Published by Linden Hudson
This image is a freeze-frame from video that was shot by Linden Hudson (amateur professional photographer).
Who is Linden Hudson?
CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED GUYS: sound engineer Linden Hudson co-wrote much of the product on the ZZ Top REMOVER album.” (end quote).
( ZZ Top never ever decided to provide Linden credit, which would have been THE good thing to do. It would have assisted Linden’s profession too. The band and management worked ruthlessly to take COMPLETE credit for the extremely successful album which Linden had invested a bargain of time working on. Linden works day-to-day to tell this story. Also, the band did not choose to pay Linden, they worked to keep all the cash and they dealt with Linden like dirt. It was abuse. Linden released a minimal lawsuit, produced using his limited resources which brought limited results and took years. Nobody ought to deal with the co-writer of their most effective album like this. It’s just sick.).
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Hear the original ZZ Top ELIMINATOR 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 REMOVER album at: www.flickr.com/people/152350852@N02/.
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Follow this Wikipedia link and discover Linden’s name throughout the post & read the album songwriter credits about halfway down at: en.wikipedia.org/wiki/Eliminator_%28album%29.
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Linden’s name is all over this Wikipedia page also: en.wikipedia.org/wiki/El_Loco.
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LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were directed largely by another among our partners, Linden Hudson, a gifted engineer, during the advancement of those structures.” (end quote) (Gibbons confesses this after thirty years, however uses 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 noise.) Gibbons stated: “This was a really intriguing turning point. We had befriended someone who would become an influential partner, a guy called Linden Hudson. He was a talented songwriter and had production abilities that were leading the pack at times. He brought some elements to the leading edge that helped improve what ZZ Top were doing, starting in the studio and ultimately to the live phase. Linden had no fear and was eager to experiment in manner ins which would frighten most bands. But we did the same, and the synthesizers started to show up on record.” (when 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 comments on the deeply disturbing treatment of Linden Hudson): “It’s a regrettable situation,” added J.W. Williams, a spokesperson for the band (ZZ Top). “Here’s a man (Linden) who was a buddy. It’s hard to explain …” (end quote) (Linden remarks: “Yes, it IS extremely hard to discuss, is it not?).
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TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): “Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons developed, composed, and tape-recorded what totaled up to an outline of an album prior to the band had set foot inside Ardent Studios.”.
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FROM THE BOOK: SHARP DRESSED GUYS – ZZ TOP (By David Blayney): “Probably the most remarkable development in ZZ Top recording techniques came about as Eliminator was built. What had actually gone on before evolutionary; this change was advanced. ZZ Top got what totaled up to a brand-new bandsman (Linden) for the album, unidentified to the world at large and initially even to Dusty and Frank.”.
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CNET DOT COM: (concern presented to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music instructor on your highly successful “Eliminator” album. How much did the band try out electronic instruments prior to that album?
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THE HOUSTON CHRONICLE, MARCH 2018: “Remover” had an incredible influence on us and individuals who listen to us,” states ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson recommending that 120 beats per minute was the best rock tempo, or “the people’s tempo” as it happened understood.
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FROM THE BOOK: SHARP DRESSED GUYS – ZZ TOP by David Blayney: (page 227): “… the song LEGS Linden Hudson presented the pumping synthesizer effect.”.
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( Browse Linden Hudson in the numerous ZZ Top Wikipedia pages which belong to the ELIMINATOR album and you will find bits about Linden. Also the primary ZZ Top Wikipedia page points out Linden. He’s pointed out in at least 7 ZZ Top associated Wikipedia pages.).
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: “Linden discovered himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitar player) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than any person other than Billy. While the 2 of them spent day after day in the studio, they were mainly alone with the equipment and the concepts.”.
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FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): “Hudson reportedly had a substantial function to play throughout the preparation stages of the release (ELIMINATOR).”.
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FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (WANDERER PRESS, WRITTEN BY DEBORAH FROST): “Linden was always doing computer system research studies. It was something that fascinated him, like studio innovation. He believed he might comprehend the components of popular songs better if he fed particular data into his computer. It might assist him comprehend what hits (song releases) of any given duration share. He initially discovered speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy instantly started to write some songs with 120 beats per minute. Linden assisted with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone needed to help Billy out. Dirty and Frank didn’t even like to practice much. Their studio absence wasn’t actually a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum device.” (end quote).
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FROM THE BOOK: “SHARP DRESSED MEN – ZZ TOP” BY DAVID BLAYNEY: “After his quantitative revelations, Linden informally but immediately became ZZ Top’s rehearsal hall theoretician, producer, and engineer.” (end quote).
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FROM THE BOOK: “ZZ TOP – BAD AND WORLDWIDE” (ROLLING STONE 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 many connected with the band for many years, were never ever acknowledged.”.
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY): “The important position Linden occupied in the procedure of structure El iminator was shown eloquently when it comes to tune Under Pressure. Billy and Linden, the studio wizards, did the whole tune all in one afternoon without either the bass gamer or drummer even knowing it had actually been composed and recorded on a demonstration 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 drawn their attention to the possibilities of the new recording technology and particularly to the appeals of the straight drumming pattern, as utilized on a set drum machine. On ELIMINATOR ZZ Top unveiled a simple brand-new musical combination that cracked open a huge around the world market.
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FROM THE BOOK: “SHARP DRESS MALE – ZZ TOP” BY DAVID BLAYNEY: “REMOVER went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat paces and organizing all the product. Rolling Stone ultimately chose 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 ELIMINATOR and gotten the just compensation he was worthy of. Instead he got ostracized.”.
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FROM THE BOOK: SHARP DRESSED GUYS – ZZ TOP by DAVID BLAYNEY: “He (Linden) returned with the young boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps 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 remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the entire period of ELIMINATOR rehearsals, and was like among the household … as he (Linden) worked at the controls day after day, viewing the album (REMOVER) take shape, his wish for a big advance in his production career undoubtably skyrocketed. ELIMINATOR marked the very first time that ZZ Top was able to practice an entire album with the recording studio gadgetry that Billy so enjoyed. With Linden Hudson around all the time, it also was the very first time the band could compose, practice, and record with someone who knew the men and the machines. ZZ Top was complimentary to go musically crazy, however also musically crazy like a fox. Linden made that possible too.”.
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FROM THE BOOK “ZZ TOP – BAD AND WORLDWIDE” (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): “… SHARP DRESSED GUY which utilized Hudson’s 120 beat-per-minute theory. The feel, the interest, the stylish beat and crisp tidy sound moved REMOVER into the ears and hearts of 5 million people who previously might have cared less about the boogie band of RIO GRANDE MUD.”.
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THE BEST ROCK REBRAND OF PERPETUITY (by Jason Miller): “Sound engineer Linden Hudson looked into the paces at which the most popular rock tracks in the charts had been taped. His information showed that there was something extremely special about 120 beats to a minute. Gibbons chose to tape basically the whole of ZZ Top’s new album at that pace. The result? 1983’s Remover. It was named after Gibbons’ Ford Coupé; it had actually been developed through a distinct mix of creative partnership and information mining. And it was about to 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 type of pre-producer for EL LOCO … … Hudson assisted construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That caused these preliminary sessions, and then a closer cooperation on 1983’s ELIMINATOR.
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FIREDOGLAKE DOT COM: “I like Billy Gibbons’ guitar tone rather a lot, but I lost all regard for them after checking out how terribly they fucked over Linden Hudson (the man who was the brains behind their move to include synthesizers and co-wrote the majority of their career-defining Eliminator record).”.
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EMAIL FROM A ZZ TOP FAN TO LINDEN (Among Numerous): “I compose you today about damaged hearts, one is mine and one is for you. I have been a ZZ Top fan given that I was 6 years old. I purchased REMOVER vinyl from Caldors in Connecticut with the $20 my grandmother offered me for my birthday. I will spare the # 1 fan epic legend of tee t-shirts, bothering 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 admiring this band, however more Billy G, as he has actually seemed to break without the Lone Wolf shackles and it ended up being more clear this was his infant. 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 read Blayney’s book around 1992 or so, I remained in middle school and I was familiar with your name for a very long time. I didn’t realize you suffered so significantly or that your involvement was so considerable. It pains me to discover my idol not only cheated but did something so wrong to another being. I now understand this is where exaggerations and enjoyable caring bullshit and poor morals and ethics are identified and where I would no longer consider myself to admire Billy. I enjoy to joke and I enjoy credit however I have constantly prided myself on ethics and concepts … I hold them dear. I wanted to state, the snippet of UNDER PRESSURE you played sounded brand-new wave and I might like it more than the ended up product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and best of luck. James.”.
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VINYLSTYLUS DOT COM: Much of Remover was taped at 124bpm, the pace that thought about perfect for dance music by the band’s associate Linden Hudson. A hopeful 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 end up on both El Loco and Remover, his contribution wasn’t credited when either record was released.
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INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was launched 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 denied it.
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MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):.
Nevertheless, in spite of the album credits bass-player Dusty Hill and drummer Frank Beard were changed throughout the recording process by synthesisers and a drum device configured by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite getting no credit at the time. Gibbons would later on state of Hudson that “he was a gifted songwriter and had production skills that were leading the pack sometimes. He brought some elements to the leading edge that assisted reshape what ZZ Top were doing”. Hudson did no less than reveal the band how to stay pertinent in an age where 3 people from Texas with long beards (except notoriously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.
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