zz Top Eliminator Target

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album…

Eliminator is the eighth studio album by the American rock band ZZ Top. It was released on March 23, 1983, by Warner Bros. Records. Recorded in Tennessee during 1982, the album was produced by the band's manager Bill Ham and peaked at the top of the charts in many countries. "Gimme All Your Lovin'", "Got Me Under Pressure", "Sharp Dressed Man", "TV Dinners" and "Legs" were released as singles. A Diamond certified album, Eliminator is ZZ Top's most commercially successful release, with sales of over 10 million copies in the United States. The band wanted to expand on the synthesizer sound of their 1981 album El Loco. Influenced by new wave, Eliminator′s tracks were recorded with a combination of the synthesizer, drum machine and sequencer. Often considered ZZ Top's most popular release, the record was ranked at number 398 in Rolling Stone magazine's 500 Greatest Albums of All Time and was listed at number 39 in The 100 Greatest Albums of the 80s.

That Little Ol’ Band from Texas comes up big in ZZ Top: Live from Texas, a concert recorded in Dallas in November, 2007. The hirsute trio (guitarist Billy Gibbons, bass player Dusty Hill, drummer Frank Beard) has been at it for nearly four decades now, and notwithstanding their synth-tinged commercial breakthrough in the ‘80s, they haven’t changed a whole lot in that time–not that that’s a bad thing, as ZZ Top is still essentially a fine, gut-bucket blues band. In the course of this 80-minute gig, they dig deep into the back catalogue, mixing in tunes from ‘70s albums like Tres Hombres, Rio Grande Mud, and Fandango, as well as more recent items from the multi-platinum Eliminator…

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that they sound indestructible, and the group brought the best set of songs they'd ever have to the table. On the surface, there's nothing really special about the record, since it's just a driving blues-rock album from a Texas bar band, but that's what's special about it.

This box set contains five of ZZ Top's very best albums – Rio Grande Mud, Tres Hombres, Fandango, Deguello, and Eliminator – each presented as a mini-LP in a cardboard sleeve within this small slipcase box…

Interestingly, while always priding themselves on being a kick-ass live band, ZZ Top never got around to issuing a full-length live album during their 1970s/1980s peak. But as they say, it's better late than never, and 2011 finally saw the arrival of an archival live ZZ Top recording, Live in Germany 1980. Featuring half of the audio portion of their 2009 Double Down Live DVD, Live in Germany 1980 does a fantastic job of displaying all of the group's pre-Eliminator classics in a concert setting…

ZZ Top is an American rock band formed in 1969 in Houston, Texas. The band consists of guitarist and lead vocalist Billy Gibbons, bassist and co-lead vocalist Dusty Hill, and drummer Frank Beard. The band and its members went through several reconfigurations throughout 1969, achieving their current form when Hill replaced bassist Billy Etheridge in February 1970, shortly before the band was signed to London Records…

The continuation of Eliminator's synthesized blues boogie made sense on Afterburner, since it arrived two years after its predecessor. ZZ Top's choice to pursue that direction on Recycler is puzzling, since a full five years separates this from Afterburner. It's not just that they continue to follow this path; it's that they embalm it, creating a record that may be marginally ballsier than its predecessor, but lacking the sense of goofy fun and warped ambition that made Afterburner fascinating. Here, there's just a steady, relentless beat (Frank Beard is still chained to the sequencer, as he has been for a decade), topped off by processed guitars turning out licks that fall short of being true riffs.