#Zz top el loco update
Inspired by the new music surrounding him, Gibbons was eager to update ZZ Top's sound. The blues ballad "Leila" served as lead single from El Loco, followed by "Pearl Necklace" and "Tube Snake Boogie." But none of that necessarily hinted at either the breakout successes to come – or, really, the fizzy experimentation which made this project so different. Manufacturers were looking for ways to stimulate sales, and these instruments started appearing on the market."Įlsewhere, ZZ Top downshifted into the purpled emotions of “I Wanna Drive You Home,” which featured a desperately sad guitar figure and an oh-so-lonesome vocal. "But we followed suit, and the synthesizers started to show up on record. “Linden had no fear and was eager to experiment in ways that would frighten most bands," Gibbons told Music Radar. That led to these initial sessions, and then a closer collaboration on 1983's Eliminator. Hudson helped construct ZZ Top drummer Frank Beard's home studio, and had lived with him for a time. This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for El Loco – though the album was again officially overseen by Bill Hamm. Listen to ZZ Top Perform 'Groovy Little Hippie Pad' "Our song 'Party on the Patio' was an extension of that," Gibbons added, noting that music critic "Lester Bangs played it for some punks in New York, and they dug it. It was a direct derivative of punk."Īround the same time, ZZ Top had become fans of the B-52s, specifically "Party Out of Bounds" from 1980's Wild Planet. What came out of that was 'Groovy Little Hippie Pad' - same figure. One of the guys in the band was playing a Minimoog, and he did this on it. "I had heard their first album and kind of dug it. "I saw Devo doing a soundcheck at a Houston club – a country and western bar, of all places," Gibbons told Rolling Stone in 2015. The closing moments of El Loco, released in July 1981, made crystal clear ZZ Top's intentions for the era ahead. Gibbons had recently become intrigued by the rising punk, New Wave and synth-pop movements, something hinted at on 1979's Deguello. Deep cuts like "Groovy Little Hippie Pad," "Party on the Patio" and even "Heaven, Hell or Houston" – with a synthetic vocal element straight out of The Empire Strikes Back – found ZZ Top charging toward a musical shift highlighted by the glossy, early-MTV smash Eliminator.
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