ZZ TOP a/k/a “That Little Ol’ Band From Texas,” lay undisputed claim to being the longest running major rock band with original personnel intact and, in 2004, the Texas trio was inducted into the Rock and Roll Hall of Fame. Of course, there are only three of them – Billy F Gibbons, Dusty Hill, Frank Beard -- but it’s still a remarkable achievement that they’re still very much together after almost 45 years of rock, blues, and boogie on the road and in the studio. “Yeah,” says Billy, guitarist extraordinaire, “we’re the same three guys, bashing out the same three chords.” With the release of each of their albums the band has explored new ground in terms of both their sonic approach and the material they’ve recorded. ZZ TOP is the same but always changing.

It was in Houston in the waning days of 1969 that ZZ TOP coalesced from the core of two rival bands, Billy’s Moving Sidewalks and Frank and Dusty’s American Blues. The new group went on to record the appropriately titled ZZ Top’s First Album and Rio Grande Mud that reflected their strong blues roots. Their third, 1973’s Tres Hombres, catapulted them to national attention with the hit “La Grange,” still one of the band’s signature pieces today. The song is unabashed elemental boogie, celebrating the institution that came to be known as “the best little whorehouse in Texas.” Their next hit was “Tush,” a song about, well, let’s just say the pursuit of “the good life” that was featured on their Fandango! album, released in 1975. The band’s momentum and success built during its first decade, culminating in the legendary “World Wide Texas Tour,” a production that included a longhorn steer, a buffalo, buzzards, rattlesnakes and a Texas-shaped stage. As a touring unit, they’ve been without peer over the years, having performed before millions of fans through North America on numerous epochal tours as well as overseas where they’ve enthralled audiences from Slovenia to Argentina, from Australia to Sweden, from Russia to Japan and most points in between. Their iconography – beards, cars, girls and that magic keychain – seems to transcend all bounds of geography and language.

Following a lengthy hiatus during which the individual members of the band traveled the world, they switched labels (from British Decca’s London label to Warner Bros.) and returned with two amazingly provocative albums, Deguello and El Loco. Their next release, Eliminator, was something of a paradigm shift for ZZ TOP. Their roots blues skew was intact but added to the mix were tech-age trappings that soon found a visual outlet with the nascent MTV. Suddenly, Billy, Dusty and Frank were video icons, playing a kind of Greek chorus in videos that highlighted the album’s three smash singles: “Gimme All Your Lovin’, “Sharp Dressed Man” and “Legs.” The melding of grungy guitar-based blues with synth-pop was seamless and continued with the follow-up album Afterburner as they continued their chart juggernaut. ZZ TOP had accomplished the impossible; they had moved with the times while simultaneously bucking ephemeral trends that crossed their path. They had become more popular and more iconic without ever having to be “flavor of the week.” They had become a certified rock institution, contemporary in every way, yet still completely connected to the founding fathers of the genre.

They stayed with Warner for one more album, Recycler, released in 1990 and switched to RCA where they debuted with Antenna and followed with Rhythmeen, XXX and Mescalero. Beyond that, both a lavish four CD box set compilation, Chrome, Smoke & B.B.Q. and a two-CD distillation of that package, Rancho Texicano, were released by Warner prior to The Complete Studio Albums set.

In 2012, ZZ TOP unveiled LA FUTURA, their first studio album in nine years. Produced by Rick Rubin and Billy F Gibbons, and released on American Recordings, it reflected the solid blues inspiration that has powered the band since the very beginning with a contemporary approach that underscored the group’s inclination to experiment and explore new sonic vistas. The album included the widely lauded “I Gotsta Get Paid” that has become both a video and in-concert sensation. ZZ Top’s rich history became the subject of a box set release the following year. ZZ Top: The Complete Studio Albums 1970-1990 offered no fewer than 10 of the band’s most lauded albums all with the original mixes restored.

ZZ TOP’s brand new career retrospective The Very Baddest spans the entire course of their London, Warner Bros. and RCA years. Listeners can follow the evolution of the band’s sound from the early 70s into the 00s on either a 40 track double CD or a 20 track single CD. Live at Montreux 2013, just released on Eagle Rock Entertainment on both Blu-ray and DVD formats, showcases their live act, leaving no doubt as to why they have been such a huge concert draw for the last several decades. When it comes to the live experience, they’ve still got it.

The elements that keep ZZ TOP fresh, enduring and above the transitory fray can be summed up in the three words of the band’s internal mantra: “Tone, Taste and Tenacity.” Of course, the three members of the band have done their utmost to do their part in assuring that ZZ TOP prevails. As genuine roots musicians, the members of the band have few peers. Billy is widely regarded as one of American finest blues guitarists working in the rock idiom. His influences are both the originators of the form – Muddy Waters, B.B. King, et al – as well as the British blues rockers who emerged the generation before ZZ’s ascendance. In his early days of playing, no less an idol that Jimi Hendrix singled him out for praise. Part mad scientist, part prankster, he’s a musical innovator of the highest order and a certified “guitar god.” He’s a recurring small screen presence in the hit TV series Bones in which he plays a bearded, gruff, rock guitarist. No type casting problems for Billy.

Dusty has long had an affinity for rock’s origins; his earliest performances as a child included Elvis songs convincingly performed. Not only is he a bass virtuoso in his own right, his vocal prowess is awe-inspiring. He’s the lead voice you hear on “Tush” and his ferocious vocals are heard, to great effect, on his idol Elvis Presley’s “Jailhouse Rock,” these days, often a concert encore number and recorded by the band on Fandango! Good natured and diligent, Dusty is the rock solid bottom of ZZ TOP.

Frank has also been keeping the beat in that great tradition. As both a roots and progressive drummer, he has been acknowledged as key to the band’s powerful on-stage and in-studio presence. He and Dusty, in their early years together, served as Lightnin’ Hopkins’ rhythm section which, as Frank tells it, was a life changing experience. Frank, despite his last name, is the guy in the band without a beard. But when you’re with him, you’re with a Beard. He’s a rockin’ paradox who provides the pulse of ZZ TOP.

ZZ TOP’s music is always instantly recognizable, eminently powerful, profoundly soulful and 100% Texas American in derivation. The band’s support for the blues is unwavering both as interpreters of the music and preservers of its legacy. It was ZZ TOP that celebrated “founding father” Muddy Waters by turning a piece of scrap timber than had fallen from his sharecropper’s shack into a beautiful guitar, dubbed the “Muddywood.” This totem was sent on tour as a fundraising focus for The Delta Blues Museum in Clarksdale, Mississippi, site of Robert Johnson’s famed “Crossroads” encounter with the devil. ZZ TOP’s support and link to the blues remains as rock solid as the music they continue to play. They have sold millions of records over the course of their career, have been officially designated as Heroes of The State of Texas, have been referenced in countless cartoons and sitcoms and are true rock icons but, against all odds, they’re really just doing what they’ve always done. They’re real and they’re surreal and they’re ZZ TOP.

What do you do when you've written songs that have been etched into the fabric of timeless rock songs?  What’s next when you've already had several careers’ worth of achievements? You could flip the whole thing on its head and make a record that sounds like you started the band last week with your best friends, simply for the love of making music...which is exactly what Jakob Dylan and his band The Wallflowers have done.  “Glad All Over” sounds like a group of 21 year-olds ready to set the world on fire, but with the wisdom of a veteran band that knows how to let just the right amount burn.

The Wallflowers formed in 1989, and in 1992 released their classic self-titled debut album, featuring one of the greatest songs of social commentary I've ever heard, "Asleep at the Wheel."  From there they skyrocketed with 1996’s "Bringing Down the Horse," which went quadruple platinum, won two Grammys, and was praised by everyone from Bruce Springsteen to Tom Petty.  The Wallflowers went on to release three more records between 2000 and 2005, absolute rock and roll perfection, and more radio smashes like "Murder 101", a duet with Elvis Costello, "Sleepwalker", and "Here He Comes".  You'd be beyond lucky to have a career like this, but how do you keep it going?   How do you avoid repeating yourself?  The odd thing about rock and roll is, with all the bang and rip and brag and cuss… it gets old after a while.  Most platinum-selling artists end up chasing hit after hit, feeling like they’re only as good as their last single, leaving no room for depth.  The Wallflowers are different, they had hits, huge hits, etc, but they don’t chase it. They make brilliant albums in their own time, and the success comes because the songs are that good. When you know how to walk that tightrope you're unstoppable. Only then is time on your side, which is what it took to write “Glad All Over.”  

The band took a long hiatus over the last five years to pursue other projects. The current Wallflowers lineup includes original members: keyboardist Rami Jaffee, who has spent the past several years recording and touring with The Foo Fighters, garnishing a few more Grammys as well as continuing his regular session work (with the most notable sessions for Kris Kristofferson and Lucinda Williams), bass player Greg Richling who has been busy producing many records in the U.S. and abroad, including platinum selling material from Norway’s most successful rock band BIGBANG, and Jakob Dylan, who recently debuted a pair of solo albums, 2008’s "Seein' Things" and 2010’s "Women and Country."  Now, after the hiatus, we have the band back together, ready to go, trimmed, tight, and at their perfect fighting weight.  Joining original members Rami, Greg and Jakob is longtime guitarist Stuart Mathis who has been keeping busy during hiatus working with the likes of Chris Isaak, Lucinda Williams and Sara Bareilles; and new drummer Jack Irons (Red Hot Chili Peppers, Pearl Jam) who has put out several highly respected solo albums in recent years.  Jakob says, “It's been a while since we've felt this energized and creative. We haven't changed our stripes so much as we're continuing to redefine the animal.” 

From the Clash-inspired "Reboot theMission," (featuring Mick Jones on vocals and guitar) with its unmistakable shuffle backbeat, to the pulsing forward push of "It's a Dream,” like an old Motown song but with an almost Tom Waits twist, there’s fresh blood on the canvas.  This is the sound of a band just going for it…but they’re going for the heart as well as the gut. Songs like "1st One in the Car" prove again that The Wallflowers know how to write a hook, but with the depth to last through time.  "In the backseat you slip, form a girl to a woman in less than a minute…may God be the first one in the car, may He be the last one out of ours."  It strikes a chord when you hear that familiar voice, almost whispering, over the wires to your speakers – you feel that night happening, you’ve lived that night.  Or take "Love is a Country," where you feel the wind as you’re driving down the road while The Wallflowers tell your story back to you:  "The only things living around here don't wanna talk…love is a country better crossed when you're young…"  I well up every time I hear it. “Glad All Over” was produced by Jay Joyce (Emmylou Harris, Cage the Elephant) and mixed by Rich Costey (Bruce Springsteen, The Shins), at Dan Auerbach’s (The Black Keys) Easy Eye Sound studio inNashville.  There's a true sense of poetry all over this record.  Mix that with the energy of songs like "Have Mercy On Him Now" – fueled by the incredible new heartbeat of the band, Jack Irons – what more could you ask for? I don't know what makes hits any more, and if you're honest with yourself, neither do you.  So who cares, just enjoy what's here and remember to miss it when it's gone.  

We've had amazing times with The Wallflowers, but this is a new day and a new band…don't except the same old tricks.  They've got some new fire in the engines, and good for you boys – we've always loved you, and now with “Glad All Over” we love you even more!