Ohhc1 F

Perfectamundo, the 2015 solo debut from Billy F. Gibbons, found the ZZ Top majordomo indulging in his fascination with Cuban music, which meant that it felt fundamentally different than his main gig. The same can't quite be said of Big Bad Blues, its 2018 follow-up. Working with a band featuring drummer Matt Sorum, guitarist Austin Hanks, harpist James Harman, and bassist Joe Hardy, Gibbons dives deep into blues and boogie that's been at the foundation of ZZ Top since their first album in 1971. Superficially, Gibbons is covering the same ground, but having Big Bad Blues as a busman's holiday does significantly change the feel, particularly in regards to rhythm. Sorum and Hardy provide a looser foundation than Frank Beard and Dusty Hill, which lets Gibbons slither a bit more, plus it's fun to hear him have foils in Harman and Hanks.

This is a live recording in Nagoya on “Kinski vs Acid Mothers Temple Japan Tour 2009”. This line-up was one of the best on Acid Mothers Temple history, also they played so many improvised songs on each show.

It was the Bachs who launched the harpsichord on its career as a concerto soloist and the sons did not wait to follow in father's wake; the first of Carl Philipp Emanuel's 52 concertos, spanning more than 50 years, probably just predates the first of JSB's. Neither did they pursue the practice of having more than two soloists. In his F major Concerto (the numbering of which differs from that given in Grove: H410, Wq46) CPE accepts the formal plan of the ritornello but not the concept of its unity of thematic mood; he introduces a diversity that is more like that of the exposition in sonata form—though the resemblance ends there, and the element of contrast is maintained in the 'solo' episodes, not derived from the ritornello material.