1/12/2023 0 Comments Legs zz topI expected their volume alone would checkmate whatever nuances I heard on their CDs. And the bi-play of those guitar runs with Dusty Hill’s bass and Frank Beard’s drumming were as overpowering on “Tush” as James Brown’s delivery on “Night Train” backed by a big band including horns and two drummers. ![]() Gibbons’ fretting on Jimi Hendrix’s “Foxy Lady” was adroitly executed without ever soliciting feedback from the amps. Opening with “Have Mercy” and concluding their first of two encores with “Tush,” they executed an hour and a half of blues-inspired rock that was loud but crystal clear, besting their recent Live! Hits from Around The World CD (On Suretone, not Warner Brothers) with unbridled energy. The idea that a threesome can produce such perfection has to be experienced to be believed.įorget the Pro-tools and other digital magic. The band I saw on February 26 th at Proctors Theater in Schenectady was a trio joined at the heart, one organism so tight in its presentation that its sound is as perfect as a world-renowned orchestra and just as transfixing. So, who are these guys hiding their age behind a façade, and are they a manufactured flavor of the half century that can sell 30 million records to pop confectionary addicts? Sure, but they’re a hell of a lot more. They’re Rocky and Bullwinkle when it comes to turning rock culture into one huge fractured fairy tale and their Jimi Hendrix collision with a Minnie Pearl dress code breaks the rule of cool that most hot rocks cling to. These guys transport you into another galaxy. That concert damaged my hearing for life and left me bleeding from every orifice.īut it was worth it. Don’t get me wrong, I love their sound, a kind of Hill Country blues mind-warping drone with a Hollywood smirk and a Vegas neon blink, but I hadn’t seen them live for 35 years. Plus, the band’s image of hiding behind two-foot beards, cheap sunglasses and hats that look like an amoeba on steroids, and you gotta figure these guys are hittin’ it with a sneaker. That just led me to assume the corporate giant had been tweaking ZZ’s sound forever. Add to that ZZ Top’s almost half century with monolithic Warner Brothers Records – the company that helped create larger than life hard rock with acts like The Grateful Dead, Van Morrison, and Van Halen. In an age of Pro Tools and other technological wizardry, most producers can turn a good garage band into a slick rock machine. Top was not liable to Besman or La Cienega Music Co.Ok, maybe it’s the cynicism of this grizzled old blues journalist, but I just never expected ZZ Top to be this good in concert. In this case, the courts found that Besman had failed to properly copyright the song in a timely manner, so the early versions of the song were considered part of the public domain, which meant Z.Z. The court also found, under the 1909 Copyright Act, that once a song is published and the author has failed to register the work with the U.S Copyright Office, the song immediately, and irrevocably falls into the public domain. ![]() Under the 1909 Copyright Act, an author of a creative work, is entitled to 28 years of copyright protection, with the option to re-register for an additional 28 years. Although the Copyright Act is unclear as to what constitutes “publishing”, other than publication of sheet music, the majority of courts have agreed the sale of recordings to the general public rises to “publishing” for purposes of common-law copyright. A 1992 lawsuit alleged that the one-chord song’s signature riff had been stolen from one of the versions of bluesman John Lee Hooker’s “Boogie Chillun'” The court ruled that under the 1909 Copyright Act, an “unpublished” song was entitled to protection under what is known as State “Common-law Copyright protection”, until either it is published or it is registered with the U.S Copyright Office. It is also their first single to chart in the Billboard Hot 100. “La Grange” is the first single from ZZ Top’s 1973 Tres Hombres album.
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