Posted by Linden Hudson
This image is a freeze-frame from video that was shot by Linden Hudson (amateur photographer).
Who is Linden Hudson?
CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the product on the ZZ Top ELIMINATOR album.” (end quote).
( ZZ Top never ever chose to offer Linden credit, which would have been THE good thing to do. It would have assisted Linden’s career as well. The band and management worked ruthlessly to take COMPLETE credit for the hugely effective album which Linden had actually invested a good deal of time dealing with. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the cash and they dealt with Linden like dirt. It was abuse. Linden released a restricted lawsuit, produced utilizing his limited resources which brought minimal outcomes and took years. Nobody should treat the co-writer of their most successful album like this. It’s simply ill.).
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Hear the original ZZ Top REMOVER writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: youtu.be/ 2QZ8WUTaS18.
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Read Linden’s story of the making of the super-famous ZZ Leading ELIMINATOR album at: www.flickr.com/people/152350852@N02/.
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Follow this Wikipedia link and find Linden’s name throughout the article & read the album songwriter credits about midway down at: en.wikipedia.org/wiki/Eliminator_%28album%29.
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Linden’s name is all over this Wikipedia page too: en.wikipedia.org/wiki/El_Loco.
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LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY CONFESSED: “the Eliminator sessions in 1983 were directed largely by another among our associates, Linden Hudson, a talented engineer, throughout the development of those compositions.” (end quote) (Gibbons confesses this after thirty years, however provides Linden no apology or reparations for absence of credit/royalties).
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MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons stated: “This was a truly interesting turning point. We had actually befriended somebody who would become an influential associate, a guy called Linden Hudson. He was a gifted songwriter and had production abilities that were leading the pack sometimes. He brought some aspects to the forefront that assisted improve what ZZ Top were doing, starting in the studio and ultimately to the live stage. Linden had no worry and aspired to experiment in manner ins which would frighten most bands. However we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
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FROM ROLLING STONE PUBLICATION (Late 80’s)( ZZ Top management discuss the deeply troubling treatment of Linden Hudson): “It’s a regrettable situation,” included J.W. Williams, a spokesperson for the band (ZZ Leading). “Here’s a person (Linden) who was a friend. It’s hard to explain …” (end quote) (Linden remarks: “Yes, it IS really hard to describe, is it not?).
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TEXAS MONTHLY PUBLICATION (Dec 1996, By Joe Nick Patoski): “Linden Hudson floated the idea that the perfect dance music had 124 beats per minute; then he and Gibbons developed, wrote, and recorded what amounted to a rough draft of an album prior to the band had set foot inside Ardent Studios.”.
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney): “Most likely the most significant development in ZZ Top taping methods came about as Eliminator was constructed. What had actually gone on before evolutionary; this change was innovative. ZZ Top got what amounted to a brand-new bandsman (Linden) for the album, unknown to the world at large and in the beginning even to Dusty and Frank.”.
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CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was referred to as a high-tech music instructor on your extremely effective “Remover” album. Just how much did the band try out electronic instruments prior to that album?
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THE HOUSTON CHRONICLE, MARCH 2018: “Remover” had a significant impact on us and individuals who listen to us,” says ZZ Top’s bass player. Common band lore indicate production engineer Linden Hudson recommending that 120 beats per minute was the ideal rock pace, or “individuals’s tempo” as it happened known.
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FROM THE BOOK: SHARP DRESSED GUYS – ZZ TOP by David Blayney: (page 227): “… the song LEGS Linden Hudson introduced the pumping synthesizer impact.”.
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( Browse Linden Hudson in the various ZZ Top Wikipedia pages which relate to the ELIMINATOR album and you will find bits about Linden. Likewise the primary ZZ Top Wikipedia page discusses Linden. He’s pointed out in a minimum of 7 ZZ Top related Wikipedia pages.).
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: “Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In truth, he wound up investing more time on the album than anyone except Billy. While the two of them spent day after day in the studio, they were mainly alone with the devices and the ideas.”.
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FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, launched 2014): “Hudson supposedly had a substantial role to play throughout the preparation phases of the release (ELIMINATOR).”.
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FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (WANDERER PRESS, WRITTEN BY DEBORAH FROST): “Linden was constantly doing computer studies. It was something that fascinated him, like studio technology. He thought he may comprehend the components of popular songs better if he fed particular information into his computer system. It might assist him understand what hits (tune releases) of any given period share. He initially discovered speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately began to compose some tunes with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MALE. Someone needed to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t truly a problem though. The bass and drum parts were quickly had fun with a synthesizer or Linn drum maker.” (end quote).
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FROM THE BOOK: “SHARP DRESSED MEN – ZZ TOP” BY DAVID BLAYNEY: “After his quantitative revelations, Linden informally however immediately ended up being ZZ Top’s wedding rehearsal hall theoretician, manufacturer, and engineer.” (end quote).
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FROM THE BOOK: “ZZ TOP – BAD AND WORLDWIDE” (WANDERER PRESS, BY DEBORAH FROST): “With the release of their ninth album, REMOVER, in 1983, these hairy, not likely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of lots of connected with the band for many years, were never acknowledged.”.
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FROM THE BOOK: SHARP DRESSED GUYS – ZZ TOP (By DAVID BLAYNEY): “The essential position Linden occupied in the process of structure El iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the entire tune all in one afternoon without either the bass player or drummer even knowing it had actually been written and tape-recorded on a demo tape. Linden manufactured the bass and drums and helped compose the lyrics; Billy did the guitars and vocals.”.
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FROM THE BOOK: “TRES HOMBRES – THE STORY OF ZZ TOP” BY DAVID SINCLAIR (Writer for the Times Of London): “Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had actually drawn their attention to the possibilities of the brand-new recording technology and particularly to the appeals of the straight drumming pattern, as utilized on a configured drum maker. On ELIMINATOR ZZ Top revealed a simple new musical mix that broke open a vast around the world market.
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FROM THE BOOK: “SHARP DRESS GUY – ZZ TOP” BY DAVID BLAYNEY: “REMOVER went on to end up being a multi-platinum album, just as Linden had anticipated when he and Billy were establishing the 124-beat tempos and setting up all the product. Rolling Stone ultimately selected the album as number 39 out of the leading 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over REMOVER and gotten the simply compensation he was worthy of. Rather he got ostracized.”.
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: “He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was host for a show ZZ did around that time, and even sang an encore tune with the band, possibly the only person ever to have that honor.” (side note: this was ZZ Top’s extremely first program).
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FROM THE BOOK: “SHARP DRESSED MEN – ZZ TOP” BY DAVID BLAYNEY: “Linden stayed at Frank’s (ZZ Top drummer) location as ZZ’s live-in engineer throughout the whole duration of REMOVER practice sessions, and was like one of the household … as he (Linden) operated at the controls day after day, watching the album (REMOVER) take shape, his wish for a big step forward in his production career undoubtably skyrocketed. REMOVER marked the first time that ZZ Top was able to rehearse a whole album with the recording studio gadgetry that Billy so enjoyed. With Linden Hudson around all the time, it also was the first time the band could write, practice, and record with someone who understood the men and the makers. ZZ Top was free to go musically insane, but also musically crazy like a fox. Linden made that possible too.”.
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FROM THE BOOK “ZZ TOP – BAD AND WORLDWIDE” (WANDERER PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): “… SHARP DRESSED MALE which utilized Hudson’s 120 beat-per-minute theory. The feel, the interest, the snappy beat and crisp tidy noise moved REMOVER into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD.”.
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THE GREATEST ROCK REBRAND OF PERPETUITY (by Jason Miller): “Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had actually been recorded. His data showed that there was something extremely unique about 120 beats to a minute. Gibbons decided to tape practically the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had actually been created through a special mix of innovative cooperation and data mining. And it will take the world by storm.”.
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ULTIMATECLASSICROCK DOT COM: “This new melding of designs was encouraged by Hudson, who served as a kind of pre-producer for EL LOCO … … Hudson assisted construct ZZ Top drummer Frank Beard’s house studio, and had dealt with him for a time. That resulted in these preliminary sessions, and after that a better partnership on 1983’s REMOVER.
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FIREDOGLAKE DOT COM: “I like Billy Gibbons’ guitar tone quite a lot, but I lost all regard for them after reading how severely they fucked over Linden Hudson (the man who was the brains behind their transfer to consist of synthesizers and co-wrote most of their career-defining Remover record).”.
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EMAIL FROM A ZZ TOP FAN TO LINDEN (Among Lots Of): “I write you today about damaged hearts, one is mine and one is for you. I have actually been a ZZ Top fan since I was 6 years of ages. I acquired REMOVER vinyl from Caldors in Connecticut with the $20 my grandmother gave me for my birthday. I will spare the # 1 fan impressive saga of tee t-shirts, pestering Noreen at the fan club via phone weekly for years, over 40 programs attended. Posters, non stop discussion about the time I have actually spent idolizing this band, however more Billy G, as he has appeared to break devoid of the Lone Wolf shackles and it became more clear this was his child. In baseball I was Don Mattingly’s # 1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals share? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Up until I read your web page. I check out Blayney’s book around 1992 or so, I remained in middle school and I was familiar with your name for a long period of time. I didn’t recognize you suffered so considerably or that your participation was so considerable. It pains me to discover my idol not just cheated but did something so wrong to another being. I now understand this is where exaggerations and fun caring bullshit and poor morals and principles are differentiated and where I would no longer consider myself to appreciate Billy. I like to joke and I like credit however I have actually constantly prided myself on principles and principles … I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I might like it more than the ended up product. Well that’s all. You have actually reached ZZ Top’s greatest fan and I can let others understand. Bummer. Cheers and good luck. James.”.
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VINYLSTYLUS DOT COM: Much of Remover was taped at 124bpm, the pace that thought about best for dance music by the band’s associate Linden Hudson. An ambitious songwriter, previous DJ and– at the time– drummer Frank Beard’s house-sitter, Hudson’s participation in the recording of the album would return to haunt them. Regardless of assisting Gibbons with the pre-production and developing of the product that would wind up on both El Loco and Remover, his contribution wasn’t credited when either record was launched.
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INFOMORY DOT COM: ‘Remover’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band rejected it.
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MUSICMISCELLANEOUS DOT COM: (REMOVER ALBUM):.
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were changed during the recording procedure by synthesisers and a drum maker configured by engineer Linden Hudson, who supposedly co-wrote much of the music with Gibbons in spite of receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack sometimes. He brought some components to the forefront that assisted reshape what ZZ Top were doing”. Hudson did no less than reveal the band how to remain pertinent in an age where 3 guys from Texas with long beards (other than notoriously for Frank Beard) and blues licks were one of the last things the modern market was demanding.
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