By Tom Vickers

fter THnay-nyEYEAKS a s th e The fruits of Billy F. Gibbons’, Frank world’s longest-running Beard’s and Dusty Hill’s imaginations, band with no personnel guided by manager/producer Bill Ham, changes, ZZ Top is in­ have entered our consciousness in stantly recognizable, by many ways. both sight and sound. ZZ The story starts on December 16, A Top’s beards and blues-based1949, Texas with the birth of Billy Gibbons. rock have made the band a cultural His father, Fred, was Houston’s premier icon. Their likenesses have appeared in society bandleader while serving as The New Yorker- a cartoon depicting a conductor for the Houston Symphony long-bearded police officer, captioned Orchestra. But it was a far different “ZZ Cop” - and in an episode of T h e sound that sparked young Billy’s inter­ S im p so n s in which Bart spies three Ha- est in all things funky, low-down and sidim and yells, “Hey, look. It’s ZZ Top. soulful. When Billy was seven, his You guys rock!” seventeen-year-old baby-sitter, named Yes, they rock. But they do so with Little Stella, took him to Houston’s elements of blues, soul, garage punk Fourth Ward clubs, where he saw the and boogie, not forgetting a lyrical blues and R&B stars of the day. outlook that embraces sex, beer Little Stella’s musical field trips drinkin’, hell raisin’, cars, Texas lore inspired Billy to learn to play guitar, and landscapes, and fine-lookin’ gals. and on Christmas day T963, his parents gave him a Gibson Melody Maker, along with a Fender Champ amplifier. By the time he reached high school, he’d already played lead guitar in a number of Houston garage bands. In his senior year, his band the Coachmen broke up, and Billy, along with drum­ mer Dan Mitchell, formed the Moving Sidewalks - a louder, more psychedelic Left: Frank Beard, Joe Michael "Dusty" outfit, playing mostly original material. Hill and Billy F. Gibbons (from le ft] Backstage at a Doors show in 1967,

Above: The Top and their hot rod, the Eliminator. Left: Texans "Three funky wielding axes: D usty Hill (le ft) and Billy Gibbons, circa 1980.

Farm,” which enabled Ham to go label shopping. The band | chords, three landed on London Records, where it kept a low profile until I® third album. Released in July 1973, Tres Hombres funky guys" was the group’s first platinum album. Capturing ZZ Top’s dynamic live sopnd as well as the band’s blues and soul roots, Tres Hombres featured their biggest FM-radio Mt to Gibbons ran into the man who would change Ms life. date, “La Grange.” The song was written as an homage to a Bill Ham, a local record promoter and onetime teen famous house of ill repute, later celebrated in the Broad­ idol, became the Sidewalks’ manager, and his connec­ way musical The Best Little Whorehouse in Texas. “La tions enabled the band to open four Texas shows for Grange” is where ZZ’s boogie and rock met. Jimi Hendrix. At this time of glorious excess in rock production, Ham Just as the Sidewalks were beginning to take off, the dreamed up an extravaganza called ZZ Top’s Worldwide draft came calling, and the band folded. Gibbons, who suc­ Texas Tour. The most expensive Texas-size tour to hit the cessfully avoided Uncle Sam, had wanted to ditch the road, it encompassed five semis’ worth - about seventy- psychedelic sound for a more rootsy, blues-based approach, five tons - of stage equipment and Texas flora and fauna, and so, in 1969, the earliest incarnation of ZZ Top was bom. including a wide range of cacti, a longhorn steer, a buffalo, A young bass player named Billy Ethridge, who briefly a rattlesnake and buzzards, all presented to audiences on a played with Gibbons, introduced him to “a guy in a red Texas-shaped stage. Volkswagen, wearing blue-tinted shades and bowling The Worldwide Texas Tour came in the wake of ZZ shoes, [with] a backseat full of drums.” Frank Beard would soon be part of ZZ Top. Bom June 11,1949, in Frankston, Texas, Beard had become obsessed with drums after seeing the Beatles on T h e E d S u lliv a n S h o w in 1964. Beard had been playing in various high school bands when he met two brothers, Rocky and Dusty Hill, in 1967. They formed a band initially called the Warlocks that evolved into Amer­ ican Blues. Dusty (real name: Joe Michael) Hill was already an accomplished touring musician by the age of fifteen. Bom in Dallas on May T9,1949, he met his life’s destiny at the age of thirteen when he picked up the bass and accom­ panied his guitar-slinging brother. They joined bluesman Freddie King’s backup band for three years. Dusty found himself in Houston in 1969, backing up Lightnin’ Hopkins. Beard dropped by and mentioned that he was playing with the guitarist from the Moving Side­ walks and that they were looking for a bassist to round out a power trio. Dusty auditioned, and ZZ Top was bom. Their first live gig was at the Knights of Columbus Hall in Beaumont, Texas, on February 10,1970. In late 1969, ZZ The Moving Sidewalks with Jimi Hendrix, who once called Top recorded their first single, “Salt Lick” b/w “Miller's Gibbons (right) his "favorite guitarist," circa 1968 experimental guitar sounds and Hill, Gibbons, Beard "The beard had streamlined electronics all went (from left), Bandara Cafe, into the making of ZZ Top’s new B rackettville, Texas, in 1973 album. By the time it was fin­ grown to doormat ished, it was clear the group had created something special. Soon the Toppers found themselves with a hot, fresh sound; proportions" a new visual hook in Billy’s red street rod; and a new medium of exposure in MTV. They titled the new album Eliminator, after the drag-racing term, and put an illustration of Billy’s Top’s second huge hit of the seventies, a two-minutes-and- new hot rod on the cover. Next came the video: “You put three change boogie-rocker called “Tush.” Pulled from the band’s funky chords with three funky guys and three pretty girls and fourth album, Fandango!, “Tush” was cooked up on the road. a nice, shiny red car,” recalls Gibbons. “Man, it was just auto­ “We took a booking in Florence, Alabama, in 1974 or ’75, in a matic.” The video for ZZ’s first single off Eliminator, “Gimme dirt-floored arena,” Gibbons recollects. “I had been turned on All Your Lovin,” had an immediate impact. Heretofore, the to the flip side of a Roy Head single, which was an instru­ band had deliberately shied away from television appear­ mental called ‘Tush Hog,’ and I threw down this guitar riff, ances. “We had toured extensively,” Billy adds, “and yet we and it took all of three minutes to create it right there.” remained an enigmatic, invisible mystery band.” Now the The band’s second consecutive platinum album, Fandango! beards, the sunglasses, the cars and the girls blended together was followed by Tejas, which was released in December of’76. to create a new image of what ZZ Top had become. Eliminator After seven years of nonstop touring and record making, the broke the group to a global audience. Hie Eliminatortnlogy of band was exhausted and ready for a break. The months off singles (“Gimme All Your Lovin,” “Sharp Dressed Man” and stretched into a couple of years. In 1978 they got a call from “Legs”) became MTV staples, and the album went ten-times- Ham and decided to fire up the ZZ Top engine for another platinum in America. round. They were free from their deal w ith London Records, W hile Eliminatorwas the biggest of their Warners albums, and they signed with Warner Bros. W hen the three members the band continued to have multiplatinum success into the got together for a band meeting, they noticed something had nineties. By mid-decade, ZZ Top had negotiated a new deal changed during their time apart. They had always had some with BMG and to date have released four albums, the most form of facial hair, with Frank usually sporting a mustache recent being Mescalero. Their 2003 Beer Drinkers and Hell and Billy and Dusty wearing scruffy little beards. “I walk into Raisers Tour, which took them across America, as w ell as to the room, and I’m looking at a guy I think I know,” Billy says twelve European countries (including a Helsinki gig with the with a laugh. “My beard has grown to doormat proportions, Rolling Stones), underscores their ongoing appeal. and I realized that Dusty had done the same thing.” Ironi­ When all three band members reflect on how they’ve man­ cally, Beard was the only clean-shaven member, having aged to stay together for so long, Billy notes, “Frank figured it hacked off his mustache and goatee so he would look pre­ out. We’ve done this longer than school, than marriage - sentable for the meeting. longer than just about anything.” The sheer joy of playing Sporting a new look and a new label, ZZ Top continued to together seems to be the driving force that has kept ZZ Top refine their sound. Change was in the air. In 1981, a brand- going all these years. new phenomenon, MTV, was launched nationally. Mean­ It is still a gas for these three Texans to get onstage or while, Billy had been nurturing his longtime love of hot rods. gather in the studio and create their unique sound that has He had painted his 1934 Ford coupe fire-engine red, with the rocked the world for the past three and a half decades. It’s an band’s logo detailed on the side. He had also been experi­ incredible legacy, and even more incredible still that it’s a menting with the latest musical gear. The world of loops, work in progress.

*= "They Were Burning Live" Bill Bentley on ZZ Top's early days as Texas1 “boogieingest11 band

ZZ Top might be the firs t guitarists I p Albert C^ns, Hood and Hawkins. The singing the ir praises to all rock B roil band th a t actually Jphnny Copeland and Joe difference fo r the Texans who would listen. Concerts sounds like Texas. Biting Hughes. Add to th a t a heavy was they were buffing live. in College Station got guitar, thumping bass and dose o f psychedelia, and In 1969, when ZZ Top was people talking in Huntsville, back-alley drums: From the Gibbons' hitmaking high bom, the Lone S tar State’s and from there a night in very firs t shows, the tfte school group, the Moving musical landscape had taken Alvin led to an o ffe r in San captured everything great Sidewalks, quickly became some heavy hits. Its two top Antonio. Hell, it was only a about the Lone S ta r State. the talk of the town. bands, the Sir Douglas matter of months before They were raised fpi§ the Bassist Dusty Hill and Quintet and the 13th Floor the band crossed state soulful musical strains th a t drummerfrank Beard were Elevators, had fought the lines and worked its way make Texas strong, learning privy to the same soulful law, and as the Bobby Fuller through Louisiana all t le w their lessons so naturally education a few hours north Four predicted, the law won. way to Memphis. , th a t watching them get in Dallas. Blessed with The RBB and blues scenes Even with an absolutely started was to share iii®|-i - blistering blues-radio signals had lost much o f their power adamantfiSPHhood building, destiny being born. and a whole string of following the assassinatiop the trio still had to endure Down in Houston, it was nightclubs and bafirooms, o f Martin Luther King Jr. The its fiirs h a re o f oddball almost taken for granted Dallas was a city where it integration that music thdeavors p u tifi the early th a t guitarist Billy R, ■ was impossible not to get did so mudi*tfi> promote road: Gigs iflrtuded Gibbons was going to make immersed in Texas music: seemed to stop in its tracks. cafeterias, lumberyards and it. Even when his early band, jazz, rock, blues, country, Which made the a r r ilii of even one National Guard the Coachmen, was playing conjunto, RBB and beyond. ZZ Top and its hellacious Armory appearance to an in Dr. Denton Cooley's den Dusty soon crossed the line firs t single, "Salt Lick" b/w audience ©f one. These during one o f his daughter’s into true blues, and there "Miller's Farm," a pivotal character-building biypt parties, Gibbons stood out was no looking back. Beard , signal th a t not everyone never deterred what was like a lightbulb. He had the never missed a chance to was folding up his tent. Now fa s t becoming known as touch, the tone and the see touring acts like Jimmy all they had to do was find ‘ Texas' own state band, and determination. He carried Reed, not to mention a following. by the tim é ZZ Tip's firs t himself like a man, a t all of homegrown heroes like The good news and bad LP was released in 1970, fifteen years old. There's no Freddie King and T-Bone news about the Texas rock B many Texans were signed doubt he caught some o f Walker. When y o u ^ ) that- roll circuit is the size o f the on fo r life as devotees o f that character on the natch. deep into the blues well when state. There are a dozen the state's "boogieingest" Houston was home to not you're young, you're pretty cities fo r club bookings, but band. Thirty-five years later, only Lightnin’ Hopkins, whom much covered fo r life. When iffe hard to create any and the music still feels as you could still see playing in the bassist and drummer sustained excitement when strong as it did th a t night at threw in together in fro n t o f ice houses and bars, everything is so spread out. Austin's Armadillo WpiWt . American Blues, they joined tout fed a slew of other So the group did what great Headquarters, when the elite list of rhythm bands doc They played Gibbons, Hill and Beard The furry freak brothers sections like Stax's Dunn and anywhere and everywhere announced to the world they o f th e g u ita r kind Jackson and Muscle Shoals’ until acolytes started were coming to getjus. * $3