Brandon Amphitheater
Sep 24 Fri-Rogers, AR-The Walmart AMP
Sep 25 Sat-Nashville, TN-Ascend Amphitheater
Sep 26 Sun-Louisville, KY-Louder Than Life 2021
Sep 30 Thu-North Myrtle Beach, SC-House of Blues Myrtle Beach
Oct 1 Fri-Atlanta, GA-Tabernacle
Oct 2 Sat-Tampa, FL-98ROCKFEST
Oct 7 Thu-Sacramento, CA-Aftershock 2021
Oct 10 Sun-Tempe, AZ-Marquee Theatre
Oct 14 Thu-Jacksonville, FL-Daily’s Place Amphitheater
Oct 15 Fri-Orlando, FL-Hard Rock Live Orlando
Oct 16 Sat-West Palm Beach, FL-iTHINK Financial Amphiteatre
More information on Seether’s new single, tour, and EP is available along with all of the band’s latest news at:
Singer/songwriter Allison Russell’s debut album, Outside Child is one of the most unique and powerful musical presentations released so far this year. The 12-song record is really a surprising record because of its musical and lyrical content. The depth and impact of that collective content, which is largely autobiographical about Russell’s own life, resonates so loudly in its simplicity. One of the songs that serves so well to illustrate that impact comes early in the form of ‘Nightflyer.’ This song will be discussed shortly. ‘The Runner’ is another example of how the combination of the album’s musical and lyrical content makes the record so impacting. It will be discussed a little later. ;All of the Women’ is yet another example of the power in this record’s simplicity. It will be discussed later, too. When this song is considered along with the others noted here and the rest of the album’s works, the whole makes Outside Child one of the biggest surprises of 2021 and one of this year’s best new overall albums.
Allison Russell’s debut album Outside Child is a surprisingly powerful first offering from the singer/songwriter. That is proven from beginning to end of the album’s 53-minute run time through its combined musical and lyrical content. It touches listeners in ways that they never would have expected, and sticks with them long after the album ends. That is proven early on in the form of ‘Nightflyer.’ The musical arrangement featured in ‘Nightflyer’ is a soft, gentle composition that is grounded in Russell’s subtle vocal delivery and even more subdued performance on guitar. The addition of the organ as a supporting element adds even more to the enjoyment here. The whole lends itself to comparisons to works from maybe Rhiannon Giddens, or Tracy Chapman. One could just as easily make a comparison to works from Delta Rae here, too. Interestingly enough, for all of the positive vibes that this song’s musical arrangement creates, it seems to be in stark contrast to the powerful statement in the song’s lyrical content.
The lyrical content featured in this song comes across as a confident statement, describing the song’s subject as someone and something quite powerful. This is inferred in the song’s lead verse and chorus, in which Russell sings, “I’m the melody and the space between/Every note the swallow sings/I’m fourteen vultures circling/I’m that crawling, dying thing/I’m the smoke up above the trees, Good Lord/The fire and the branch that’s burning, Lord/Maybe you were sleeping, Lord/But Mary she’s not weeping no more, no, mm-mm/ Yeah, I’m a midnight rider/Stone bona fide night flyer/I’m an angel of the morning too/The promise that the dawn will bring you, you, you.” That mention of Russell being the “vultures circling” and the “fire and the branch that’s burning” is a statement of power. At the same time, the chorus, which finds Russell comparing herself to the “angel of the morning” creates an interesting dichotomy of sorts. It’s as if she is saying, she’s strong, but also vulnerable and caring all at once. It makes for such an interesting statement and presentation, especially when this is set against the song’s so gentle and simple musical arrangement. One really would not expect such a statement to be paired with the kind of arrangement featured here, yet here it is, and it works in some surprising way. The whole becomes just one example of what makes Outside Child such an interesting debut for Russell. ‘The Runner’ is another way in which the album’s overall content proves so interesting.
The musical arrangement featured in ‘The Runner’ is more energetic than that featured in ‘Nightflyer.’ It has a sort of Americana rock sense in its presentation. That energy does well to help compliment the seeming sense of relief from having to “run” from everything that was going on in her life.
Russell sings of this flight and “escape” in the song’s lead verse and chorus, “Oh, I had to run, to run, to run/From Mont Royale/Aux Portes des Lions (to the Lion’s Doors)/But no freedom would come my way/Yeah, no freedom from/What he’d done to me/Then I heard that Rock and Roll/Outside the South Hill Candy Store/Felt myself walking in/I was up above me, I was standing right beside me, oh/And I saw my deliverance/Deliverance.” The song’s second verse enhances the song’s impact even more as Russell sings, “Oh, I had to sing, to sing, to sing/From the western sea/To the old country/Oh, I had to bleed, to bleed, to bleed/Till his poison left my veins/Left me.” This seems to be a statement of the feeling of needing to just get out the pent up emotions even more. The emotion in those words and in the song’s musical arrangement works to make the song in whole powerful in its own way. It is just one more way in which the album’s overall content proves the record’s overall impact. It is just one more example of what makes the album stand out. ‘All of The Women’ is one more example of the impact of the album’s content.
‘All of The Women’ is another work that bears similarity to works from Delta Rae and Giddens. It is such a mournful, bittersweet composition. From the simple instrumentation to the rich vocal delivery, the song offers so much engagement just from this part of its presentation. The sense of sadness and mournfulness in the arrangement pairs well with the song’s lyrical content to make the song stand out even more.
The lyrical content featured in this song seems to hint at a commentary in support of female escorts (prostitutes). She sings of seeing the women as more than just prostitutes, but people and that when one in particular is not there “I worry.” The woman in question tells the subject that she is strong and still gets up even after being mistreated, adding that she makes no apologies for her choice in life. It is an interesting, empowering statement overall. When one really stops and thinks about it, the mournful, bittersweet musical arrangement that accompanies this overall statement makes more sense. It serves as a translation for the mix of strength and sadness that the subject and the woman in question each feel about the woman’s situation. This is a topic that is rarely if ever addressed in mainstream music. That is because of the stigma attached to the profession. For Russell to tackle the topic and do so in such distinct fashion is worthy of applause in itself. The manner in which she handled the topic is just as worth applause. When this is considered along with the other songs examined here and their impact, as well as the rest of the album’s songs and their impact, the whole makes Outside Child one of this year’s most impressive musical surprises.
Allison Russell’s debut album, Outside Child, is a strong first outing for the singer/songwriter who is herself unique. The record stands out because of its musical and lyrical content alike. That is proven through all three of the songs noted here. When they are considered along with the rest of the album’s entries, the whole makes the album one of the best of this year’s new overall albums. Outside Child is available now. More information on the album is available along with all of Russell’s latest news at:
ZZ Top front man Billy F. Gibbons is set to release his third solo album, Hardware Friday through Concord Records. Coming less than two years after the release of his sophomore solo record, The Big Bad Blues, this 12-song record stands out in part because of its featured songs. This will be discussed shortly. The arrangements featured throughout the album are just as important to address as the songs themselves. This will be addressed a little later. The songs’ sequencing rounds out the album’s most important elements. It will be discussed later, too. All three items noted here are important in their own right to the whole of the record’s presentation. All things considered, they make Hardware another successful new offering from Gibbons that his audiences and those of his band, ZZ Top will equally enjoy.
Hardware, the third solo record from Billy F. Gibbons, is another enjoyable offering from the longtime ZZ Top front man. That is due in no small part to its featured songs. The songs in question are original compositions, save for just one song, ‘Hey Baby, Que Paso,’ originally originally made famous by Augie Meyers, and later by The Texas Tornados. By comparison, Gibbons’ previous solo records, Perfectamundo and The Big Bad Blues were composed primarily of cover tunes, and far less of original works. For Gibbons to take such a risk and rely more on original music this time around is a nice change of pace. It shows Gibbons’ willingness to take more of a chance. That in itself gives audiences reason enough to give this album a chance.
Building on the appeal established through the album’s general presentation is the actual sound and stylistic approach to the songs featured throughout this album. While Gibbons (and ZZ Top’s) established audiences will find much of the album’s arrangements familiar in terms of sound and style, they will also find that Gibbons does branch out a little bit here. The most noticeable change of pace comes in the contemplative ballad, ‘Vagabond Man.’ It is in this song that Gibbons takes on the all-too-familiar topic of being out on the road and away from family and friends. So many acts across the musical universe have taken on that topic throughout the years. In the case of the song’s arrangement though, Gibbons’ subdued approach tugs at listeners’ heart strings so much without trying. He also tries something slightly different in ‘Spanish Fly.’ The song presents a distinct modern blues rock sound instead of the more typical southern rock sound for which Gibbons has been known for crafting during his career. It is another welcome change of pace from Gibbons. The steady tambourine beat and thick, rich bass drum beat against the backing choral vocals here collectively makes for so much interest. ‘Desert High,’ which closes out the 37-minute record, is another example of the importance of the arrangements featured in the record’s songs. The subdued arrangement here conjures thoughts of a specific song from The Doors at times. As the song progresses and really gets heavier, it still maintains its blues rock identity, but still has a touch of hard rock about it. It is really another change of style for Gibbons in this outing. When it and the other songs examined here are considered alongside the more familiar southern/blues-based rock for which Gibbons has come to be known, the whole makes the album’s overall musical content just as important as the approach that Gibbons took to this record.
On a side note, the lyrical content that accompanies the album’s musical content is largely familiar. As noted, there is that one contemplative piece in ‘Vagabond Man.’ Much of the record’s other lyrical content though, has to do with a woman in a variety of situations. ‘She’s on Fire’ is clearly about a man who’s wild for a woman. ‘My Lucky Card’ is also about a woman. In this case, Gibbons compares the woman to…well…a lucky poker card. ‘Spanish Fly’ makes reference to drugs and alcohol. This should be noted. But a woman is involved here, too. ‘Hey Baby, Que Paso’ is a cover, but also has to do with a woman. On another note, ‘Stackin’ Bones’ is its own unique song that is slightly familiar, lyrically, to ‘Spanish Fly’ just without the mention of the woman. That is putting it lightly. So considering all of this and the rest of the record’s lyrical themes, much of this record is lyrically just as familiar for audiences of Gibbons and ZZ Top as that in each side’s existing works. That makes the record even more accessible.
As much as Gibbons’ approach to the album and the album’s songs (and their lyrical counterparts) does for the record’s appeal, they are only a part of what makes the album so appealing. The sequencing of all of that content brings everything together, completing the record’s presentation. A full listen to Hardware reveals the album to be a mostly up-tempo record. There are a couple of moments that are laid back, but still manage to keep the album’s energy moving. At the album’s center though, audiences get a nice break point in the pairing of ‘Vagabond Man’ and ‘Spanish Fly.’ The two songs collectively pull the record back significantly and then gradually build things back up before the record really gets back up to speed in its energy and emotion in ‘West Coast Junkie.’ From there on to the album’s end, Gibbons keeps things moving solidly. This ensures listeners’ engagement and entertainment in its own right, too. When this is considered along with Gibbons’ approach to the album and the album’s content, the whole makes Hardware another great record from one of the greatest names in rock and the blues.
Billy F. Gibbons’ third solo album, Hardware, is a successful new offering from the veteran singer/guitarist. It is a step up from his first time albums. That is thanks in part to the approach that Gibbons took to the record. Instead of relying mainly on covers this time, he instead opted to make his original compositions the star. Only one of the record’s dozen total songs is a cover in this case. The musical (and lyrical) content featured within the songs shows that the risk that Gibbons took this time out paid off, too. It offered audiences something familiar and something slightly less so throughout. The sequencing of that total content brought everything together here, completing the album’s presentation. That mid-album break that was intentionally used here ensured that the record did not get monotonous and kept listeners’ attention and enjoyment. Keeping all of this in mind, the whole of these elements makes Hardware a presentation that is sure to earn just as much hardware as its predecessors.
Hardware is scheduled for release Friday through Concord Records. More information on the album is available along with all of Billy F. Gibbons’ latest news at:
ZZ Top front man Billy Gibbons has debuted a new live video.
The video, captured Nov. 11, 2018 at the Aztec Theater in San Antonio, TX was of Gibbons and his fellow musicians — drummer Matt Sorum (Guns ‘N’ Roses, Velvet Revolver) and guitarist Austin Hanks — performing the song ‘Missin Yo’ Kissin.” The performance was part of Gibbons’ 2018 tour in support of his album The Big Bad Blues. Gibbons’ long-time guitar tech Elwood Francis performed on harmonica during the tour.
Photographer/videographer Harry Reese recorded the new featured performance. Reese used four cameras to capture the performance, two of which were GoPro cameras mounted on Sorum’s drumset. The other two cameras were handheld units that Reese used as he traversed the stage.
The video, which was saved to a hard drive, was allegedly forgotten once the tour was over, and unearthed by Sorum just two weeks ago, leading to its premiere.
Gibbons talked about the video’s discovery in a recent interview.
“It’s fortuitous that Matt remembered the video and fished it out of his stick bag,” he said. “Now, more than ever, this is an example of our go-to phrase, ‘Blues you can use.'”
Gibbons’ album went on to earn top honors at the 2019 Blues Music Awards, taking home the Best Blues Rock Album award. Due to a scheduling conflict caused by a ZZ Top performance the same night, Gibbons was unable to accept the award, so his wife Gilligan Stillwater accepted the award on his behalf.
More information on The Big Bad Blues is available online along with all of Billy Gibbons’ latest news at:
Ten days. That is how long it took veteran musician Carlos Santana and his fellow musicians to record their latest recording Africa Speaks. The album — produced by Rick Rubin — was released June 7 through Concord Records, less than three months after Santana and company released the group’s three-song EP In Search of Mona Lisa. In the mere weeks that have passed since the record’s release, it has already caused a division among listeners, with fans either loving or hating the recording. Those who love the record, do so for the same reasons that its detractors have decried the album — the change in the group’s sound this time out. The traditional Latin percussion sound to which listeners have become so familiar is replaced in large part by more African style drums (which is part of that African theme) and the arrangements are more complex than with past Santana compositions. Santana himself even takes even more of a backseat than ever to his fellow musicians and guest vocalist Concha Buika, who provides vocals for the majority of the album’s 12 total songs. The combination of Buika’s vocal talents with the talents of Santana and his fellow musicians goes a long way toward making the album in whole a strong, interesting new offering from the group. The record’s lead single, ‘Breaking Down The Door.’ It will be discussed shortly. ‘Los Invisibles,’ does just as much as ‘Breaking Down The Door’ to show the impact of Buika’s talents with those of Santana and company for this record. It will be addressed a little later. ‘Blue Skies’ is yet another example of how the combined talents of Concha Buika, Santana and his fellow musicians come together to create an engaging and entertaining recording in Africa Speaks. When it is considered alongside ‘Breaking Down the Door,’ ‘Los Invisibles’ and the rest of the record’s entries, the album in whole becomes a work that listeners will agree speaks volumes about Carlos Santana and company in the best way possible.
Carlos Santana’s latest full-length studio recording Africa Speaks is a solid new offering from the veteran guitarist and his fellow musicians. It is a record that speaks volumes about Santana’s place in the grand picture of the music community today. That is proven in part through the record’s lead single ‘Breaking Down The Door.’ ‘Breaking Down The Door (ft. Buika)’ is a positive first impression from Carlos Santana’s forthcoming album Africa Speaks. It is everything that audiences have come to expect from the veteran performer and his fellow musicians with its Latin-tinged sound. The horns, bongos, congas, cabasa, drums and guitar and accordion are expertly balanced throughout the song thanks to the work of famed producer Rick Rubin (Johnny Cash, Run DMC, The Dixie Chicks), who helmed the album. The song’s early bars create visions of nights in Havana which does somewhat go against the album’s theme of following African influences, but even with that in mind, still sets the song’s stage quite well. The rest of the composition is certain to keep listeners engaged and entertained as the noted instruments join together for a work in whole that is quite easy on the ears. It is just one of the song’s notable elements.
The song’s lyrical content is just as worth noting in examining the song as its musical content. It is sung by famed Grammy®-nominated and Latin Grammy® Spanish artist Concha Buika (pronounced BWEE-KA), who comes in as a guest performer on this track. Some of the lyrics are slightly difficult to decipher sans lyrics sheet, but enough is understood to realize the story in the song centers on a group of individuals’ relationships. Buika starts out singing about a woman named Tina. “Tina was no deceiver/Few were inclined to believe her/She was lucky to marry a rich, rich man/Handsome like Harry/Harry was a charmer/No one believed he would harm her.” She continues in the song’s second verse, “The wedding was the talk of the town/The girl went down in a long white gown/They said she wanted to marry above her/All she wante was someone to love her/News came first/They called her a liar/Had no sound/Mouth full of wire.”
The story seemingly does not have a happy ending, as Buika sings, “In the end, Tina was buried/By the church where she got married/Tina should have outlived us/Now we pray that she will forgive us/Tina was no deceiver/Few were inclined to believe her.” It would seem that in hindsight, this is a story about a young woman whose desire to be loved led to her being involved with someone who was not so nice. It is inferred through the line stating Harry was a charmer and that no one thought he would hurt her, that likely he did in fact hurt her. He apparently hurt Tina fatally. One could almost argue that with this in mind, this song is a reminder for people to make sure they know who that other person is before getting completely involved with that person. It’s hardly the first time that a song, such as this one has ever been presented. Aerosmith, Garth Brooks and Nickelback are among the many acts who have crafted songs centered on the matter of domestic abuse. The way in which it has seemingly been tackled here though, is a fresh new take on the topic, and just as certain to resonate with listeners. That is thanks not just to the story, but the song’s arrangement, too. Keeping all of this in mind, this song is a positive addition to Africa Speaks and just one of the record’s most notable entries. ‘Los Invisibles,’ which immediately follows ‘Breaking Down The Door,’ is another example of the impact of Buika’s talents combined with those of Santana and company, and the overall impact of the album.
‘Los Invisibles’ stands out in part because of its musical arrangement. Unlike ‘Breaking Down The Door,’ this song’s arrangement boasts much more of that African influence in its percussion elements. At the same time, the use of the guitars and bass adds a bit of a funk vibe to the arrangement. One could even argue there is a bit of a jazz influence in the song’s arrangement to boot. That is a lot of different musical genres and styles, but Santana and company being the consummate professionals that they are, the group made those elements join together to make a whole that is undeniably one of the record’s best musical moments. It is just one part of what makes the song in whole stand out. The song’s lyrical content couples with its musical arrangement to make the song in whole stand out even more.
According to the English translation provided with the song posted to Santana’s official YouTube channel, the song focuses, lyrically, on a young man talking to his lady love about their forbidden love. The translation shows the man sings to the woman, “Mari, Mari, Mari, don’t cry/When your mother found out about us/Said that she could not consent our love/Because I don’t have much money.” The lyrics become rather redundant from here until the song’s finale in which the man sings to the woman, “Good night, miss/We are free like the wind.” That finale line seems to be a statement of happiness, as if the man does not care what the woman’s mother thinks. He sings “we are free like the wind,” as if to say “We can do what we want.” This seeming statement would seem to add more clarity to the feeling in the song’s arrangement. There is a certain sense of confidence in the arrangement, and considering the subject’s statements, it works well. While it is another song that seems centered on relationships, it is the exact opposite of the story at the center of ‘Breaking Down The Door.’ In other words, it gives listeners something different to take in both lyrically and musically. It is just one more of the songs featured in Africa Speaks that shows the record’s strength. ‘Blue Skies’ is yet another example of the strength of Africa Speaks.
‘Blue Skies’ stands out in part because of its own arrangement, which is a stark contrast to the album’s other songs and even the pair already discussed here. This song’s arrangement is more of a pure blues piece that also mixes in a touch of jazz. The addition of Buika’s vocals adds that African element to the song, making the whole yet another of the record’s most notable entries if only for its musical side. Its musical side is just one part of what makes it stand out, of course. Its lyrical side adds even more interest to its whole.
The song’s lyrical content presents a message of clarity of mind and positivity. That is made clear right from the song’s outset as Buika sings, “Don’t call me ‘lost’/That’s not my name/I got my feet on the ground and I see many colors and others/I burn all my loneliness under the ocean/Wash away fears and I/Burn all my loneliness under the ocean.” She goes on in the song’s second verse, “I’m sending all my love to the blue skies/When light is raining over me/And then I remember the smile of my mama/When she thinks in the eyes of my grandma/When I feel that I’m lost/Don’t’ know where I belong/When a rose make my tears fall down/Nothing better than a blue skies/To cry over my memories.” She adds, “Oh now there’s a magical shine in the moonlight/that reminds me those mystical moments/I remember that night when we’ve crossed far/that red line.” She goes on in similar fashion through the rest of the song. The end result is a song that is loaded with hope and positive vibes. Those vibes are enhanced through the group’s musical arrangement, which exhibits so much emotion in its own right. When the whole of the song is considered alongside the whole of the other songs discussed here, the trio proves solidly what makes this record a work that will in fact speak to listeners in the best way possible. That is even more the case when they are considered alongside the rest of the album’s entries. All things considered, the album becomes a work that is unquestionably one more of this year’s top new albums overall.
Carlos Santana’s latest full-length studio recording Africa Speaks is a record that speaks loud and clear about Santana’s place (and that of his fellow musicians) in the music industry today. That is because it is yet another change of pace for the band that mixes elements of the group’s past works while also adding in a new element previously unused in the band’s past works. The album’s lead single ‘Breaking Down The Door’ uses the band’s more familiar sound to create its own identity while ‘Los Invisibles’ adds more of the noted African element previously unused in Santana’s past records. At the same time, it tells its own interesting story through its lyrical content. ‘Blue Skies’ continues to present the positive vibes for which the band has been known throughout its life. That is both in the song’s musical arrangement and its lyrical content. Keeping this in considering along with the positives of the other noted songs and the rest of the album’s entries, the end result is a record that is just as strong as anything that Santana and company have ever released previously. It is a record that says loud and clear, Carlos Santana and company are still among the music industry’s elite acts. Africa Speaks is available now. More information on Africa Speaks is available online now along with all of the latest news and more from Carlos Santana at:
Early this year, famed guitarist Carlos Santana and his band released a new EP to the world in the form of In Search of Mona Lisa. While an enjoyable record in its own right, that five song (technically three-song, since two of its songs are just radio edits of two of the three originals) sadly was not as timeless as the famed painting, which was reportedly the inspiration for the EP’s originals. That is because of those radio edits. This summer, Santana will follow-up the release of In Search of Mona Lisa with a new full-length studio recording titled Africa Speaks. Research into the 11-song record reveals its release date as June 7. In anticipation of the album’s release, its debut single and album opener, ‘Breaking Down the Door (ft. Buika)’ is set to hit radio stations nationwide May 5. The song is everything that audiences have come to expect from Santana and company in terms of its musical arrangement, which will be addressed shortly. The song’s lyrical content is just as easily accessible as the song’s musical content, and will be addressed a little later. Each item noted here plays its own important part to the whole of ‘Breaking Down The Door (ft. Buika).’ All things considered, they make the song a strong first impression for Santana’s new LP, and hopefully not the only positive part of the forthcoming album.
‘Breaking Down The Door (ft. Buika)’ is a positive first impression from Carlos Santana’s forthcoming album Africa Speaks. It is everything that audiences have come to expect from the veteran performer and his fellow musicians with its Latin-tinged sound. The horns, bongos, congas, cabasa, drums and guitar and accordion are expertly balanced throughout the song thanks to the work of famed producer Rick Rubin (Johnny Cash, Run DMC, The Dixie Chicks), who helmed the album. The song’s early bars create visions of nights in Havana which does somewhat go against the album’s theme of following African influences, but even with that in mind, still sets the song’s stage quite well. The rest of the composition is certain to keep listeners engaged and entertained as the noted instruments join together for a work in whole that is quite easy on the ears. It is just one of the song’s notable elements. The song’s lyrical content is just as worth noting in examining the song as its musical content.
The song’s lyrical content is sung by famed Grammy®-nominated and Latin Grammy® Spanish artist Buika (pronounced BWEE-KA), who comes in as a guest performer on this track. Some of the lyrics are slightly difficult to decipher sans lyrics sheet, but enough is understood to realize the story in the song centers on a group of individuals’ relationships. Buika starts out singing about a woman named Tina. “Tina was no deceiver/Few were inclined to believe her/She was lucky to marry a rich, rich man/Handsome like Harry/Harry was a charmer/No one believed he would harm her.” She continues in the song’s second verse, “The wedding was the talk of the town/The girl went down in a long white gown/They said she wanted to marry above her/All she wante was someone to love her/News came first/They called her a liar/Had no sound/Mouth full of wire.”
The story seemingly does not have a happy ending, as Buika sings, “In the end, Tina was buried/By the church where she got married/Tina should have outlived us/Now we pray that she will forgive us/Tina was no deceiver/Few were inclined to believe her.” It would seem that in hindsight, this is a story about a young woman whose desire to be loved led to her being involved with someone who was not so nice. It is inferred through the line stating Harry was a charmer and that no one thought he would hurt her, that likely he did in fact hurt her. He apparently hurt Tina fatally. One could almost argue that with this in mind, this song is a reminder for people to make sure they know who that other person is before getting completely involved with that person. It’s hardly the first time that a song, such as this one has ever been presented. Aerosmith, Garth Brooks and Nickelback are among the many acts who have crafted songs centered on the matter of domestic abuse. The way in which it has seemingly been tackled here though, is a fresh new take on the topic, and just as certain to resonate with listeners. That is thanks not just to the story, but the song’s arrangement, too. Keeping all of this in mind, this song is a positive first impression for Africa Speaks and hopefully just one of many more positive impressions to come from the album.
Carlos Santana is set to launch a tour in support of Africa Speaks April 22 in Nashville, TN. The tour is set to run through Nov. 10 and will include an extensive residency in Las Vegas, NV as well as performances in cities, such as Charlotte, NC; Phoenix, AZ and Los Angeles, CA. The tour’s schedule is available online now along with another of the Africa Speaks‘ singles, ‘Los Invisibles’ and all of Carlos Santana’s latest news and more at:
It goes without saying that Carlos Santana is one of the greatest musicians in the modern history of music. He has crafted countless hit songs that have led to just as many awards and garnered just as many fans around the world. Late last month, Santana continued that ongoing success – sort of — with the release of his new EP In Search of Mona Lisa. The record is enjoyable, but honestly, it does leaving one wanting for more, and not in a good way. That is not to say that the record is a complete loss. It does have some positives, one of which being the three original tracks that make up the majority of the 27-minute record. They will be discussed shortly. The other two songs featured on the record’s back side are the record’s most prominent negative. They will be discussed a little bit later. The EP’s other positive is its sequencing. It will also be discussed later. Each item noted here is important in its own way to the whole of In Search of Mona Lisa. All things considered, they make this record its own enjoyable work of musical art, but not his most memorable work of musical art.
In Search of Mona Lisa is an interesting new offering from veteran guitarist and composer Carlos Santana. While not his greatest work to date, it is not an entirely forgettable work. That is thanks in part to the three original songs that make up the majority of the EP’s body. Those three songs are ‘Do You Remember Me,’ ‘In Search of Mona Lisa’ and ‘Leaves From Another Time.’ What makes this trio of compositions stand out more than anything is their arrangements. The first work is classic Carlos Santana. It is a nine-minute-plus opus that while yes it conjures thoughts of the classic work ‘Guantanamera’ in its guitar line, the song’s overall composition is what makes it stand out. It starts out so gently and relaxed, gradually adding in an extra layer approximately five minutes into the song with vocals and plenty of familiar Latin percussion (cabasa, bongos, congas, timbales and shaker) and subtle piano line. Vocals and a bass line join in gradually, too, to make the song in whole a work that will have any listener dancing along happily.
The EP’s title track follows, and is quite different stylistically from ‘Do You Remember Me.’ This track, which barely tops the five-minute mark, sounds more akin to something that belongs on a Joe Bonamassa record than Santana. That is evident through Santana’s infectious bluesy guitar line and the gritty vocal performance presented this time out. Not having liner notes to reference, this critic cannot say for certain who the vocalist is, though it is certain that it is not Joe Bonamassa. That aside, the distinctly different approach to this song’s arrangement versus that of ‘Do You Remember Me’ makes for a welcome change of pace that is certain to keep listeners engaged and entertained. The song’s lyrical content is just as certain to keep listeners engaged, as the vocalist sings, “All the women of the world/Ain’t got nothin’ on her/When I stood in front of her/Lookin’ eye to eye/She said to me/Do you remember/When we were lovers/In another time/Here we are again/I can feel you heart/Deep in time with mine/Oh, it’s eternal love/I was searching/My Mona Lisa/My Mona Lisa.” While it is said that this EP was centered on Santana’s interaction with the famed Mona Lisa portrait in Paris, this song obviously is about another Mona Lisa. That adds even more interest to the song, and in turn shows even more why the EP’s main songs are so important to its whole.
While ‘Do You Remember Me’ and ‘In Search of Mona Lisa’ are both clear examples of why this EP’s primary songs are so important to the record’s overall presentation, they are not its only key compositions. ‘Lovers From Another Time,’ the third and final original offering featured in In Search of Mona Lisa stands out in large part because of its own arrangement. This work takes Santana’s familiar Latin sound and crosses it with an old-school 1960s lounge jazz style arrangement for a whole that is quite the surprisingly interesting work. On the surface, one might not think such a hybrid composition would work, but it certainly does work here. That is evidenced in the juxtaposition of Santana’s fiery guitar work and the subtlety of the piano and strings. The drumming here is just as fiery as Santana’s work, with strong fills and solid time keeping throughout. The result of the whole presents a sound that one could argue is a sort of fusion jazz arrangement. Again, it is a change-up that keeps the record interesting and engaging for listeners. When this work is considered along with its predecessors, the whole of these three songs creates a strong foundation for In Search of Mona Lisa.
While the three primary songs featured in In Search of Mona Lisa give the record a strong foundation, the two songs that follow make that same foundation a little bit shaky. That is because despite the marketing from the people at Concord Records they are not original works. Rather, they are essentially just radio edits of the EP’s first two songs. The edit of ‘Do You Remember Me’ is a time-edited piece that opens where the vocals kick in during the original work. In other words, the instrumental portion of the original is completely omitted here in this edit. The edit of ‘In Search of Mona Lisa’ is more subtle, with the variances more difficult to notice, but it is cut back by almost a minute and a half in terms of its run time. That means that plenty of content has been omitted from this cut in comparison to the final presentation. Now on the one hand, it can be argued that adding these two edits to the EP is good because it creates more appreciation for the “final cuts.” At the same time though, the variances between the edits and the originals are so minute that in reality, the edits become inconsequential, and in turn unnecessary. Audiences have already spoken out, and correctly so, that it would have been better to have had two more original songs featured in the record than the two edits. At least the people in Santana’s camp have finally stopped alleging the EP has five new songs, and pointed out that it only has three new songs. Either way, at least audiences have the edits for the sake of comparison, if nothing more. To that end, the record still could have gone just as easily without the edits as with.
While the songs featured in In Search of Mona Lisa are clearly key in their own way to the whole of the EP, they are just part of the record that should be examined. The record’s sequencing plays into its presentation, too. As already noted, the three primary songs that make up the bulk of this record are each stylistically different from one another. That alone keeps the EP interesting. Keeping in mind the songs’ stylistic variances, their energies are just as varied. ‘Do You Remember Me’ is a relaxed, casual piece that moves along smoothly from start to finish of the more than nine-minute opus. The relaxed vibe of that arrangement gives way immediately to the more upbeat vibe of the EP’s title track, which is just as danceable as the EP’s opener. From there, the EP’s energy pulls back again with ‘Lovers From Another Time.’ This song’s arrangement returns the record’s energy back to that smooth, subtle feel presented in the record’s opener, letting listeners relax yet again. The up and down of the energies here shows clearly that certain time and thought was put into the record’s sequencing. It shows that the EP’s creative forces wanted to insure listeners’ engagement and entertainment. That attention to detail paid off, too. Keeping that in mind along with the songs’ arrangements, the two elements do plenty to make the EP a welcome offering from Carlos Santana, but certainly a work that leaves listeners wanting for more.
Carlos Santana’s latest studio recording, the five-song EP In Search of Mona Lisa is an enjoyable new offering from the veteran musician and composer. However, it is also a record that leaves listeners in search of more from the world-renowned guitarist. That is due to the two edits that are featured alongside the EP’s three original works. Those original works, and their sequencing go collectively a long way toward the EP’s enjoyment. Considered along with the issue of the edits, the EP in whole proves to be enjoyable, but not one of his greatest works of musical art. In Search of Mona Lisa is available now. More information on the record is available online now along with all of Santana’s latest news and more at:
ZZ Top front man Billy F. Gibbons is set to release his sophomore solo album The Big Bad Blues next month via Concord Records. A little more than three years will have passed between the release of his debut solo record Perfectamundo and The Big Bad Blues when the latter is released. The 11-song collection of originals and covers is a welcome new offering from Gibbons. That is evidenced in part through the original composition ‘Let The Left Hand Know…’ It will be discussed shortly. ‘My Baby She Rocks’ is another of the album’s entries that supports that statement. It will be discussed a little later. ‘Hollywood 151,’ yet another of Gibbons’ originals included in this album, is still more support for the noted statement. When it is considered alongside the other noted songs and those not noted here, the whole of The Big Bad Blues proves to be a bad record in the best way possible.
Billy Gibbons’ sophomore solo album The Big Bad Blues is a bad record in the best way possible for those who understand the terminology. It is a work that will appeal easily to fans of Gibbons’ work with ZZ Top and his own solo work as well as to blues purists. That is saying a lot. This is proven in part through the song ‘Let The Left Hand Know…’ The song, which comes almost midway through the record, is one of a handful of Gibbons’ original works included in the record. In regards to its musical arrangement, it is a gritty, Texas style 12-bar blues work that moves so smoothly and creates a certain happiness in any listener. It almost instantly conjures thoughts, again, of Gibbons’ work with ZZ Top while also lending itself to comparisons to some of the best works from Stevie Ray Vaughan. That is even with the addition of the harmonica line. Lyrically, it is just as upbeat, as it obviously centers on a man trying to get a woman to dance with him. The man sings to the woman, “Just ease across the floor/Do it a little more/Let the left hand know where the right hand goes.” He goes on to sing, “Just when you think you know/When everything gets a little slow/Gotta take a trip/Gotta shake that hip for sure/Just ease to the floor/And do a little more/Let the left hand know where the right hand goes.” Plain and simple, this is a man trying to be smooth and get a lady to the dance floor. Later in the song, the man even gets so bold as to say, “I wanna be your man/You know I can, for sure/Just ease across the floor/Just slid a little more/Let the left hand know where the right hand goes.” Again, this is a guy who wants to dance with a woman and show her what he’s got, talent-wise. It’s a quite relatable scenario…maybe less so today because courtship methods seem to be so different today than in the past, but still at least somewhat relatable. That accessibility, in terms of the song’s lyrics, coupled with the upbeat, feel good musical arrangement makes this song easily one of the record’s best entries and one of the best of Gibbons’ originals included in the record. That being the case, the song proves to be just one example of why the Big Bad Blues is such a good record. Earlier in the record’s run, another similar lyrically formatted original titled ‘My Baby, She Rocks’ also serves to support that statement.
‘My Baby She Rocks’ is another work that instantly conjures thoughts of Stevie Ray Vaughan just by its title alone. That’s because of its close similarity to SRV’s ‘Pride and Joy.’ Musically speaking, it does bear some semblance to said song, too, though maybe only loosely. If anything, its arrangement is more akin to that of ‘Let The Left Hand Know…’ than ‘Pride and Joy’ thanks to its gritty, mid-tempo vibe. Lyrically, it is far more akin to ‘Pride and Joy’ as Gibbons sings, ‘My baby she rocks/My baby she rocks/My baby she/My baby she rocks/My baby she rocks right to me/Rocks me all night long.” He goes on to sing, “My baby she shakes/My baby she shakes/My baby she rocks/My baby she shakes/My baby shakes/Shakes me all night long.” No explanation is needed here if any at all. This is a man who is proud of his woman and is making it clear in no uncertain terms. What’s really interesting here is that laid back vibe presented in the song’s musical arrangement as he sings the noted lines. This is some one who’s secure in his relationship with his woman and is totally content. Again, this is a fully relatable scenario. That ability of listeners to relate to the song’s lyrics and to feel so good in the process makes this song stand on its own merits just as much as ‘Let The Left Hand Know…’ Keeping that in mind, ‘My Baby She Rocks’ is yet another example of what makes The Big Bad Blues such a big “Bad” record. It still isn’t the last example of what makes this album stand out. ‘Hollywood 151’ is yet another example of what makes Gibbons’ latest solo record work so well.
Whereas the previously discussed songs were slower in their arrangements, ‘Hollywood 151’ is a more upbeat song. What’s more even with its familiar 12-bar blues approach, it doesn’t try to repeat the arrangements already performed in the other noted compositions. It’s just a fun, feel good work. As with the other songs, this is another one centered on a man who’s crazy for a woman. This time, it’s a guy telling a woman that he’ll do this and that for a woman on Hollywood 151, including taking her around the world, etc. He sings, “I’m all about you/Having fun/I’m gonna take you/With my gun/I’m gonna follow you out of town/I’m gonna get you upside down…you know you got me/Left and right/You know me/Clear out of sight/You got me girl/I know you know it…cause you’re Hollywood 151.” It’s doubtful there’s any ill intent in the mention of the gun, so that should not be taken verbatim. It likely has another meaning, especially considering everything else noted in this song. That’s the case considering he sings about buying the woman a big new Cadillac and taking her around the world. This is just a man who wants to woo a woman and win her over, once again. The song’s musical arrangement does a good job of illustrating the positive energy being exuded by the man as he tries to win her over, too. That understanding adds so much to the song. When one keeps that in mind in considering this song and the enjoyment raised through the other songs (and those not noted here) the whole of the record’s songs makes the album in whole one “bad” blues rock record and a strong second solo effort from Gibbons.
Billy Gibbons’ sophomore solo record The Big Bad Blues is a “bad” album that blues purists and ZZ Top fans alike will appreciate. It is chock full of arrangements and lyrics that will put a smile on the faces of any of the noted audiences. That is evidenced in part through the easygoing, blues-rock of ‘Let The Left Hand Know…’ and its lyrical content. The same can be said of ‘My Baby She Rocks’ and even ‘Hollywood 151.’ Between those songs and the others included in the record, but not noted here, the whole of this record proves to be a fun record for a wide range of audiences. That includes, again, fans of ZZ Top and blues purists alike. The album will be available September 21 via Concord Records. More information on The Big Bad Blues is available online now along with all of Billy Gibbons’ latest news and more at: