Tag Archives: Eliminator

Rocks In The Attic #577: The Village People – ‘Cruisin’’ (1978)

RITA#577On Saturday mornings in Manchester, we would hit the local record stores; usually Kingbee in Chorlton, followed by Sifters a little further afield in Fallowfield. Of the two, I always preferred the selection in Kingbee. Even though the shop looked like it was never blessed with direct daylight, the rock and pop section was pretty good, although pretty pricey at times.

It was always a bit harder to navigate around the shop in Kingbee though. It isn’t the largest record shop in the world, and with only four or five racks of rock and pop – usually a record store’s most popular section – you’d always be fighting to get back into the L to R section after another buyer ruined your alphabetised digging.

RITA#577aIf pickings were not rich enough in Kingbee, we’d jump in the car and go to Sifters, the record store made famous by Noel Gallagher’s lyrics in Shakermaker. Sifter’s was such a different experience to Kingbee. It was always a bit quieter and not populated with the usual serious record buying types you would see in Kingbee.

I filled a lot of gaps in my record collection in Sifters. It seemed to be the record store where popular rock records ended up. My copies of Hysteria and Brothers In Arms probably came from Sifters, and I think I picked up the whole of ZZ Top’s pre-Eliminator output there once I figured out how good their early material is. My copies of Thriller and Bad were from there, and while I already owned Frampton Comes Alive by the time I first set foot in Sifters, I reckon I would have been able to pick up a copy there every week if I needed to.

RITA#577bOne of the records I always saw in Sifters was a copy of the Village People’s third studio album, Cruisin’, from 1978. I have a soft spot for Y.M.C.A. – it’s such a banging tune that I don’t really care about anything else the song – or the band – symbolises. The album just refers to the band’s collective love of driving around, right? And the visual gag concerning the band’s attire in Wayne’s World 2 puts such a big smile on my face that I just have trouble taking them too seriously.

It was always on my agenda to pick up that copy of Cruisin’ in Sifters. I never got around to it for one reason or another. I must have picked it up a few times, but had to put it back once I’d figured my other records had easily surpassed my budget. I always regretted this after I left Manchester, but I was lucky to pick up a beat-up (or should that be ‘rough trade’?) second-hand copy here in New Zealand last year.

I wouldn’t want to suggest that the Village People were a one-hit wonder, but nearly every song on this record sounds like a reworking of Y.M.C.A. There’s a really tasty horn break in I’m A Cruiser which I’m having major trouble placing. Either it’s lifted from something else, or it’s been samped since (it’s at 02:50 here, if you can help me out).

Hit: Y.M.C.A.

Hidden Gem: Medley: The Women / I’m A Cruiser

Rocks In The Attic #542: ZZ Top – ‘Eliminator’ (1983)

rita542I have a love / hate relationship with this record. On the one hand, I might not have discovered the joys of early ZZ Top if it weren’t for the global success of this 1983 multi-million seller. On the other hand, the change in approach to recording the album and its overall sound – vastly different to anything they had recorded previously – is sometimes a little too much to absorb.

The first four ZZ Top records – ZZ Top’s First Album, Rio Grande Mud, Tres Hombres and Fandango!­ – are, in my eyes, untouchable. Southern-fried, boogie blues, heavily influenced by the three Kings – B.B., Albert, and Freddie – the Texas trio developed their own sound across these records, and by 1979’s Degüello, had complimented this with guitarist Billy Gibbons and bassist Dusty Hill’s iconic overgrown beards.

Eliminator, taking its cue from New Wave, was recorded with synthesisers, drum machines and sequencers which permeate the record. This wasn’t the first time they had experimented with this sort of technology though. On the band’s previous record, 1981’s El Loco, Gibbons had toyed around with a synth on a couple of tracks, and despite that album selling only half as much as its predecessor, it’s incredible that they utilised synths more, not less, on its follow-up.

Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released. Not surprisingly, with Eliminator registering such a hit, Hudson sued the band. The case was settled in 1986, awarding $600,000 to Hudson and crediting him the copyright to just one of the record’s eleven songs, Thug.

I’ve written before about whether the approach – and marketing – of Eliminator can be deemed as the band ‘selling out’. When you consider the poor sales of El Loco, it doesn’t actually seem probable that the band were chasing sales by continuing to experiment with technology that was alien to them. Then you see the glossy MTV videos of this era of ZZ Top, and it’s difficult not to judge them on such a 180° change in direction.

Thankfully, the band appears to have left that era well and truly behind them. Over the last couple of decades, they’ve performed yet another u-turn, back in the direction they were originally heading. 2012’s La Futura showed the band returning to the swampy blues of their youth, but complimented by the songwriting maturity that they perfected over their MTV years. Thumbs up, and hitch-hiking thumb out, for this direction of ZZ Top.

Hit: Gimme All Your Lovin’

Hidden Gem: I Need You Tonight

Rocks In The Attic #333: ZZ Top – ‘Afterburner’ (1985)

RITA#333I’m not saying that ZZ Top were old men by the time they recorded this album, but the chorus on the opening track seems to consist solely of Billy Gibbons singing “slippers and my sleeping bag” over and over. A lyric check on Google corrects me – the misheard lyric is “slip inside my sleeping bag.” So Billy Gibbons isn’t just an old man, he’s a dirty old man! Track number three sees Gibbons’ lyrics returning to perversion. Entitled Woke Up With Wood, I’m presuming it’s not about a carpenter who fell asleep in his tool-shed.

Afterburner represents ZZ Top at their worst. If 1983’s Eliminator showed the band taking a sharp left turn in their musical direction, this record shows them much further down that same road, many miles west of their original highway. The album is essentially a rehash of the formula they laid down on Eliminator, without the strength of the songs on that earlier album.

Both albums, and the follow-up Recycler (1990), sound extremely dated now.  It’s not hard to understand why grunge came about to blow away the cobwebs of rock music like this. To think that ZZ Top released their third album of this sort of crappy synthesised rock in 1990, when grunge was in full swing is almost hard to believe.

Hit: Rough Boy

Hidden Gem: Stages

Rocks In The Attic #111: ZZ Top – ‘Degüello’ (1979)

Rocks In The Attic #111: ZZ Top - ‘Degüello’ (1979)ZZ Top’s first album after their beard-growing hiatus is a gem. I guess this is where that clean production sound on blues albums of the 80s (eg. Stevie Ray Vaughan) started. On Degüello, it’s very noticeable that the band sound very different to their earlier albums. The guitar tone is very clean, and both the bass and drums sound clearer, with more separation than on their five earlier albums.

It’s more of a transition album really – bridging the gap between their earlier, dusty, swamp blues, to the more electronic – and contemporary  – work on their 80s album. The album after this, El Loco, would hint further towards the New Wave sound they would employ to great success on Eliminator.

During the sessions for this album, a couple of songs required a horn section. Instead of doing what most bands would do, and employing a group of studio musicians, they recorded the horn parts themselves, calling themselves The Lone Wolf Horns. A photo of the trio as the horn section on the album’s inner sleeve shows Billy Gibbons and Dusty Hill showing off their new chest-length beards, standing next to Frank Beard displaying a decent bit of facial growth himself, putting the dampener on that oft-recycled fact that he’s always the clean-shaven one.

Hit: Cheap Sunglasses

Hidden Gem: I Thank You