When it came time for Slash to send out invites to the sonic party that would become , his new blues-covers album, there was at least one obvious choice: Billy Gibbons. The well-traveled Texan has been shaking, baking and barbecuing the blues – with or without ZZ Top – since the late Sixties. On top of all that, the Slash/Gibbons friendship dates back to the days when ZZ Top’s and GN’R’s duked it out on the shelves at Tower Records on the corner of Sunset and Horn in North Hollywood.
As is always the case, the famous Texan showed up at Slash’s behest – expertly geared-up and raring to go – to help his host lay down a fine new version of Willie Dixon’s . Below, Gibbons chats about the sessions and gear, his relationship with Slash, the finer points of B.B.
King and Kingfish and the health of the blues in 2024. Spoiler alert: blues fans have nothing to worry about. “Backstage following a ZZ Top show in Los Angeles.
I maintained residence up the Sunset Strip nearby a notorious liquor store and happened by there one day to “resupply.” Our guy was there choosing the appropriate libation, and a friendship ensued. “He’s kind of unmistakable, and I guess he figured we were connected and latched onto all things ‘six-string’ in very short order.
We’ve knocked around pretty much ever since; I’d place that encounter somewhere in the late ’80s when was making some noise. Truly a sympatico cat if ever there was one.” “It’s fair to say Slash and our collective adventures cover wide ranges of bluesy influence.
Most everyone appears to enjoy maintaining an actual ongoing relationship with all things sonically “blue.” Muddy Waters’ is something [that’s], quite simply, fundamental. “Slash and I approached the number with a sincere, personalized vision, forwarding the arrangement to expand the track with some extra breathing room and sound luster.
It’s a Willie Dixon standby ‘oldie’ – and [it’s] still kickin’ in a big way.” “Oh yeah, man! ‘Pearly Gates’ [Gibbons’ 1959 , which he acquired in 1968 and has used on every ZZ Top album since 1971’s ], our long-standing fave-rave six-string, entered the studio to do that righteous thing. And it ain’t no secret that the new Magnatone line of amplifiers were on hand, which are now taking the front and center spot on stage and in the studio.
We brought the two together, making for a ferocious combo.” “Magnatone is the way to go for many reasons – its heritage, the look and, most importantly, the pre-amps can feed the power stages with as much grist and grizzle as one might lean into. Magnatone’s inimitable true vibrato is unbeatable and very real, just as when Buddy Holly and Lonnie Mack played it to brilliant advantage.
” “Sure ’nuff! Anyone qualifying to enter bluesman territory certainly includes inspiration from the King; B.B. set a far-reaching standard for tone and taste and still abides to the present day.
” “ . It’s really all there.” “Well, something we feel [that’s] close enough.
We carried on, early on, with a rare, mid-’50s Gibson ‘Switchmaster’ ES-5. Big box, big sounds.” “Glad you asked, as we’ve just recently squeezed into the studio between roadshow dates, getting back to extending some added recorded loudness.
” “Christone ‘Kingfish’ Ingram is on it, in that there’s a resonance with a strident Mississippi presence, bringing on that wisdom of the Delta. Also, Quinn Sullivan has entered the scene, a Buddy Guy discovery going on to play at the Mahindra Blues Festival in India. Both join the wave of up-and-comers with a genuine kind of approach and intensity.
” “Ain’t nothing much to worry over on this. It steadfastly endures underlying most everything and keeps bouncing back. This is the artful creation that underpins and expresses the human condition – the low stuff and the high stuff.
Gotta say it – ‘You can’t lose with the blues!’”.
