Billy F. Gibbons (ZZ Top) Interview

Lemmy once said that if he could be in any other band in the world besides Motörhead, it’d be ZZ Top. Could you blame him? Much like Motörhead, here was a band dedicated to carrying the old school rock n’ roll torch, while simultaneously reinventing the genre for every band that followed. “That Little Ol‘ Band from Texas” would become bigger than they ever imagined, selling close to 30 million albums in America alone, becoming unlikely darlings of the MTV era, and being inducted into the Rock and Roll Hall of Fame in 2004. Those may be quite some accolades on paper, but for guitarist Billy F. Gibbons, it’s just another day in the life. Never one to rest on his laurels, Gibbons is on the verge of releasing his third solo album, Hardware. We had the chance to sit down with the Reverend Willy G to discuss this new album, 50 years of ZZ Top’s First Album, and of course, Lemmy. “Have mercy!”

How does writing and recording for a solo album differ from writing and recording for ZZ Top?

Billy F. Gibbons: As Jerry Lee Lewis once sang, “It’s another time, another place.” The BFG outfit, while remaining in the similar trio styled lineup, maintains an innocently fresh approach to song creations. The ZZ Top mindset is specific to three guys together for five decades.  There’s a collective expectation in the process which material is generated that’s appropriate for both styles.  As Billy F. Gibbons, there’s a broader horizon being covered.  It’s kind of a schizophrenic, yet I’m happy being BFG and happy being ZZ.  

Hardware was recorded with Guns N’ Roses drummer Matt Sorum and guitarist Austin Hanks. Could you tell us of your history with these musicians and what special elements did they bring to the table?

BFG: The three of us have knocked around seemingly forever. Austin is a gifted Southerner and a lefty…plays his guitar — only way to describe this — upside down and backwards.  You couldn’t create something like that in a lab. Mr. Sorum can bash with the best!  We conveniently include the James Brown shout to “give the drummer some.”  Both are always open-minded, adventurous guys ready for whatever I can throw at ‘em.  

What guitars and amps did you use to record this new album?

BFG: When we stepped inside the control room, we realized our equipment truck was still a couple days absent which sent us scouring the four corners of the studio to scrounge up some gear.  Matt assembled an ancient Gretsch “Broadcaster” kit as Austin and I wrangled matched pair of 60’s Fender Jazzmaster guitars running through a pair of Fender reverb tanks.  “West Coast Junkie” was the first track laid down which opened that surf-approved sonic sojourn from way back when.  When the drum-and-guitar truck arrived, we put together the stage stacks of the new Magnatone amps and got down to business. We paired up a matched set of Gibson “SG” inspired ‘Les Paul’ solid-body 6-string things with Matt’s latest Gretsch kit.  Those were the tone grinding items which remained in place throughout the sessions.

One of my favorite cuts on here is the surf tinged “West Coast Junkie”. Growing up, what impact did the music of California have on your playing?

BFG: It’s heard right there in the grooves: surf guitar!  Growing up between Texas and California, that intriguing sound of both coasts pounded the airwaves alongside hillbilly, country, and blues, making for a wild recipe of rock ’n roll.  It was that jangling surf guitar effect that still paints the picture of boards and bikinis to this day. 

The soulful “Vagabond Man” joins a long lineage of classic ballads you’ve penned, such as ZZ Top’s “Hot, Blue and Righteous” and “Rough Boy”. What would you say makes the perfect ballad?

BFG: It’s got to be evocative, soulful and true.  There seems to be a thread of heartfelt feeling that brings a clear message together.

Hardware explores many styles including blues, hard rock, metal, boogie, Latin music, and more. Are there any styles you’d like to explore in the future that you haven’t yet?

BFG: The industrial sound holds a special appeal…the sound of machinery can certainly be musical! Take for instance Mexican Norteño music, where performers often sing on horseback, lending an equestrian element to consider there. We can’t leave out Cajun and zydeco here, although I’m a bit reluctant to strap up a Louisiana squeezebox…but never say never. 

Countless bands have been inspired by your music, including Motörhead whose “No Class” bears strong resemblance to “Tush”. Did you ever discuss this similarity with Lemmy?

BFG: Oh, yes! Lemmy was a true friend and we shared a mutual admiration from the first time we met.  Lemmy was nothing if not loyal and truthful.  He knew who he was and never tried to be anything or anyone else.  Although he’s gone, he’ll never be forgotten.  There was nobody whose life was more rock ’n’ roll that Lemmy’s. 

This year marks the 50th anniversary of ZZ Top’s First Album. Looking back, are there any memories that stand out from recording the album and what are your favorite songs on there?

BFG: We captured the first ZZ recordings out in Texas at Robin “Hood” Brians’ famed studio, known for actually being an extension of the house where he and the engineers resided. That first record from ZZ was essentially recorded live, exactly as we performed on stage.  I suspect the favorite song from that appropriately titled album was “(Somebody Else Been) Shaking Your Tree” which appeared as the opening cut.  “Brown Sugar,” swiftly followed which remains a favorite to this day. We recently re-recorded another version of that one during the Gruen Hall sessions for the “Little Ol’ Band From Texas” Netflix film.  Just the three of us thrashing though it all in the same way from 5 decades earlier. It’s all embedded in the ZZ Top mythology.

Hardware comes out on June 4, 2021 on Concord Records. For more information on Billy F. Gibbons, visit www.billyfgibbons.com. For more information on ZZ Top, visit www.zztop.com.