
"Dusty plays with his fingers—he uses all four, and he will also pop with his thumb, then brush/strum with his fingers," Dusty Hill's longtime bass tech, Ken "TJ" Gordon, told us in 2013.
ZZ Top's legendary bassist dies at 72 after more than a half century as the steward of Texas Boogie.
When Dusty Hill passed away on July 28, 2021, the world lost an icon of American music. It's hard to encapsulate the enormity of ZZ Top's impact on the canon of American rock music, but there's a moment in the 2019 Banger Films documentary, ZZ Top: That Little Ol' Band from Texas, where the band's early producer, Robin Brians, perhaps puts it best: "ZZ Top plays the blues, but they don't sing the blues. They turned blues into party music."
The magnitude of that singular act can be traced directly to bands like Van Halen, the Anglo-American versions of Whitesnake, and countless others—that's how deeply embedded in popular music ZZ Top's influence has become. Not only are they quite possibly Texas's most successful musical export—with more than 50 million records sold worldwide and more than 50 years as a band—they are one of America's, too.
ZZ Top - Sleeping Bag (Official Music Video)
Hill's role in ZZ Top has always been understated and underrated. Upon hearing the news of his untimely passing yesterday, a colleague asked if I'd ever met him, to which I replied, "Only through his bass lines." Though I never got to interview him personally, there's an intimacy in learning someone else's music and bass parts. Dusty's Texas groove was undeniably delicious, and an exercise in restraint. It's tempting to want to overplay, but his bass lines represent a masterclass in the age-old musical mantra, "less is more." His performances are seemingly simplistic, but copping his indelible feel is another matter entirely. His deep-pocketed, hard-hitting grooves on now-classic tunes like "La Grange," "Tush," "Cheap Sunglasses," and "Tube Snake Boogie," were based on a simple, yet effective strategy.
"Sometimes you don't even notice the bass," he said in a 2016 article by Gary Graff in For Bass Players Only. "That's a compliment. That means you've filled in everything and it's right for the song, and you're not standing out where you don't need to be." Ultimately, his spin on the blues, and attitude about bass, created the perfect foil for Billy Gibbons' masterful guitar playing and Frank Beard's rock-infused Texas Shuffle.
Born Joseph Michael Hill on May 19, 1949, in Dallas, Texas, Dusty grew up a self-professed Elvis Presley fanatic. He retells the story of his musical origins in the Banger documentary, recalling that he got into music by singing along to an Elvis record his mother brought home from the diner where she worked. When he was 8 years old, he decided to sing a song in public, at a restaurant presumably, which resulted in the patrons at a nearby table giving him change. That was it—he got money in exchange for singing and essentially never looked back. He played cello for a bit in high school but switched to bass at the behest of his older, guitar-playing brother, Rocky Hill, who decided that their band, in which Dusty was solely a vocalist at the time, needed a bassist. And so, from 1966 to 1968, along with future ZZ Top drummer Frank Beard, the Hill brothers played locally in Dallas with the Warlocks, the Cellar Dwellers, and American Blues.
ZZ Top's bassist Dusty Hill and guitarist Billy F. Gibbons played together for 52 years. Atop Hill's shoulder is his main bass at the time this photo was taken in 2013: a John Bolin-built chambered slab body with a Seymour Duncan stacked P-bass pickup for Texas blues tone with a dash of nastiness.
Photo by Ken Settle
In 1968, tired of the straight blues, and wanting to embrace a bit more of the British Invasion-style rock music that was infiltrating America at the time, Dusty and Beard moved to Houston, where they subsequently teamed up with guitarist/vocalist Billy Gibbons of psychedelic-rockers Moving Sidewalks. Together, the trio took their combined Freddie King, B.B. King, Muddy Waters, and Howlin' Wolf influences, cranked up their amps, imbued them with a rock 'n' roll attitude, and ZZ Top was born.
They released their first album, the cheeky-titled, ZZ Top's First Album, in 1971, which captured their fledgling rock-infused blues sound. But it was their third album, Tres Hombres, released in 1973, featuring the songs, "La Grange," "Waitin' for the Bus," and "Jesus Just Left Chicago," that cemented their reputation as innovators. Perhaps it was Hill's early foundation in singing that allowed him to hone a bass skill set that embodies the instrument's most fundamental role: supporting the melody. His vocal ability, best represented on the 1975 Fandango! single, "Tush," the band's first Top 20 hit, and one of their most enduring songs, seems to have placed emphasis on indelible feel, rather than technical prowess. He used that same approach when playing bass. Check out any of the aforementioned tunes for a sample of his nasty grooves and dynamic tone. What he's playing may seem simple, but try to capture that feel. That's not something you just pick up. That comes from being steeped in a particular lifestyle and culture, comprised primarily of incessant touring, and growing up provincially, in Texas.
Dusty Hill circa 1975 playing the cornerstone of his sound: a vintage 1970s Fender P bass he bought in a Dallas pawnshop.
Photo by Phil McAuliffe / Frank White Photo Agency
ZZ Top had a successful '70s run before taking a three-year hiatus and reemerging in the early '80s with long beards and new records into a burgeoning, yet welcoming, MTV music-video era. If Tres Hombres put them on the map as musical innovators in 1973, it was 1983's Eliminator that turned them into cultural icons a decade later. Though the production was chastised by blues purists for having synthesizers and drum machines, the band's authentic blues roots still undergird the material, and tunes like "Legs," "Sharp Dressed Man," and "Gimme All Your Lovin'" solidified their place within the annals of pop culture. And, after all, as Dusty Hill says himself in the Banger documentary: "We never said we were a blues band. We are interpreters of the blues." In 2004, ZZ Top was inducted into the Rock & Roll Hall of Fame by Keith Richards of the Rolling Stones.
It appears the band will carry on with longtime guitar tech Elwood Francis taking over bass duties, as he did on July 23 at the Village Commons in New Lenox, Illinois, when Dusty was forced to sit out due to a hip injury.
YouTube It
In this 2016 performance, ZZ Top's unchanged lineup—since 1969—of bassist Dusty Hill, guitarist Billy Gibbons, and drummer Frank Beard sound just as fresh on "Gimme All Your Lovin'" as they did when it came out in 1983. Bask in Hill's on pointe vocal harmony and catch his all-fingers-on-deck bass playing around the 1:20 mark.
It’s almost over, but there’s still time to win! Enter Stompboxtober Day 30 for your shot at today’s pedal from SoloDallas!
The Schaffer Replica: Storm
The Schaffer Replica Storm is an all-analog combination of Optical Limiter+Harmonic Clipping Circuit+EQ Expansion+Boost+Line Buffer derived from a 70s wireless unit AC/DC and others used as an effect. Over 50 pros use this unique device to achieve percussive attack, copious harmonics and singing sustain.
A 1000-watt speaker cabinet crafted for musicians who demand power and precision. Sunn Amps intends to reinvent the standard 4x12 configuration with the introduction of this new cabinet.
The Sunn Amps DoomBox is built to accommodate both guitar and bass, offering an impressive 1000-watt handling capacity—making it the first commercially available 4x12 cabinet with such high power handling. With four specially designed 12” drivers rated at 250 watts each, this cabinet provides clean, unrestrained sound levels that can maintain power integrity across all frequencies, ideal for high-volume performances.
Inspired and developed using feedback from artists and bands who rely on the depth of lower tunings and high volume genres, the DoomBox was engineered to meet the unique demands of professional musicians looking for a robust, high-efficiency cab that can translate the raw power of their sound without compromise.
Premium Craftsmanship and Materials
The Doom Box cabinet is crafted from solid finger-jointed Baltic Birch plywood, ensuring both durability and tonal clarity. Each cabinet is constructed by hand in the U.S.A. using original 1930s machinery, the DoomBox reflects Sunn’s historic commitment to quality, contrasting with some of the mass-produced, MDF-based cabinets on the market today. The cabinet’s aluminum basket, ferrite magnet, and custom Sunn weave Tolex with a custom grill design complete its professional-grade build.
Technical Specifications:
• Power Handling: 1000W
• Inputs: 1 x ¼”
• Impedance: 8 Ohm
• Drivers: 4 x Sunn 12S250
• Construction: Marine Grade Baltic Birch
• Dimensions: 29.25” X 30” X 14”
• Weight: 107 lbs
• Price: $2399.00
With clear low-end punch, even sound response, and ample air movement, the Doom Box ensures that every note reaches the audience with clarity and power. This cabinet is a game-changer for musicians who need high-performance, road-ready equipment that enhances their unique sound.
Does the guitar’s design encourage sonic exploration more than sight reading?
A popular song between 1910 and 1920 would usually sell millions of copies of sheet music annually. The world population was roughly 25 percent of what it is today, so imagine those sales would be four or five times larger in an alternate-reality 2024. My father is 88, but even with his generation, friends and family would routinely gather around a piano and play and sing their way through a stack of songbooks. (This still happens at my dad’s house every time I’m there.)
Back in their day, recordings of music were a way to promote sheet music. Labels released recordings only after sheet-music sales slowed down on a particular song. That means that until recently, a large section of society not only knew how to read music well, but they did it often—not as often as we stare at our phones, but it was a primary part of home entertainment. By today’s standards, written music feels like a dead language. Music is probably the most common language on Earth, yet I bet it has the highest illiteracy rate.
Developed specifically for Tyler Bryant, the Black Magick Reverb TB is the high-power version of Supro's flagship 1x12 combo amplifier.
At the heart of this all-tube amp is a matched pair of military-grade Sovtek 5881 power tubes configured to deliver 35-Watts of pure Class A power. In addition to the upgraded power section, the Black Magick Reverb TB also features a “bright cap” modification on Channel 1, providing extra sparkle and added versatility when blended with the original Black Magick preamp on Channel 2.
The two complementary channels are summed in parallel and fed into a 2-band EQ followed by tube-driven spring reverb and tremolo effects plus a master volume to tame the output as needed. This unique, signature variant of the Black Magick Reverb is dressed in elegant Black Scandia tolex and comes loaded with a custom-built Supro BD12 speaker made by Celestion.
Price: $1,699.