Posted on March 3, 2010 - by Mark Zonda

From Arizel to Z. Z.

Let’s be serious. Ariel Hill had no credible chances to change his Cleveland Brown nerdish look, so somwhere in the ’50s decided at least to change his name on his way to the top leaving that A aside for a brand new coolish Z.Z. Blues, Godspel, Groove, probably nowadays that guy would be produced by Jay-Z featuring Black Eyed Peas, and you tell me where’s the soul in that!

This artist is no Obladì-bladà (still “No More Doggin’ bass riff is!). King of American independent artists of those times, Z. Z. Hill signed with Malaco, a really small label that yet contributed to define the notorious Mississipi Blues sound. Tracks like “Have Mercy Someone” could sounds rìdicoulous for so many youngsters, still they sound like fresh gems to me, half between Micky Mouse March and a selected track for “The Kojak Variety”, ready for being picked up in a would be next Altman musical movie.

His master and models were B. B. King, Freddie King, Sam Cooke, Bobby “Blue” Bland and Wilson Pickett, still though deciding to write his own stuff, he has never been even the inch of a finger from Terence Trent D’Arby. “Same” (Malaco, 1981) is for example a brilliant production, and in it’s way tracks like “I’m So Lonesome I Could Cry” are brilliant classic, still somehow empty and too far scholastic.

Leaving Malaco for Columbia did the trick, and “Love Is So Good When You’re Stealing It” did hold the charts for 18 weeks! His life ceased leaving him just like mine is still going on: his heart stop to beat because of an accident. That’s it.

Z. Z. Hill – “Happiness is all I need”

Let it ring on...

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