ZZ Top's "Eliminator" (1983): Track by Track!

<v Speaker 1>Hey, this is James Buckley up in North Louisiana. When
<v Speaker 1>I have a raging fever for eighties and nineties nostalgia
<v Speaker 1>that I can't even cure with more cow bell, I
<v Speaker 1>turned to the experts, Jason Coffin and d Graves on
<v Speaker 1>the Shirley You Can't Be Serious Podcast?
<v Speaker 2>All right, D, Let's do the soundcheck real quick.
<v Speaker 3>All right, Hello everybody, Welcome back to Shirley you Can't
<v Speaker 3>Be Serious Podcasts.
<v Speaker 2>Hello everybody, and welcome back to Shirley Can't Be a
<v Speaker 2>Serious podcast? Is that your lack range voice?
<v Speaker 3>Hello everybody, and welcome back to the Shirley you Can't
<v Speaker 3>Be Serious Podcast.
<v Speaker 2>We're here to.
<v Speaker 3>Talk some z Z top and we promise you if
<v Speaker 3>we blow your mind, we will not let it go
<v Speaker 3>to our head.
<v Speaker 4>Oh man, We're gonna be talking about beards and babes
<v Speaker 4>and cars and double entendres and great.
<v Speaker 3>Songs, lawsuits and writers without credit and some vicious guitars
<v Speaker 3>and all kinds of stuff.
<v Speaker 4>This is some really cool stuff we're gonna be discussing
<v Speaker 4>on this one.
<v Speaker 2>Yeah. I've been kind of looking forward to this.
<v Speaker 4>This is an album that I didn't own, you know,
<v Speaker 4>kind of a zz Top Greatest Hits kind of guy.
<v Speaker 3>So, yeah, you told me when we were like prepping
<v Speaker 3>for this, you were like, this is going to be
<v Speaker 3>kind of similar to our Police episode where you were
<v Speaker 3>just kind of barely familiar with synchronicity and had to
<v Speaker 3>dive in. And then we were comparing that to Journeys Frontiers,
<v Speaker 3>and at the beginning of the idea to do that,
<v Speaker 3>you were like, it's going to be Journey.
<v Speaker 2>I have no question, it's gonna be Journey.
<v Speaker 3>But by the end you're like, it's the Police because
<v Speaker 3>you went, Wow, these guys have so much to offer
<v Speaker 3>than I really realized.
<v Speaker 2>Very similar situation, I think.
<v Speaker 3>So I'm really anxious to see how that plays out
<v Speaker 3>with zz top Eliminator versus our competitor, which we will
<v Speaker 3>do next week, which is Rebel Yell by Billy Idol.
<v Speaker 1>Now.
<v Speaker 2>I had MTV growing up.
<v Speaker 4>We've talked about this, how I grew up in Tulsa, Glooma,
<v Speaker 4>where Tulsa was one of the pilot programs for MTV,
<v Speaker 4>So we had our MTV before New York City had MTV.
<v Speaker 2>You were on the right side of the road.
<v Speaker 4>I was on the right side of the road. Yeah,
<v Speaker 4>So they played zz Top every fifteen minutes. Oh yeah,
<v Speaker 4>you know they also played Billy Idol every fifteen minutes.
<v Speaker 4>So this is this is kind of an interesting comperson.
<v Speaker 3>Early we didn't have it. We're gonna have a good
<v Speaker 3>MTV story with the band. I know, just before this
<v Speaker 3>album it starts getting recorded, so I can't wait to
<v Speaker 3>jump into it before we jump into Eliminator. Track by track,
<v Speaker 3>tell me your top three non Eliminator songs.
<v Speaker 2>Non Eliminator songs.
<v Speaker 4>Okay, So for me, after Burner was my favorite Zzy
<v Speaker 4>top album okay, post Eliminator, all right, And I'm actually
<v Speaker 4>kind of curious to see because you're a guitar player.
<v Speaker 4>You are a bit more classic rock I think than
<v Speaker 4>I am in some ways. You like led Zeppelin, some
<v Speaker 4>of the older stuff, doors, that type of thing, and
<v Speaker 4>I'm like, you know, synth rock, right, I'm right, you
<v Speaker 4>know that's my sweet spot.
<v Speaker 2>So for me, my number three is.
<v Speaker 4>A song off of after Burner. Okay, one word title.
<v Speaker 4>I don't know that this had a video. Just a
<v Speaker 4>really catchy song. You got a lot of radio play
<v Speaker 4>in nineteen eighty six.
<v Speaker 5>Uh.
<v Speaker 2>One word title. I'm not like sleeping bag is it
<v Speaker 2>is two words and huh, sleeping bag just missed. Okay,
<v Speaker 2>all right, I got it. I don't get it. What
<v Speaker 2>is This song is called Stages?
<v Speaker 3>Okay, you're gonna have to play that one for me.
<v Speaker 3>I can kind of remember that one a little on
<v Speaker 3>the radio. A bit softer sound for them.
<v Speaker 2>For sure, a bit more poppy, yeah, okay, number three
<v Speaker 2>for you. Yeah.
<v Speaker 3>And I don't know that I necessarily have these in
<v Speaker 3>a particular order, but the first one that I've got
<v Speaker 3>to say comes off of the album Trey Sombrace, And
<v Speaker 3>hint number one is it was about a brothel that
<v Speaker 3>is also mentioned in Best Little Whorehouse in Texas. And
<v Speaker 3>hint number two is it was an homage to John
<v Speaker 3>Lee Hooker and then John Lee Hooker's writing partner. I
<v Speaker 3>remember seeing the interview in like the late eighties where
<v Speaker 3>they were talking about Lagrange and like, yes, this is
<v Speaker 3>an homage to John Lee Hooker. And like a few
<v Speaker 3>years later, I'm like, somebody's like he's suing them.
<v Speaker 2>I'm like what really?
<v Speaker 3>Yeah, So it ended up soing they lost it lost,
<v Speaker 3>I know, but yeah, there you go.
<v Speaker 2>That's that's my hints. You got it, and it's great,
<v Speaker 2>of course, it's Orange.
<v Speaker 3>The guy who sued them was the publisher for John
<v Speaker 3>Lee Hooker. Her name, His name was Bernard Bestman, and
<v Speaker 3>he said they were infringing on the song Bookie Chilling,
<v Speaker 3>which had come out in like the late forties, and
<v Speaker 3>the problem was they never got a copyright on it.
<v Speaker 3>The court was like this public domain guys. Sorry, wow. Yeah,
<v Speaker 3>So there you go. That's what happened with that one.
<v Speaker 3>All right, what you got number?
<v Speaker 2>Okay? All right.
<v Speaker 4>My second favorite non eliminator is easy Toop. Song is
<v Speaker 4>another song off After Burner. Had a funny little video
<v Speaker 4>to it, and this was kind of all the rage
<v Speaker 4>back in the day. We thought tying your shoelaces was
<v Speaker 4>gonna go out of style because this invention.
<v Speaker 2>I know this one.
<v Speaker 3>This is a This is a great example of how
<v Speaker 3>they loved me.
<v Speaker 2>Be kaing. This is be for a Fly.
<v Speaker 5>Fly.
<v Speaker 2>Yeah.
<v Speaker 4>I just love the beat and I mean it's just
<v Speaker 4>for me. This is classic MTV zez the top.
<v Speaker 3>So my number two is off of Fandango, which came
<v Speaker 3>out in seventy five. It is not the bigger hits
<v Speaker 3>off of that album, okay, but it's one I can't
<v Speaker 3>I feel like it's my friends in high school. Maybe
<v Speaker 3>Laren Shears if he happens to be listening. He was
<v Speaker 3>the one who kind of introduced me to these older
<v Speaker 3>zeezy top songs, and I feel like he's the one
<v Speaker 3>that was like, when I started playing guitar, he's like,
<v Speaker 3>can you figure out how to play the song? And
<v Speaker 3>he introduced me to this. It is a very bluesy
<v Speaker 3>blues sounding song, like your standard slow blues. It sounds
<v Speaker 3>like the music that you hear in sixteen candles whenever
<v Speaker 3>the party is over.
<v Speaker 4>Yeah, and you sent it to me and I listened
<v Speaker 4>to it, I'm like, this sounds like when the Pepperoni
<v Speaker 4>pizza is on the record player.
<v Speaker 2>What was that called blue Jean blues? Yeah?
<v Speaker 3>Okay, great, fantastic song. Not the one that people typically
<v Speaker 3>pick off of that one, but I was really happy.
<v Speaker 3>We watched the documentary on them that came out in
<v Speaker 3>twenty nineteen, and it was one that they were playing
<v Speaker 3>again just when they were sitting around in the studio,
<v Speaker 3>and I loved hearing it.
<v Speaker 4>Okay, number one, My number one song is about a
<v Speaker 4>brothel outside.
<v Speaker 2>Of Houston exactly exactly, you know, before.
<v Speaker 4>We get off of Lagrange. Obviously, that's what we're talking
<v Speaker 4>about here. Billy Gibbons did the vocals on this, and
<v Speaker 4>it's hard to imagine the same guy who sings Lagrange
<v Speaker 4>sings legs, right, I mean his voice sounds completely.
<v Speaker 2>Different, Yeah, very different.
<v Speaker 4>And he was trying to distort his vocals huh, and
<v Speaker 4>it just wasn't happening for him. And they were recording
<v Speaker 4>in Memphis it was cold, and he's like, hey, hang
<v Speaker 4>on just a minute, I'll be right back. So he
<v Speaker 4>takes off all of his clothes like strips downs to
<v Speaker 4>like his sweatpants or whatever, and he runs around the
<v Speaker 4>block two or three times and he comes back all right, ready, perfect.
<v Speaker 2>That is perfect.
<v Speaker 3>My I won't say this number one. Probably the Grange
<v Speaker 3>is my number one, but this is in the top three.
<v Speaker 3>Is also off of fan Dango. This is the one
<v Speaker 3>that is very popular after Fandango, and it starts with
<v Speaker 3>a nice yell. This one isn't sung by Billy. This
<v Speaker 3>one is sung by Dusty.
<v Speaker 4>Okay, you threw me there because I was gonna go
<v Speaker 4>with Tush.
<v Speaker 2>That's it?
<v Speaker 3>Oh really yeah, that one's sung by Dusty Hill himself.
<v Speaker 6>Oh okay, yeah, there we go, so Tush of course, yep,
<v Speaker 6>there you gown.
<v Speaker 4>I've got a list of zezy Top songs that are
<v Speaker 4>double entendres here in just a minute.
<v Speaker 2>It's gonna have fun going through that list. Yeah, okay,
<v Speaker 2>very good.
<v Speaker 4>So Eliminador was released March twenty third, nineteen eighty three.
<v Speaker 4>We have just I mean a few months ago pasted
<v Speaker 4>its fortieth anniversary. Yeah, this album sold ten million copies
<v Speaker 4>in the US alone. To me, this is like the
<v Speaker 4>second act of zz Top.
<v Speaker 3>I divide the history of zz top into basically three categories.
<v Speaker 3>You have the pre z where the guys are playing
<v Speaker 3>in their various bands.
<v Speaker 2>Sure.
<v Speaker 3>Then you have the pre beards right, which is you know,
<v Speaker 3>seventies through basically right up to the eighties, and then
<v Speaker 3>you have Eliminator and beyond. Because this leveled them up,
<v Speaker 3>changed the game. I mean, this was a huge, huge
<v Speaker 3>album for them.
<v Speaker 4>You know, it's interesting to me when you look at
<v Speaker 4>the elements that make an artist successful, especially in the
<v Speaker 4>MTV years, This was more complicated recipe than.
<v Speaker 2>Like Madonna and Wham. Right.
<v Speaker 4>So Madonna was good looks, good hooks.
<v Speaker 2>And like to wear lingerie.
<v Speaker 4>Well yeah, I mean every I mean she appealed to
<v Speaker 4>us sexually, right, and we were rocking and rolling with her.
<v Speaker 2>Thank you.
<v Speaker 4>Okay, but then you have other people, I mean, you know,
<v Speaker 4>Samantha Fox is kind of in that category. I would
<v Speaker 4>say that Wham is good looks and good hooks, right yeah,
<v Speaker 4>But this is more than that. It's it's guitars, it's
<v Speaker 4>the beard, it's the babes, it's cars, it's videos.
<v Speaker 2>It was a bit of a more complex formula to.
<v Speaker 4>Reach the success on MTV that they had, but still amazing.
<v Speaker 3>It was iconography at its best, like, let's pick things
<v Speaker 3>that can be logos that can define who we are, trademarks.
<v Speaker 4>I mean the beard, the beard is what did it?
<v Speaker 2>Yeah?
<v Speaker 3>Yeah, well, I mean all of those things you mentioned,
<v Speaker 3>the girls, the beard, the car, the spinning guitars. I
<v Speaker 3>mean yeah, it's all there.
<v Speaker 2>Yep, yep. And the songs were great yep.
<v Speaker 3>And it's what is great is that in this particular
<v Speaker 3>album they have done a very nice favor for us
<v Speaker 3>forty years in advance and said, Okay, the first song
<v Speaker 3>on the album is also going to be our first video,
<v Speaker 3>is also going to be our first single, and so
<v Speaker 3>we can jump into it right now.
<v Speaker 2>Okay.
<v Speaker 4>So the first song off of Eliminator is a song
<v Speaker 4>called Gimme All Your Loving. This song is so good,
<v Speaker 4>like a boomerang. I need to repeat every time I
<v Speaker 4>listen to it.
<v Speaker 2>Because what you've got is oh so sweet.
<v Speaker 4>Okay, if I'm just just a raking my ZZ Top songs,
<v Speaker 4>including Eliminador.
<v Speaker 2>This is number one. This is my favorite ZZ Top song.
<v Speaker 2>It's a great song. You can't I mean, I can't
<v Speaker 2>deny you that.
<v Speaker 3>It's fantastic, that beat coming in, that little the Shuffley beat,
<v Speaker 3>that it's got a lover.
<v Speaker 2>I got a story for you about the beat.
<v Speaker 4>So Lyndon Hudson, who we're gonna be talking about here,
<v Speaker 4>probably more later. Yeah, he's a sound engineer guy, kind
<v Speaker 4>of a friend of the band, and one of the
<v Speaker 4>things that he started to notice he would DJ at
<v Speaker 4>these events. He said, anytime you would play a ZZY
<v Speaker 4>Top song, people would stop dancing. And that really offended
<v Speaker 4>Billy Gibbons. He's like, what the heck? He's like, I
<v Speaker 4>was really proud of these songs. They're not danceable songs.
<v Speaker 4>So Lyndon Hudson says, well, started listening to all the
<v Speaker 4>hit songs on the radio, and all the dancing songs
<v Speaker 4>are about one hundred and twenty one hundred and twenty
<v Speaker 4>four beats per minute. Yes, and so he's like, we
<v Speaker 4>got to have more songs that they have. One hundred
<v Speaker 4>and twenty beats per minute. Guys, yep, boom, here you go,
<v Speaker 4>give me all you eleven.
<v Speaker 3>And it's very precise because what they did on this
<v Speaker 3>album is a little bit shocking given their history, right,
<v Speaker 3>But basically they came back, like they took a three
<v Speaker 3>year hiatus.
<v Speaker 2>They came back.
<v Speaker 3>They had Diguelo that came out in seventy nine and
<v Speaker 3>I Looko that came out in eighty one, right after
<v Speaker 3>they had been on this hiatus. But they were looking
<v Speaker 3>for something different. Specifically, Billy was looking for something different,
<v Speaker 3>and the other guys were just like, man, I'm exhausted.
<v Speaker 3>Let's us just relax. And so they took out the
<v Speaker 3>dusty parts and the Frank parts except for a few
<v Speaker 3>little bits, and they kind of put in some drum
<v Speaker 3>machines and made it a little more crisp.
<v Speaker 2>Yeah.
<v Speaker 4>Absolutely, So I've got a great story for this. Lyndon
<v Speaker 4>Hudson's over at Frank Beard's house. Frank lived on a
<v Speaker 4>golf course, so he's always over there. They were playing
<v Speaker 4>golf all the time.
<v Speaker 3>Right, he's got his own studio. Like, by the way,
<v Speaker 3>this album was recorded in three different studios. One of
<v Speaker 3>them was Frank's studio, one of them was the Ardent
<v Speaker 3>studio where they had recorded most of their other stuff,
<v Speaker 3>and then their engineer's home studio.
<v Speaker 2>He would take things home and work on it there. Sure, sure,
<v Speaker 2>So Linden's over at Frank's house. Ding dong.
<v Speaker 4>They go open the front door. It's Billy Gibbons and
<v Speaker 4>Frank says, hey, how's it coming. You know, how's the
<v Speaker 4>album coming. Billy says it's done in the press, headed
<v Speaker 4>to the street. Frank's like, let's hear it. So he
<v Speaker 4>pops it in. First song, of course, is give Me
<v Speaker 4>All Your Love, and three seconds in Frank perks up.
<v Speaker 2>He's like, who is this drummer?
<v Speaker 4>Lyndon said he left the room. Aha, He's like, I
<v Speaker 4>don't need this drama in my life.
<v Speaker 2>I'm out here. Yeah.
<v Speaker 4>Billy was in charge of this band and he would
<v Speaker 4>just do whatever. And really Bill Ham is kind of
<v Speaker 4>Bill Ham and Billy Gibbons, and the kind of behind
<v Speaker 4>the scenes agreement was Dusty, Billy and Frank would have
<v Speaker 4>this three way share of zz Top.
<v Speaker 2>But Billy called the.
<v Speaker 3>Shots, right, and bill Ham called the shots that Billy called.
<v Speaker 2>That's it. Yeah.
<v Speaker 3>And by the way, okay, so real quick, bill Ham,
<v Speaker 3>he was about twelve years older than the rest of
<v Speaker 3>these guys. These guys are all born Dusty, Frank and
<v Speaker 3>Billy all born in nineteen forty nine. Okay, yeah, same
<v Speaker 3>year as my dad. And it's funny because we were
<v Speaker 3>talking and like the only guy who doesn't have a beard,
<v Speaker 3>his name is Beard, right, and then the other two
<v Speaker 3>guys you put their names together and it's hill Billy
<v Speaker 3>band out of Texas. It's perfect, right. But bill Ham
<v Speaker 3>is like the fourth member of the band. He was
<v Speaker 3>the manager of the band. He was their Colonel Parker,
<v Speaker 3>he was their p T.
<v Speaker 2>Barnum.
<v Speaker 3>He was the guy who blew them up right after
<v Speaker 3>these guys like in the nineties, he became big in
<v Speaker 3>country music. And he's the guy that was also really
<v Speaker 3>responsible for Clint Black just a tragic store that goes
<v Speaker 3>along with that right there in the early nineties. His
<v Speaker 3>wife is just I mean, she's like shopping, go into
<v Speaker 3>her car and this X con comes up, pushes her
<v Speaker 3>in the car, kidnaps her. Then quote unquote uses martial
<v Speaker 3>arts to karate chop her neck and kills her what yep,
<v Speaker 3>and dumps her body out in a field and escapes
<v Speaker 3>And they don't find him for like five weeks, and
<v Speaker 3>finally somebody sees the car. There is a high speed pursuit.
<v Speaker 3>He ends up wrecking her car, but ultimately he is caught,
<v Speaker 3>he is convicted, and he is executed for her murder.
<v Speaker 4>Wow. Wow, Well, let's talk about the video for a second.
<v Speaker 2>Okays love it.
<v Speaker 4>So this is the first video where we get the
<v Speaker 4>nineteen thirty three Ford Coup, the Eliminator.
<v Speaker 2>Car, the Eliminator Car. Yeah, and it is sweet.
<v Speaker 4>I mean I've always known it as the ZZ top car.
<v Speaker 3>Yeah, I mean it's the It's on the cover of
<v Speaker 3>the album, right, And this is actually a car that
<v Speaker 3>Billy had been working on for years. He actually got
<v Speaker 3>together with a guy in nineteen seventy six that was
<v Speaker 3>an auto guy. His name was Don Thielen. They put
<v Speaker 3>a Corvette style engine in there and it's I mean,
<v Speaker 3>it can run like the wind and it becomes a
<v Speaker 3>defining icon of the band.
<v Speaker 2>Hey, I'm gonna put it up there and say this
<v Speaker 2>is the most iconic eighties video car. This Trump's the
<v Speaker 2>White Jaguars from the White Snake videos. This is the
<v Speaker 2>video cars. So it was a magical car, Yeah for sure.
<v Speaker 4>You know what else, But every time you pull over,
<v Speaker 4>babes freaking magically appear out of it.
<v Speaker 2>Yeah.
<v Speaker 3>You have the Eliminator trilogy of give Me all your
<v Speaker 3>loving sharp dressed man and legs, all featuring this car,
<v Speaker 3>all featuring three super hot babes doing magical things, and
<v Speaker 3>the band I loved how you. I was like, they're
<v Speaker 3>just kind of these mystical figures in the background, and
<v Speaker 3>You're like, yeah, they're the fairy Godfathers, and I was like.
<v Speaker 2>Yes, that's exactly what they are. There, you go, that's fantastic.
<v Speaker 4>Let's talk about these three women for a second. Because
<v Speaker 4>you have Gina Keo, who if you ever watched Real
<v Speaker 4>Housewives of Orange County, she calls herself the OG of
<v Speaker 4>the OC.
<v Speaker 7>Right, She's like the first.
<v Speaker 4>Housewife, okay, which I never watched that show, But her
<v Speaker 4>maiden name was Thomasino, So Gina Tomasino. She was actually
<v Speaker 4>Miss November nineteen eighty in Playboy magazine.
<v Speaker 2>Then you have a girl named Danielle Arnand and she
<v Speaker 2>is French. She's French. Yeah.
<v Speaker 4>And then you have this other girl who never got
<v Speaker 4>her name, They never paid.
<v Speaker 2>Her, never even showed up to pick up a check, vanished.
<v Speaker 1>Weird.
<v Speaker 4>She magically got into a car and drove away.
<v Speaker 2>Here's the interesting thing.
<v Speaker 4>So these videos are all directed by Tim Newman.
<v Speaker 3>Yeah, so Tim Newman is the cousin of several famous people.
<v Speaker 3>Randy Newman should immediately jump out.
<v Speaker 4>Randy Newman, the guy who sings I Love La.
<v Speaker 3>Yes, and Tim Newman what directed that video? He directed
<v Speaker 3>the idea of La video. We've also talked about Randy's brother,
<v Speaker 3>Tim's other cousin, David, who is a composed because he
<v Speaker 3>was the composer for Bill and Ted's excellent adventure The
<v Speaker 3>whole family and their father like composed the twentieth century Fox.
<v Speaker 2>No no, no, no, no, no, no, all of that stuff.
<v Speaker 2>Oh that's great.
<v Speaker 3>And yeah, so he had directed the I Love La video.
<v Speaker 3>Bill Ham sees this video and he's like, I love
<v Speaker 3>what you've done here.
<v Speaker 2>I want you to meet my band zz top uh huh.
<v Speaker 4>And you know what he told him, You have to
<v Speaker 4>have these three things. The car, gotta have babes, gotta
<v Speaker 4>have rock and roll.
<v Speaker 2>And he did it.
<v Speaker 3>Yeah, that's the recipe right there. The idea he got
<v Speaker 3>was the rest is up to you. He kept the
<v Speaker 3>appearance of the three ugly bearded.
<v Speaker 2>Men to a minimum.
<v Speaker 3>Yeah, let's just make these guys magical, mystical, like wizards
<v Speaker 3>out here. Put the sunglasses on, cover up their heads,
<v Speaker 3>you know, make them as it's cartoonish as possible.
<v Speaker 2>It's really cool, right, he literally.
<v Speaker 3>Said to them when he got there. He's like, I
<v Speaker 3>have these three beautiful women to offset you three ugly guys.
<v Speaker 2>I love it.
<v Speaker 4>This song reached number thirty seven on the Hot one hundred.
<v Speaker 2>Insane. What's insane? How does it only get up to
<v Speaker 2>number thirty seven? Even in eighty three? It doesn't make
<v Speaker 2>any sense. It doesn't make any sense. Okay, are we
<v Speaker 2>done with this one? Yes? She ready to move on
<v Speaker 2>to track number two.
<v Speaker 4>Track number two is called got Me under Pressure.
<v Speaker 2>She lacks cocaine. I dig this one, man, that's great.
<v Speaker 2>I love it another. You got two big songs right
<v Speaker 2>out of the box. Yeah, I've got a great story
<v Speaker 2>about the creation of this song. Let me hear it.
<v Speaker 4>So Billy Gibbons and Lyndon Hudson are sitting around one
<v Speaker 4>day and they start to write a song. So they
<v Speaker 4>write it, play it, produce it, complete it, send it
<v Speaker 4>into Bill Hammon say hey, we've got this track done
<v Speaker 4>one included on the album. So Bill comes in the
<v Speaker 4>next day. The band is there and he's like, all right, guys,
<v Speaker 4>play the song for me.
<v Speaker 2>I want to hear it.
<v Speaker 4>Pressure and Dusty and Frank are looking at each other
<v Speaker 4>like what are you talking about?
<v Speaker 5>Man?
<v Speaker 2>He's like, you know the song, Pressure, play it? This
<v Speaker 2>is like, I don't think we know that song. Bill.
<v Speaker 2>The song was.
<v Speaker 4>Totally written, finished, demoed out, and they hadn't even heard it.
<v Speaker 4>And that's just the way it went over there, you know, Yeah, there.
<v Speaker 5>Got Yeah.
<v Speaker 2>I think there were some hard feelings about that. Yeah,
<v Speaker 2>well okay, got to lead into something you don't want
<v Speaker 2>to talk about it yet.
<v Speaker 3>Well, no, I'm just thinking about I mean, so it's
<v Speaker 3>weird to think about because these guys, they, I mean,
<v Speaker 3>they all three start in Texas, right. You know, You've
<v Speaker 3>got you've got two guys up in Dallas, Dusty and
<v Speaker 3>and you've got another guy down in Houston, Billy, and
<v Speaker 3>they're ultimately on a.
<v Speaker 2>Crash course towards each other. The thing is that they.
<v Speaker 3>All go through their various bands together. So you've got
<v Speaker 3>Dusty and his brother Rocky, who get together ultimately with
<v Speaker 3>Frank and they have this kind of early Beatles, look
<v Speaker 3>like they've got the suits and they're playing that style
<v Speaker 3>of music. They've even got a female lead singer who's
<v Speaker 3>from England, which Dusty was like, if you've got a
<v Speaker 3>female lead singer from England, you're going to book wherever
<v Speaker 3>you want to in Dallas.
<v Speaker 4>Texas, Lady Wilde and the Warlocks.
<v Speaker 2>Yeah. So ultimately Frank gets his girlfriend pregnant. They've got
<v Speaker 2>to get married.
<v Speaker 3>He realizes, hey, I'm not gonna make it here in Dallas,
<v Speaker 3>so I'm going to go try to go down to Houston.
<v Speaker 3>He leaves with his wife and kid, goes down to Houston,
<v Speaker 3>and that's where he meets Billy for the first time. Right,
<v Speaker 3>and he's seen Billy play. Now, Billy has had all
<v Speaker 3>kinds of success at this point. He's had a band
<v Speaker 3>that he called the Moving Sidewalks. So he loses a
<v Speaker 3>couple of members of his band to the draft.
<v Speaker 2>They go to Vietnam.
<v Speaker 3>Yeah, and this is I mean, they're going they're like
<v Speaker 3>sky marketing up. They've played with the doors, they've played
<v Speaker 3>with the animals, and then they do a multi set
<v Speaker 3>tour with the Jimmy Hendrix Experience. Right, that's right, And
<v Speaker 3>he said, Billy said, the very first show that they did,
<v Speaker 3>they were told, hey, you got to have a show
<v Speaker 3>that's forty minutes. He's like, well, for us to get
<v Speaker 3>a show that's forty minutes long, we're going to have
<v Speaker 3>to play Purple Hayes and Foxy Lady.
<v Speaker 2>And I don't know why no one else.
<v Speaker 3>In the room went, you can't play these songs of
<v Speaker 3>the band you're opening, Are you crazy? And so nobody's
<v Speaker 3>told him that they had just finished Foxy Lady. He
<v Speaker 3>goes into the intro of Purple Hayes. He looks over
<v Speaker 3>at the side and he sees Jimmy Hendrix with his
<v Speaker 3>arms crossed, staring at him. And he gets done with
<v Speaker 3>the song and he comes over and to Jimmy Hendrix,
<v Speaker 3>and Jimmy Hendrix smiles at him.
<v Speaker 2>He says, I like you, you've got nerve.
<v Speaker 3>So he loses a couple of those guys, decides to
<v Speaker 3>be a three piece band like the Jimmy Hendrix Experience,
<v Speaker 3>and then he starts losing those guys. One of them
<v Speaker 3>goes to audition for the Morgan Mindy Show. I'm sorry,
<v Speaker 3>I just say Morkan Mindy more con Mindy show. What
<v Speaker 3>And the other one just kind of falls out right.
<v Speaker 3>He's just like, hey, I'm not interested in doing this.
<v Speaker 3>So he's like, I don't want to be a solo act.
<v Speaker 3>But as it turns out, that's right when Frank Beard
<v Speaker 3>has made his way down there, and frank Beard basically
<v Speaker 3>pesters him to death until he finally goes into the
<v Speaker 3>studio and when they play together, these are Billy's words.
<v Speaker 3>He's like, it didn't take me thirty minutes. It didn't
<v Speaker 3>take me thirty seconds. I knew instantly that this guy
<v Speaker 3>has the chops that I want to play with. And
<v Speaker 3>then of course Frank is the one that says, hey,
<v Speaker 3>I got a bass player that'll round us out. They
<v Speaker 3>bring Dusty down and they play.
<v Speaker 2>For three freaking hours straight without a break. Yeah, first
<v Speaker 2>time to play together. They play Shuffle and see for
<v Speaker 2>three hours and it just keeps on going and going
<v Speaker 2>and going going. Yeah.
<v Speaker 3>So knowing that is their beginning, it's really disheartening to hear.
<v Speaker 3>Now Billy is just saying, you know what, I'm not
<v Speaker 3>really interested in their input anymore.
<v Speaker 2>I'm just gonna do all of this myself.
<v Speaker 1>Right.
<v Speaker 2>That's a bummer. It is a bummer.
<v Speaker 4>Here's the interesting thing to me. You have these guys
<v Speaker 4>who start making these awesome music videos and it's an
<v Speaker 4>introduction to a whole new generation of which I was
<v Speaker 4>one of those people and so were you. But they
<v Speaker 4>also introduced synthesizers into their music, which was abomination to
<v Speaker 4>a lot of early fans. When they took their hiatus,
<v Speaker 4>he went to Europe and he went and listened to
<v Speaker 4>punk shows, disco shows, started tasting different types of music,
<v Speaker 4>and he listened to this band warming up called Devo Wow,
<v Speaker 4>and he's like, Wow, these guys have these really cool
<v Speaker 4>synths and they're still making great hooks, great energy, you know,
<v Speaker 4>great shows. And then to kind of further stamp it
<v Speaker 4>on them, he went and saw a band called depeche Mode.
<v Speaker 4>Same thing happened there. He was blown away that this
<v Speaker 4>band could take this crowd and energize them and without guitars,
<v Speaker 4>they had no guitars, they had no drums, And he
<v Speaker 4>went backstage and met the guys. This is like nineteen
<v Speaker 4>eighty two, introduced himself and they're like, you're.
<v Speaker 2>In zz Top.
<v Speaker 4>What are you doing at one of our shows. He's like, man,
<v Speaker 4>I'm just blown away by what you guys can do
<v Speaker 4>from the stage.
<v Speaker 2>Yeah, Devo depeche Mode zz Top. Yeah. He also liked
<v Speaker 2>MD really. Yeah.
<v Speaker 3>We just finished covered them a month or so ago, right,
<v Speaker 3>And their deal was we're not going to use guitars, right,
<v Speaker 3>and then they made that change for Violator they had
<v Speaker 3>the guitars, and I guess it's just kind of like
<v Speaker 3>a nice crossover that Billy's like, Hey, let's bring in
<v Speaker 3>some sense. It's pretty cool.
<v Speaker 2>Yeah. And you know who was playing the sense, Lyndon Hudson.
<v Speaker 2>You got it?
<v Speaker 1>Wow?
<v Speaker 2>Yeah. Lynn Hudson credited on this album anywhere, not initially.
<v Speaker 2>We'll get into that. We'll get into that in a minute,
<v Speaker 2>all right.
<v Speaker 4>Song number three on the album is a song called
<v Speaker 4>Sharp Dressed.
<v Speaker 5>Man.
<v Speaker 3>Okay, guys, what I want you to do is play
<v Speaker 3>a song that is killer guitar and drums and bass
<v Speaker 3>for a solid twenty seconds with no words.
<v Speaker 2>Just sounds runs freaking amazing.
<v Speaker 3>Oh yeah, I love it, man.
<v Speaker 2>This is a killer song to me.
<v Speaker 3>This is the definitive zz top sound. This song starts.
<v Speaker 3>I'm like that, there's no more iconic this is Zezy
<v Speaker 3>Top than that first riff.
<v Speaker 2>Girl crazy about it?
<v Speaker 4>Sh I mean, we're sitting here glowing about this song.
<v Speaker 4>This only reached number fifty six on the Hot one hundred.
<v Speaker 2>It's insane. What is going on here? Is my mind?
<v Speaker 4>This is the second single, another video directed by our
<v Speaker 4>man Tim Newman. Yep, you've got the three babes, you
<v Speaker 4>got the car.
<v Speaker 3>So did we get the new babe by this time?
<v Speaker 3>The other one you can checked out after give me
<v Speaker 3>all your loving So we got a new babe. But
<v Speaker 3>it's not Kimberly Herron yet.
<v Speaker 2>Yeah, it's still not Kimberly Heron. But there is a different, third,
<v Speaker 2>different third babe. Yeah, now listen to this.
<v Speaker 4>Billy Gibbons got the idea for the name of this
<v Speaker 4>song from the movie The Amateur, which came out in
<v Speaker 4>nineteen eighty one, which I've never seen. I don't even
<v Speaker 4>really know anything about it. During the credits, somebody was
<v Speaker 4>credited in the role of sharp Eyed Man.
<v Speaker 2>Sharp Eyed Man.
<v Speaker 4>Yes, okay, by the way, so there's no way that
<v Speaker 4>this is the fifty sixth best song in America at
<v Speaker 4>the time. That it peaked out on the Hot one hundred.
<v Speaker 4>But that week was the same week that Every Breath
<v Speaker 4>You Take topped out.
<v Speaker 2>At number one.
<v Speaker 4>And I remember during our police episode we talked about
<v Speaker 4>how that might be the greatest top ten ever in
<v Speaker 4>the nineteen eighties.
<v Speaker 3>I do remember that that was an incredible top ten.
<v Speaker 3>I mean, I don't know how there's another thirty before
<v Speaker 3>you get up to the top, right.
<v Speaker 2>Yeah.
<v Speaker 4>Billy Gibbons called this song a successful marriage of a
<v Speaker 4>techno beat with bar band blues.
<v Speaker 3>So Lynnon Hudson was very involved in the early stages
<v Speaker 3>of this song.
<v Speaker 2>And you just asked me a question a minute ago.
<v Speaker 2>Did he get any writing credit on this right now?
<v Speaker 3>Basically what Billy said is, don't worry man, I'll take
<v Speaker 3>care of you, right.
<v Speaker 2>That was kind of the idea.
<v Speaker 3>Yeah, And my guess is is that when Bill Hamm
<v Speaker 3>heard that the other guys weren't really involved with under pressure,
<v Speaker 3>that he started like doing a stronghold just as an
<v Speaker 3>example of the way the Bill Hamm was number one.
<v Speaker 3>He didn't ever let them do TV, he didn't ever
<v Speaker 3>let them do interviews, he didn't ever let them play
<v Speaker 3>on anybody else's stuff, and they're like, hey, you know,
<v Speaker 3>shouldn't we do this and get more publicity, And he's like,
<v Speaker 3>the less people know, the better, And to be honest,
<v Speaker 3>for guys like you and me, these are guys we
<v Speaker 3>could totally hang out with, right. Sure, these are good
<v Speaker 3>old Texas.
<v Speaker 2>Boys, Texas boys.
<v Speaker 3>For most of the rest of the country, they might
<v Speaker 3>be a little frightening, right Sure. It's a different kind
<v Speaker 3>of language that they speak down in Texas. We're right
<v Speaker 3>across the Red River from when we know that language.
<v Speaker 2>We do know that language. Yeah.
<v Speaker 3>That had actually worked out very well for them. They
<v Speaker 3>were only doing shows in Texas, and at some point
<v Speaker 3>they get offered to do this Memphis Blues festival. This
<v Speaker 3>was like the Hollywood Bowl of Memphis, right like this,
<v Speaker 3>and it's just blues musicians, and so they get called
<v Speaker 3>out to go do this. This is after their first album.
<v Speaker 3>This is after zz top first album. What a great
<v Speaker 3>title that.
<v Speaker 2>Is for your first album, hey, right?
<v Speaker 3>And so anyway, they the promoter had called them up said, hey,
<v Speaker 3>love your sound. We would love you guys to come out.
<v Speaker 3>He apparently had not looked at the back of the album, right,
<v Speaker 3>which had their watercolor drawn faces, which were much lighter
<v Speaker 3>complexion than everyone else playing at this blues festival, right yeah,
<v Speaker 3>And so whenever they showed up, he was like.
<v Speaker 2>You gets, you're white.
<v Speaker 3>You guys are going to shock the crap out of
<v Speaker 3>the audience. I don't want you to mess up the show.
<v Speaker 3>We're going to stick you at the very end, and
<v Speaker 3>that way, hopefully people will have gotten tired and gone
<v Speaker 3>home and it will be fine. I don't know what
<v Speaker 3>kind of experience this promoter has, but the guys at
<v Speaker 3>the end are always the ones that everybody are waiting for. Right,
<v Speaker 3>that's the end of the headliner of the show plays last, right, right.
<v Speaker 3>So of course when they get up to play, nobody
<v Speaker 3>had left. Everybody is still there. There is a bit
<v Speaker 3>of a gasp, and the crowd is the Yeah, bearded
<v Speaker 3>rednecks come out. Yeah, partially bearded rednecks at this point
<v Speaker 3>cowboy hats.
<v Speaker 2>Yeah.
<v Speaker 3>But once they kick it in a gear and they
<v Speaker 3>start playing, not only did the crowd go nuts, but
<v Speaker 3>the musicians started to come out and cheer them on.
<v Speaker 3>So it was a great show for them. But bill
<v Speaker 3>Ham said, we are not letting you out in public,
<v Speaker 3>and that was one of the results. Another thing that
<v Speaker 3>he said was, we are not going to double track
<v Speaker 3>any instruments on this album.
<v Speaker 7>Right.
<v Speaker 3>They go up to Tyler, Texas to record with this
<v Speaker 3>guy named Robin Hood. Bryant's Robin has got this three
<v Speaker 3>piece band. He has been told by Bill Hamm, we
<v Speaker 3>want this to be.
<v Speaker 2>A huge sound.
<v Speaker 3>This has got to be a very very big sound.
<v Speaker 3>And he's like, for three instruments, right, yes, And he's
<v Speaker 3>like okay, And so he puts microphones everywhere. He puts
<v Speaker 3>microphones in the hallway, he puts microphones right next to
<v Speaker 3>the amps. He's trying to get any sound that he
<v Speaker 3>could from any place that he can, but he cannot
<v Speaker 3>find this big sound. And so he starts talking to
<v Speaker 3>Billy and he's like, hey, I have done some double tracking,
<v Speaker 3>and all you gotta do is like you play it once,
<v Speaker 3>play it pretty simple, and then just detune it just
<v Speaker 3>to smidge and then it fills it out. It gives
<v Speaker 3>kind of a twelve string flow. And Billy's like, oh no,
<v Speaker 3>we're not allowed to do that. He's like, you're not
<v Speaker 3>allowed He goes yeah, Bill said no double tracking. We're
<v Speaker 3>not allowed to double track, right, And so Robinhood thinks
<v Speaker 3>about it for a second, He's like, okay, I tell
<v Speaker 3>you what, buddy, When I throw you the ball, you
<v Speaker 3>catch it. And so it's about one or so and
<v Speaker 3>they haven't found the sound. Bill's getting frustrated, and Robin says,
<v Speaker 3>you know, Bill, Billy was telling me he can't play
<v Speaker 3>until he's gotten some of the barbecue over there at
<v Speaker 3>the county tavern. Billy's like, sees what it's going on.
<v Speaker 3>He catches the ball. He's like, yeah, man, I can't
<v Speaker 3>play the Blues until I give me some barbecue. So
<v Speaker 3>Bill Ham's like, okay, I'll go pick it up for
<v Speaker 3>you guys.
<v Speaker 2>Where is it?
<v Speaker 3>He tells him where it is, he leaves to go
<v Speaker 3>get it. What he doesn't tell him is that it
<v Speaker 3>is a cross county line twenty five miles back when
<v Speaker 3>the speed limit was fifty five miles an hour, right,
<v Speaker 3>And so he's so. Then Robin Hood says to Billy, Okay,
<v Speaker 3>we got about an hour and twenty minutes to make
<v Speaker 3>this happen. Play something simple. Pick brown Sugar, right. You
<v Speaker 3>listen to the first nearly two minutes of Brown Sugar,
<v Speaker 3>and it's this very quiet guitar and singing sound, and
<v Speaker 3>then all of a sudden it's full, like it's such
<v Speaker 3>a contrast, such a great song. But he does the thing,
<v Speaker 3>plays it, detunes it a little bit, you know, just
<v Speaker 3>pull on the strings a little bit and gets them
<v Speaker 3>just tiny bit out of tune. He plays it again.
<v Speaker 3>He puts it at forty five degrees from one speaker
<v Speaker 3>to the other. Bill Ham comes back in. He's like,
<v Speaker 3>you didn't tell me. It was all the way across.
<v Speaker 2>The county guys barbecue, a long way from here.
<v Speaker 3>And Billy says, Bill, I think we got the sound.
<v Speaker 3>He pushes play is the overdub, and Bill goes, that's it. Oh, yes,
<v Speaker 3>kind yeah, we want you know, we.
<v Speaker 4>Haven't even really talked about how zz top got their name, right,
<v Speaker 4>And so in the early days they had all these
<v Speaker 4>posters of blues artists that they collected, and so you
<v Speaker 4>had BB King, you had zz Hill. So they said, well,
<v Speaker 4>we'll just merge those two and we'll become zz King.
<v Speaker 4>Yeah that just sounds really close to BB King, but
<v Speaker 4>you know the King is at the top.
<v Speaker 2>So they're like, there we go, zz Top. That's it.
<v Speaker 2>Genius right. Yeah.
<v Speaker 3>By the way, I can't tell you how many times
<v Speaker 3>I have drawn the interlocking Z's while board.
<v Speaker 2>High school classes.
<v Speaker 4>Hey, speaking of board. Yeah, the zz top wave.
<v Speaker 2>Right that they show in this video.
<v Speaker 4>Yeah, the reason why they came up with that is
<v Speaker 4>they took like twenty takes. They're like, okay, guys, wave
<v Speaker 4>with the camera, wave with the camera, wave with the camera,
<v Speaker 4>Like that sucks, We'll come back to you, guys. And
<v Speaker 4>then like so they kind of choreographed it as that
<v Speaker 4>kind of lean in cool way.
<v Speaker 3>Right, Getting back to the long point that I was making.
<v Speaker 3>Whenever Bill Ham I think gets the idea that Lennon
<v Speaker 3>Hudson is heavily involved in these songs, I think he
<v Speaker 3>probably puts his foot down and says, we are not
<v Speaker 3>going to add another artist credit, right, So on this
<v Speaker 3>album you don't see his name. You've got several songs
<v Speaker 3>that he's heavily involved with, not only writing but also
<v Speaker 3>producing and playing on them, and he gets no credit,
<v Speaker 3>and he keeps waiting for something to happen, and eventually
<v Speaker 3>he gives up and he sues them. Yeah, and he
<v Speaker 3>breaks ties with Billy, moves out of his house. I mean,
<v Speaker 3>they were freaking living together. I don't remember what he
<v Speaker 3>was asking for, but what he ultimately got was six
<v Speaker 3>hundred thousand dollars, which sounds like a lot, except that
<v Speaker 3>this is a huge album, so it seems like it
<v Speaker 3>should be more. And then you have to think his
<v Speaker 3>attorney's got a third of that. That acts it down
<v Speaker 3>four hundred thousand, and then his publisher got half of
<v Speaker 3>what he got, and so that knocks it down to
<v Speaker 3>two hundred thousand. So was it worth severing ties with
<v Speaker 3>zz top for two hundred thousand dollars?
<v Speaker 4>Well, I guess it would be if he got no
<v Speaker 4>credit on the next album as well.
<v Speaker 2>You know, right, it's a bummer of a thing. It
<v Speaker 2>is a bummer everything.
<v Speaker 3>Their first their first charting song. This is just to
<v Speaker 3>just to say how this goes. Their first charting song
<v Speaker 3>was a song named Francine. Yeah she's only thirteen. Yeah
<v Speaker 3>that's a little creepy, right, Yeah. Well, the guys who
<v Speaker 3>actually wrote that song for them didn't get credit until
<v Speaker 3>the two thousands, like Franccene would have been about fifty five.
<v Speaker 2>They ultimately got credit for the software. Wow, yeah, all right,
<v Speaker 2>were done with sharp dress man. I guess we got
<v Speaker 2>to move on, all right.
<v Speaker 4>Next song on the album, song number four. This song
<v Speaker 4>is called I Need You Tonight.
<v Speaker 7>Losy Ballady Sweet Goodness.
<v Speaker 4>I still I'm all in four tracks and I love
<v Speaker 4>this song.
<v Speaker 3>It is almost slow danceable at the high school gym.
<v Speaker 2>It's it's make outable. Oh, it's definitely make outable.
<v Speaker 3>Like to me, this is this is like you're you're
<v Speaker 3>at the pool hall and the wee hours of.
<v Speaker 2>The morning, three o'clock there.
<v Speaker 3>And the girl that's still around that is not she
<v Speaker 3>hadn't gone home yet.
<v Speaker 2>You wouldn't kick her out of bed for eating grinders.
<v Speaker 2>So time to say hello, there you go.
<v Speaker 6>Yes, this is kind of that oozing, that bluesy sexuality.
<v Speaker 2>You know, for sure love it. I love this story.
<v Speaker 4>So when they were first starting out, they played at
<v Speaker 4>a show in Alvin, Texas. It's one of those deals
<v Speaker 4>where they're hoping for a sellout, be happy if it's
<v Speaker 4>half full. Curtain goes up. One guy in the crowd
<v Speaker 4>run and not only that, he's looking around.
<v Speaker 2>Like that's it.
<v Speaker 4>Just me, good night, everybody, I'm out of here.
<v Speaker 6>And there and they said from the stage, They're like, wait, wait, wait, wait, wait,
<v Speaker 6>stay put.
<v Speaker 4>We'll play a whole set for you, just for you,
<v Speaker 4>just for you, man.
<v Speaker 2>Just stay.
<v Speaker 6>So they kind of gilted the guy into sticking around.
<v Speaker 6>And then like halfway through they took a break. They
<v Speaker 6>went down, talked to him, bought him a coke, and
<v Speaker 6>he said, that guy still comes around. He still comes
<v Speaker 6>his easytop show.
<v Speaker 2>He don't know his name. He won't tell him his name.
<v Speaker 2>Asked the dude his.
<v Speaker 3>Name, yeah, and he and he just says, hey, remember me,
<v Speaker 3>I'm that guy, And they're like.
<v Speaker 2>Of course, we remember you. The guy is the best
<v Speaker 2>story we have.
<v Speaker 7>I love it.
<v Speaker 2>I love it.
<v Speaker 4>In nineteen eighty four, I don't know if you know
<v Speaker 4>this or not. Nineteen eighty four, Billy and Dusty were
<v Speaker 4>offered one million dollars by Gillette to shave I.
<v Speaker 3>Do remember that, Yeah, yeah, I remember when it had happened,
<v Speaker 3>and I remember that they said no, and I remember
<v Speaker 3>thinking at the time, oh my gosh, I can't believe that.
<v Speaker 3>And now it's in retrospect, I'm like, of course, not, no,
<v Speaker 3>they're making way more than a million dollars.
<v Speaker 2>Well, and here's the other thing.
<v Speaker 4>When you look at pictures of say, Billy Gibbons in
<v Speaker 4>nineteen seventy three, and you look at him now, it
<v Speaker 4>looks like two different individuals.
<v Speaker 3>Dude, when they got together, he looked like the guy
<v Speaker 3>that you'd bring your computer to to get fixed. I
<v Speaker 3>mean he had or maybe at that point, since it's
<v Speaker 3>long enough ago, he looked like your sophomore year geography teacher,
<v Speaker 3>like I mean, receding hairline, no beard, Harry Potter, round glasses.
<v Speaker 2>Yeah, he just looked like a nerd.
<v Speaker 4>And now that beard gives him that cool the glasses
<v Speaker 4>and their face is hidden.
<v Speaker 2>Don't really know what they look like.
<v Speaker 4>Yeah, their trademark can't shave the beard.
<v Speaker 2>Right.
<v Speaker 3>And here's another thing that happened in nineteen eighty four.
<v Speaker 3>Dusty who would keep a Darren your pistol in his boot,
<v Speaker 3>dropped it and shot himself in the abdomen. What shot
<v Speaker 3>himself in the abdomen, drove himself to the hospital and
<v Speaker 3>passed out just after walking into the camr. Wow, obviously
<v Speaker 3>he recovered, you know, God rest his soul. He passed
<v Speaker 3>away just about two and a half years ago. I
<v Speaker 3>guess he did ju live twenty one right. Yeah, so
<v Speaker 3>the beards, Yeah, the beards came about, like we said,
<v Speaker 3>after they had their three year hiatus. That hiatus happened
<v Speaker 3>after their worldwide Texas tour, right, which is a thing
<v Speaker 3>of renown. This is where the rest of the country
<v Speaker 3>was introduced to Texas, and they did it their own way.
<v Speaker 3>They went and got an entire animal show. I mean
<v Speaker 3>they had buffalo and longhorn and buzzards, rattlesnakes. So they
<v Speaker 3>finished with this huge I mean a year and a
<v Speaker 3>half long tour after they've been doing multiple albums and
<v Speaker 3>they take this big break. Like you said, Billy went
<v Speaker 3>and toured Europe. Frank went into rehab. Like he said,
<v Speaker 3>at some point during that tour, I got a check
<v Speaker 3>for seventy two thousand dollars and that was the first
<v Speaker 3>really big check I ever got, and I spent every
<v Speaker 3>single penny of it on drugs, LSD, heroin, cocaine, and
<v Speaker 3>you name it. He was doing it, yep. And at
<v Speaker 3>some point he was like, I would like to live
<v Speaker 3>like normal people, where I can just watch TV at
<v Speaker 3>night and then go to bed and I'd be okay.
<v Speaker 3>So he checked himself into a rehab during that time,
<v Speaker 3>and then this is I love this. Dusty Hill whose
<v Speaker 3>given name is Joe went to work in an airport. Yeah,
<v Speaker 3>maybe had a name tag that.
<v Speaker 8>Said Joe, and he said it was fantastic because nobody
<v Speaker 8>recognized me. I was just another guy working stiff like
<v Speaker 8>all these other guys, and I would go to the
<v Speaker 8>bar with them at night and we'd just hang out
<v Speaker 8>out and drink beers and it just felt so normal
<v Speaker 8>and nice. And he said, and on the rare occasion
<v Speaker 8>that somebody would recognize me and come up and say something,
<v Speaker 8>I'd be like, do you really think i'd be here
<v Speaker 8>right now if I was that guy?
<v Speaker 2>Of course I'm not him. That's that's a crazy story, man.
<v Speaker 5>Yeah.
<v Speaker 2>So when they ultimately get back together from all.
<v Speaker 3>Of that, all of them have been letting their beards
<v Speaker 3>grow for three years, well, Dusty and Billy for three years, yes, yeah,
<v Speaker 3>so they both got pretty well the wizard beard by
<v Speaker 3>that point.
<v Speaker 2>Now, Frank had only been letting his grow for a
<v Speaker 2>little while.
<v Speaker 3>By the way, did you notice I did not shave
<v Speaker 3>for this particular episode. You see you see it's it's
<v Speaker 3>still all pretty much around my face.
<v Speaker 2>I see it.
<v Speaker 3>That's about how long Frank's beard was. And he was like, well,
<v Speaker 3>I'm not going to be the guy with the little beard,
<v Speaker 3>so I'm just gonna shave it off. Yeah, I got
<v Speaker 3>the name, I don't need the beard.
<v Speaker 4>Yeah, I heard Billy said, we still wrestle with whether
<v Speaker 4>we put.
<v Speaker 2>The beard under the sheets or over the sheet. Okay,
<v Speaker 2>moving on to the next song.
<v Speaker 4>This song is called I Got the six.
<v Speaker 2>Okay.
<v Speaker 3>Now, if you're familiar with Tush, yeah, and you know
<v Speaker 3>that Dusty is the one singing on Tush.
<v Speaker 2>You know Dusty is the one singing on this one.
<v Speaker 9>Yeah, he is singing I Got the six, Give me
<v Speaker 9>your nine.
<v Speaker 5>Give me.
<v Speaker 2>So, I've got my list of sexual annual windows songs.
<v Speaker 2>You ready for this? This is easy top. They're known
<v Speaker 2>for this.
<v Speaker 4>Yeah, obviously this is I've got the six, You give
<v Speaker 4>me your nine.
<v Speaker 2>H huh.
<v Speaker 4>I believe we're talking about what they call sixty nine.
<v Speaker 3>By the way, that is what Francine reached. That was
<v Speaker 3>their first chart The first song in the charts was Francine.
<v Speaker 2>It reached sixty nine. Dude, excellent. All right. So they
<v Speaker 2>have a song called Pearl Necklace.
<v Speaker 3>Yes, yes, we cannot say any more about what that means.
<v Speaker 4>I'm just saying that's it's a song called Pearl Necklace.
<v Speaker 2>Yes, Okay.
<v Speaker 4>They've got a song called Tube Snake Boogie. Yeah, They've
<v Speaker 4>got a song They'll crow Fly, which if you look
<v Speaker 4>at the lyrics. It says, well, it feels so right
<v Speaker 4>when you squeeze it tight, when you reach the end.
<v Speaker 2>Do it over again.
<v Speaker 4>Okay, then you've got of course, you got tush just
<v Speaker 4>looking for some You've got a song called gun Love.
<v Speaker 4>She'll shoot you full of love till your love bone
<v Speaker 4>aches you love bone.
<v Speaker 6>Yeah, and then of course I mean give me all
<v Speaker 6>your loving says if I blow my top, will you
<v Speaker 6>let it go to your head?
<v Speaker 2>Yes, that's a venue window there. They were poets with
<v Speaker 2>the sexual euphemism.
<v Speaker 4>Yeah, were right, absolutely, slip inside my sleeping bag.
<v Speaker 3>So he'll singing on this one. He typically sings back up.
<v Speaker 3>Most songs he sings back up, but sometimes he sings lead,
<v Speaker 3>and sometimes they'll have a back and forth between them.
<v Speaker 2>Did you know that?
<v Speaker 3>Then this particular album, you've got some other vocal harmonies
<v Speaker 3>by a guy named Jimmy Shannison.
<v Speaker 4>The guy from Survivor, WHOA.
<v Speaker 2>It was only with Cobra at this time.
<v Speaker 3>He had not made it to Survivor yet, but yes,
<v Speaker 3>he was the lead singer for Cobra and Survivor, and
<v Speaker 3>they called him up and said, hey, you do some
<v Speaker 3>backend vocals.
<v Speaker 4>Jimmy Jamison the guy who replaced the dude who sang
<v Speaker 4>on I the Tiger.
<v Speaker 2>The guy who sang the bay Watch team.
<v Speaker 4>That's it, that's right in the Burning Heart. Okay, hit
<v Speaker 4>stop on your tape player, kick it out, flip it
<v Speaker 4>over side to. We're starting off with the biggie. This
<v Speaker 4>is a big one songs called legs.
<v Speaker 3>This is zzy top song about women empowerment. Yeah right,
<v Speaker 3>she's got legs and she knows how to use it.
<v Speaker 6>So this was inspired by a true story. Yeah, Billy
<v Speaker 6>Gibbons drive down the road.
<v Speaker 4>No, this is it starts raining a little bit girl
<v Speaker 4>tries to flag him down by showing some leg gets
<v Speaker 4>a little further pastor He's like.
<v Speaker 2>You know what, I really should go help that woman.
<v Speaker 4>Turns around, goes back, can't find her. The mystery woman vanished,
<v Speaker 4>but he said to himself, the girl had legs, she.
<v Speaker 2>Knew how to use them. It's great. Right.
<v Speaker 3>This is the last in the Eliminator Give Me All
<v Speaker 3>Your Love and trilogy.
<v Speaker 2>Yep.
<v Speaker 3>This is the third video directed by Tim Newman, and
<v Speaker 3>this is the one where the three Very God playmates,
<v Speaker 3>if you will, hey come in.
<v Speaker 2>They instead of rescuing a guy or taking a guy
<v Speaker 2>on a little car trip.
<v Speaker 3>Hey Rescu, Yeah, yeah, I love this video. I almost
<v Speaker 3>her up with this because I'm like, all these bullet's
<v Speaker 3>picking on her, and there's some people out there that
<v Speaker 3>do the right thing.
<v Speaker 4>Okay, So I've got some names for you on this one.
<v Speaker 2>Okay. So the actress who is the young woman who
<v Speaker 2>works at the shoe store there everybody's picking on. Her
<v Speaker 2>name is Wendy Frasier. She turned twenty one during the shoot.
<v Speaker 2>Twenty one years old. Wow.
<v Speaker 3>Yeah, that just just put that in perspective. That means
<v Speaker 3>she's sixty one this year.
<v Speaker 2>My gosh.
<v Speaker 5>Wow.
<v Speaker 4>She had starred in another video directed by Tim Newman,
<v Speaker 4>by the world famous artist Baxter Robertson and his world
<v Speaker 4>famous song called silver.
<v Speaker 2>Strand uh ringing a bell not ranging a bell. So
<v Speaker 2>he thought, well, crap, since that didn't really do anything,
<v Speaker 2>I'll grab her.
<v Speaker 4>We'll try this thing again. We'll do something different with her.
<v Speaker 4>And he ended up dating that girl. And he's like, hey,
<v Speaker 4>what could I say? You spend time with people you
<v Speaker 4>started to date it. Yeah, we've got Gina Tomasino or
<v Speaker 4>Gina Keo, who was in the oc oc.
<v Speaker 2>Yeah, we mentioned that she was playmate of nineteen eighty.
<v Speaker 2>She was November of Night Tote November.
<v Speaker 3>Sorry, hey, you're still in November.
<v Speaker 4>We are November nineteen eighty, that's forty three years ago.
<v Speaker 4>Then you've got Danielle arnand we talked about her.
<v Speaker 2>She was the girl from France.
<v Speaker 4>Yes, then you have the beautiful Kimberly Harron.
<v Speaker 2>There we go.
<v Speaker 4>She was Miss March nineteen eighty one in Playland vazine.
<v Speaker 4>She was also the Blue Club ghost from Ghostbusters.
<v Speaker 3>You can't say family friendly radio.
<v Speaker 2>Sorry? Sorry?
<v Speaker 3>Now.
<v Speaker 4>Then I sent you a text the other day she
<v Speaker 4>was in Romance in the Stone, and I said, Dee,
<v Speaker 4>do you remember when this girl was in Romance in
<v Speaker 4>the Stone and you could really place her. She is
<v Speaker 4>the beautiful woman who is starring in Joan Wilder's novel
<v Speaker 4>that's kind of like this imaginary character the very beginning
<v Speaker 4>of Romance.
<v Speaker 2>In the Stone.
<v Speaker 3>Yes, I remember the barely hanging on white shirt exactly.
<v Speaker 4>She takes revenge on the man who shot her dog
<v Speaker 4>and stole her bible. This song reached number eight on
<v Speaker 4>the Hot one hundred. Yeah, okay, now listen to this.
<v Speaker 4>I can't wait to go through this top eight with you.
<v Speaker 4>This is July twenty first, nineteen eighty four. This is
<v Speaker 4>an all star Shirley Top Top eight right here.
<v Speaker 2>Okay, all right, I'm excited. Okay. So number eight is Legs.
<v Speaker 4>Number seven is Almost Paradised by Mike Reno and Ann
<v Speaker 4>Wilson from the.
<v Speaker 2>Footloose soundtrack.
<v Speaker 4>Number six, no joke is Deeff Dave's favorite song from
<v Speaker 4>nineteen eighty four, which nobody else cares about. It's called
<v Speaker 4>State of Shock Michael Jackson and Mick Jagger. For those
<v Speaker 4>of you don't remember.
<v Speaker 2>Oh wow, that's a long yep, I remember it, but wow.
<v Speaker 2>Right then you've got Jumped for My Love by the
<v Speaker 2>Pointer sisters. I remember that one to you.
<v Speaker 5>Yeah. Yeah.
<v Speaker 4>Number four is Eyes Without a Face by Billy Idol.
<v Speaker 4>Oh all right, we'll be covering that one next week.
<v Speaker 2>Yeah. Number three is Ghostbusters by Ray Parker Jr. Huh.
<v Speaker 2>Number two is Dancing in the Dark by Bruce Springsteen. Wow, okay.
<v Speaker 2>And number one is wind Dove's Cry by Prince nineteen
<v Speaker 2>eighty four. Man, dude, who power? What a lineup? Seriously?
<v Speaker 4>Okay, I can't leave Legs without talking about the furry
<v Speaker 4>rotating guitars.
<v Speaker 3>Yeah, that idea actually came from Billy's earlier band, the
<v Speaker 3>movie Sidewalks, whose name is Don Summers. He was the
<v Speaker 3>bass player and it was his idea to have spinning guitars.
<v Speaker 2>Idea is it's hooked.
<v Speaker 3>To your belt buckle and you've got a rotating electric
<v Speaker 3>conduit there. Yeah, that's how you still get powered to
<v Speaker 3>the guitar and are able to spin it in full three.
<v Speaker 4>Sixty once again magical on the music video, it is
<v Speaker 4>eye catching and super cool.
<v Speaker 2>Yeah.
<v Speaker 4>So the next song on the album is a song
<v Speaker 4>called Thug.
<v Speaker 3>I can remember as I'm driving down the road listening
<v Speaker 3>to this song. This was not one that was kind
<v Speaker 3>of in my rotation when I had this CD way
<v Speaker 3>back when, right, But I heard this one and I
<v Speaker 3>texted you and I said, thug song Miami Vice would
<v Speaker 3>play for a villain from Texas.
<v Speaker 2>Yeah, I could see it. Yeah, absolutely, you know, the
<v Speaker 2>beginning of this kind of reminds me of the song
<v Speaker 2>one night in Bangkok. He just added those keyboards. I
<v Speaker 2>think it's.
<v Speaker 3>Very synthy, right, And this was the one that was
<v Speaker 3>written by Lennon Hudson, and I mean he.
<v Speaker 2>Did it all basically, it was his song.
<v Speaker 3>It was his song and he didn't get any credit
<v Speaker 3>for it.
<v Speaker 4>Billy Gibbons is like, hey, like that song, how can
<v Speaker 4>I steal it from you?
<v Speaker 2>For ever?
<v Speaker 3>Yeah, if you're Billy Gibbons, this song isn't worth not
<v Speaker 3>giving somebody credit for it, Like, it's not. I mean,
<v Speaker 3>it's not a game changer, right. I don't think there's
<v Speaker 3>a skipper on this entire album, but if there was, this.
<v Speaker 2>Would be one. I totally agree this is the one. Yeah, okay,
<v Speaker 2>next song. That being said, let's jump for the next one.
<v Speaker 4>So the next song on the album is called TV Dinners.
<v Speaker 3>So this has got another little synth part in it,
<v Speaker 3>but it's much more guitar passed. It's much more like
<v Speaker 3>their older stuff. But it really to me reminds me
<v Speaker 3>of Our Loves and Jeopardy by the Great Kilnband is
<v Speaker 3>very which and that immediately makes me go to weird
<v Speaker 3>ol and I lost on Jeopardy.
<v Speaker 2>Yeah, I can totally see that.
<v Speaker 4>In fact, I was texting with Doug Gray, friends of
<v Speaker 4>the show, and I was asking him what he thought
<v Speaker 4>about Eliminator, you.
<v Speaker 2>Know what song stood out to him?
<v Speaker 4>And he's like, TV Dinners is the greatest weird al
<v Speaker 4>song not sung by weird out.
<v Speaker 3>It is perfect And this is the last one they
<v Speaker 3>had a video for, but they didn't have Tim Newman
<v Speaker 3>direct this one.
<v Speaker 7>Totally out of place.
<v Speaker 4>It's a complete shift in the style of videos.
<v Speaker 3>Absolute departure. They use claymation in this thing. It's it's
<v Speaker 3>kind of a weird like almost like.
<v Speaker 4>Goolies second Goblin. Yeah, who's reaching his arm out from
<v Speaker 4>under the foil part of.
<v Speaker 2>The TV Dinner.
<v Speaker 3>So we've talked about how these videos are so important
<v Speaker 3>for MTV. I mean, like the style that Tim Newman
<v Speaker 3>brought was an entirely different style for MTV at that point.
<v Speaker 3>I mean, this is eighty three. This is a year
<v Speaker 3>and a few months after MTV makes its debut, right,
<v Speaker 3>But we haven't talked about how the band first decided
<v Speaker 3>to do videos.
<v Speaker 2>Yeah, tell me.
<v Speaker 3>So there it's six months before they start recording for
<v Speaker 3>Eliminator and Frank calls up Dusty and he's like, hey man,
<v Speaker 3>this is this really good music show on TV right now.
<v Speaker 3>You should check it out. It's like the it's like
<v Speaker 3>the last channel, Like it's all the way at the end.
<v Speaker 3>I don't know what's going on, but they've got a
<v Speaker 3>good music show going on.
<v Speaker 2>You should check it out.
<v Speaker 3>It's been really cool, uh huh. And so then Dusty
<v Speaker 3>starts watching. He's like, this is pretty good, and he
<v Speaker 3>calls Billy and he's like, hey, you should check out
<v Speaker 3>this TV show. It's all music stuff. It's really pretty cool.
<v Speaker 3>You should check it out. And so he starts watching.
<v Speaker 3>He watches for three hours, which is a good eight
<v Speaker 3>hours after Frank started watching, and then calls them both.
<v Speaker 3>He's like, how long is this music show going to
<v Speaker 3>go on?
<v Speaker 2>This is the longest thing I've ever seen. And that,
<v Speaker 2>of course was their introduction to MTV twenty four hours
<v Speaker 2>a day.
<v Speaker 4>Man, he could watch that until about nineteen ninety five,
<v Speaker 4>and then you could have turned it off because there's
<v Speaker 4>nothing worth it after that. Right, great story, great song,
<v Speaker 4>This video though terrible. I mean the song's good, but
<v Speaker 4>I think there's another song that I would have released
<v Speaker 4>as a four single other than this one.
<v Speaker 3>Yeah, I mean it's I like the song, and I
<v Speaker 3>would I listened to the song.
<v Speaker 2>It's a head bobber.
<v Speaker 3>Yeah, it is surprising to me that it's a single,
<v Speaker 3>but it's it's still a good one, still a good one.
<v Speaker 2>Moving on, next song. Next song is called dirty Dog.
<v Speaker 2>I think what you meant was the next song. It's
<v Speaker 2>called Darter Got Home.
<v Speaker 4>So this is the song I would have released instead
<v Speaker 4>of TV Dinners. I think this is a great song.
<v Speaker 4>It's that one twenty beats per minute. It's peppy, it's danceable,
<v Speaker 4>it's fun.
<v Speaker 2>Guitar's great, catchy. I like it. I like a lot
<v Speaker 2>of guitars. I haven't tked guitars yet.
<v Speaker 3>I can't believe we're halfway or more through the second
<v Speaker 3>side of the album and I haven't talked guitars yet. Okay,
<v Speaker 3>so for this one, he plays different guitars, right, sure,
<v Speaker 3>for this one he did not use his Pearly Gates guitar,
<v Speaker 3>but his Pearly Gates guitar is his most famous guitar.
<v Speaker 3>And you said, you know the story on this, And
<v Speaker 3>I said, so, you know what the girlfriend in the car?
<v Speaker 2>And you were like, no, I don't know about the girlfriend.
<v Speaker 3>So in nineteen sixty seven, he had a thirty six
<v Speaker 3>Packard car. Yeah, thirty six, that's I mean, it's an
<v Speaker 3>over thirty year old car, and it's a hunk of junk,
<v Speaker 3>but it's runs well right right, And he's got this
<v Speaker 3>girlfriend and she has this opportunity to go audition for
<v Speaker 3>a movie. Condy Hollywood, No, a real movie, a movie movie. Yeah,
<v Speaker 3>but she's got no way to get out there, and Billy,
<v Speaker 3>being the guy that he is, he says, why don't
<v Speaker 3>you take my car? So he lets her drive this
<v Speaker 3>thirty six packard all the way out from Texas to California.
<v Speaker 3>She calls him up and she says, I got the part,
<v Speaker 3>and I think it's because of the car.
<v Speaker 2>And he's like what.
<v Speaker 3>She's like, I just think I feel like there's like
<v Speaker 3>a divine connection with this car, and I just I
<v Speaker 3>think that's what it is. And he's like, well, I
<v Speaker 3>guess we should call that car Pearly Gates love it
<v Speaker 3>and she's she's like, yeah, that's great, I love that.
<v Speaker 3>A little while later, she calls him up and she says, hey,
<v Speaker 3>I sold that car. He's like, you do what. It's okay, though,
<v Speaker 3>I'm going to send you the money. She sends him
<v Speaker 3>the money she got from the car, two hundred fifty dollars.
<v Speaker 3>As it turns out, there's a farmer in Houston that
<v Speaker 3>had something he wanted that had just been sitting under
<v Speaker 3>the bed.
<v Speaker 2>Yes, so the guy was a former musician.
<v Speaker 4>He had a nineteen fifty nine less Paul and was ranching,
<v Speaker 4>didn't want to didn't really need it anymore, and he
<v Speaker 4>had told some people about it, and this guy called
<v Speaker 4>Billy is like, Hey, this guy's got a nineteen fifty
<v Speaker 4>nine less Paul.
<v Speaker 2>I think you need to go talk to this guy.
<v Speaker 2>You guys out to see him. Guy says, well, I
<v Speaker 2>don't know. Two hundred and fifty dollars.
<v Speaker 4>Pays two hundred and fifty dollars for that fifty nine
<v Speaker 4>less Paul that he got from the sale of the car.
<v Speaker 4>Last forward twenty years and he gets an offer by
<v Speaker 4>a Japanese businessman to buy that guitar for five million dollars.
<v Speaker 4>Uh huh, he wants ello. No, it's his sad it's
<v Speaker 4>the Zzy Top.
<v Speaker 3>Sound is at least the pre beard Z for sure. Yeah,
<v Speaker 3>all of those incredible bluesy sounds that they had for
<v Speaker 3>their first six to seven albums are predominantly that guitar
<v Speaker 3>that prilegates guitar, And to hear him talk about it,
<v Speaker 3>I mean he still kind of revers it, like it's
<v Speaker 3>this divine thing and we're talking about it an.
<v Speaker 2>Ordained minister here. Billy Gibbons is Reverend Willie.
<v Speaker 3>All right, and he's got a barbecue sauce too, called
<v Speaker 3>Reverend Willie's Barbecue Sauce.
<v Speaker 2>But he talks about this guitar.
<v Speaker 3>And he says, when she was born, it was like
<v Speaker 3>everything came together exactly as it should.
<v Speaker 2>The wood is perfect, the electronics are perfect. Everything is
<v Speaker 2>set in such a beautiful way, straight out of the box.
<v Speaker 2>Could not be a better guitar. I love it.
<v Speaker 4>Yeah, I have to order some of that barbecue sauce man.
<v Speaker 2>Yeah.
<v Speaker 3>By the way, side note, did you know that Billy
<v Speaker 3>has acted in a TV show called Bones. You know
<v Speaker 3>the show Bones?
<v Speaker 5>Right?
<v Speaker 2>Yeah?
<v Speaker 3>Yeah, So he had a recurring character would show up
<v Speaker 3>once a year or every few years or whatever. But
<v Speaker 3>he's the father of the girl character. The girl character's.
<v Speaker 2>Name is Angela. Middle names Pearly Gates Montenegro. Oh.
<v Speaker 3>I love that he is playing a fictionalized version of himself.
<v Speaker 2>My WiFi shoes that show. I'm gonna ask her about that.
<v Speaker 2>That's cool. Yeah.
<v Speaker 3>Dusty has also been in a TV show Kink of
<v Speaker 3>the Hill, where Dusty Hill plays the cousin of Think Hill.
<v Speaker 7>How about that?
<v Speaker 5>There you go?
<v Speaker 4>Okay, next song on the album is a song called
<v Speaker 4>if I Could Only Flag Her Down.
<v Speaker 2>You got some Texas boogie going on in this one.
<v Speaker 5>Man.
<v Speaker 2>This is old school's easy top for shore. Yeah.
<v Speaker 3>Quick side note. I've got nowhere else to put it,
<v Speaker 3>so I'm gonna put it here. William Frederick Gibbons is
<v Speaker 3>the son of Freddie Gibbons, who had the Freddie Gibbons Orchestra,
<v Speaker 3>who worked very closely with his cousin Cedric Gibbons in Hollywood.
<v Speaker 3>Cedric was the art director on over one thousand movies, okay,
<v Speaker 3>including Gaslight, which is a pretty famous movie.
<v Speaker 2>Yeah.
<v Speaker 3>He also was the director on the second Tarzan movie,
<v Speaker 3>like Tarzan Meets His Mate or whatever it is. He
<v Speaker 3>was the director of that I Love Jane. His key
<v Speaker 3>claim to fame is this is Billy Gibbons's Uncle's key
<v Speaker 3>claim to fame is he designed the statue for the Oscars.
<v Speaker 2>You are kidding me. I am here to blow your mind.
<v Speaker 2>Don't let it go to your head. That's an excellent
<v Speaker 2>use of a quotation right there, where to go?
<v Speaker 4>Thank you man, that's fantastic. You know the only thing
<v Speaker 4>I was going to throw in for you. The Black
<v Speaker 4>Crows were opening for zz Top early in the nineties,
<v Speaker 4>Chris Robinson, who we hope to cover next year.
<v Speaker 2>We're going to talk about the Black Crows. Yeah.
<v Speaker 4>Zz Top had an endorsement deal with Miller Lyte and
<v Speaker 4>they had some kind of become a little more corporatized
<v Speaker 4>in their older age. Sure, and Chris Robinson the Black
<v Speaker 4>Crows couldn't keep his mouth shut from the stage about
<v Speaker 4>corporate deals and commercials and that type of thing, and
<v Speaker 4>basically dared zz top to fire him from the stage,
<v Speaker 4>and so they did.
<v Speaker 3>Wow antagonistic currently guy he is, and they were on
<v Speaker 3>their way up and really achieved some heights in the
<v Speaker 3>early nineties.
<v Speaker 2>But this easy Top guys said, get on out of here. Yeah,
<v Speaker 2>another tidbit that I have nowhere else to throw in.
<v Speaker 3>Sure, Billy Gibbons, mom secretary for Lyndon Johnson, stop it.
<v Speaker 3>I mean, probably not when he was president, Probably when
<v Speaker 3>he was down in Texas where they were, but yeah,
<v Speaker 3>down in Houston.
<v Speaker 7>Wow.
<v Speaker 2>Okay. Last song on the album.
<v Speaker 4>This song is called bad Girl.
<v Speaker 3>So this song starts off and it sounds like they're live, right,
<v Speaker 3>but then once the song goes on, I feel like
<v Speaker 3>it's too polished to be live.
<v Speaker 6>Is it do you know, Well, I've heard a lot
<v Speaker 6>of albums have these sort of live from the studio
<v Speaker 6>you know.
<v Speaker 2>Yeah.
<v Speaker 3>So another thing that came about with this change in
<v Speaker 3>tempo and putting the new sounds in and taking out
<v Speaker 3>Dusty and Frank's stuff, they started to have to play
<v Speaker 3>not just a click track, but like a backing music
<v Speaker 3>right track, like they had background music that was playing. Sure,
<v Speaker 3>of course they didn't let anybody know this. They just
<v Speaker 3>pretended like it was all them they're live.
<v Speaker 4>Well, I heard Billy Gibbons called our buddy Lyndon Hudson,
<v Speaker 4>and Lyndon Hudson is kind of a handyman, kind of
<v Speaker 4>do it all guy, and he's like, man, we got
<v Speaker 4>a problem. We're in Kentucky, we got no backing sound.
<v Speaker 4>And Lyndon Hudson's like, well, have you tried this?
<v Speaker 2>You tried that?
<v Speaker 4>And Billy Gibbons's like, could you just fly out here
<v Speaker 4>and fix it for us?
<v Speaker 2>Wow?
<v Speaker 4>So he flew him out there. Lindon shows up. He's like,
<v Speaker 4>basically it's the equivalent of turning the machine off and
<v Speaker 4>turning it on. Okay, guys, uh, I think you're good
<v Speaker 4>to go now. They're like, well, we know we called
<v Speaker 4>the right guy fix the problem.
<v Speaker 2>Oh my gosh.
<v Speaker 4>So this song reminds me of when we did Girls,
<v Speaker 4>Girls Girls. The last song on the album was Jaelhouse
<v Speaker 4>Rock Live. They needed it to kind of round out
<v Speaker 4>the album, just kind of throw it in there as Piller.
<v Speaker 2>I like it, but it just feels like Piller.
<v Speaker 3>Yeah, I will say this, need to say this one
<v Speaker 3>thing we didn't mention Terry Manning this whole show. He
<v Speaker 3>is a guy who's critical to their success. He is
<v Speaker 3>the guy who when they were in Memphis, right after
<v Speaker 3>that big Blues show, they heard, Hey, they're in Memphis.
<v Speaker 3>Led Zeppelin had just gotten finished recording led Zeppelin three.
<v Speaker 3>When Billy Gibbons heard that, he was like, I want
<v Speaker 3>that guy to produce our next album, right, And so
<v Speaker 3>they had already started production with Robin Hood down in Tyler, Texas,
<v Speaker 3>but they basically took all of those recordings up to
<v Speaker 3>Terry Manning. And Terry Manning was the guy who put
<v Speaker 3>together that new sound that they have, and he was
<v Speaker 3>their key producer. He was the one that was recording
<v Speaker 3>them at Ardent Studio and he was the one that
<v Speaker 3>took the tracks home and even in his Home Studio
<v Speaker 3>made this album what it is, and so I don't
<v Speaker 3>want to leave it without giving him some credit. He
<v Speaker 3>is a brilliant guy and it's funny to listen to
<v Speaker 3>him talk because he said when they showed up with
<v Speaker 3>those beards and asked me what I thought, I thought
<v Speaker 3>they look horrible.
<v Speaker 2>They're going to ruin your career. Boy? Was I wrong? Wow?
<v Speaker 4>All right, Well, that's gonna do it for Eliminator turning
<v Speaker 4>forty years old this year, and next week we're gonna
<v Speaker 4>match it up with Rebel Yell by Billy Idol.
<v Speaker 3>Another huge one from nineteen eighty three. Can't wait to
<v Speaker 3>jump into it. That one, just I mean that one
<v Speaker 3>turned forty just a month ago, Yeah, just a few
<v Speaker 3>weeks ago.
<v Speaker 2>Yeah, excited to do it.
<v Speaker 4>Should be a great matchup early MTV, lots of videos.
<v Speaker 2>Should be fun. Yeah. Thank you guys so much for
<v Speaker 2>joining us.
<v Speaker 3>Please, if you've got time, hit the review button, give
<v Speaker 3>us some stars, give us a review, tell us what
<v Speaker 3>you think of Eliminator and how it matches up with
<v Speaker 3>Rebel Yell, and we will see you next week.
<v Speaker 2>Bye, guys,