ORANGE WINTER SKY – FINLAND

ORANGE WINTER SKY - FINLAND

This photo taken by Linden Hudson (amateur photographer). Linden was in Finland working on a film crew. Year 2006. It was cold. The days were short there in the winter and the sun often look orange like this, beautiful sky.

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 material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
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 said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But 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).
+++
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 conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
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 fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely 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 associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
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 specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 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 deserved. Instead he got ostracized."
+++
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 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 very first show).
+++
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 whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much 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 been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ 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 denied it.
+++
MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite 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 at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2018-09-30 16:30:02

Tagged: , beautiful sky , orange , orange sky , cold , finland , pori , travel , europe , power lines , towers , transmission towers , electric , steel towers , winter sky , low sun , dim light , clouds , artwork , photography

Super Sunday: Unlocked 128GB Huawei Mate 10 Pro from just $499.99

Super Sunday: Unlocked 128GB Huawei Mate 10 Pro from just $499.99

via WordPress ift.tt/2NQPFbE

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Super Sunday: Unlocked 128GB Huawei Mate 10 Pro from just $499.99 syndicated from barbarawalston.wordpress.com/

Posted by JohnEllrod on 2018-09-30 14:24:39

Tagged: , Uncategorized

BRUNETTE WITH SHADOWS & LIGHT

BRUNETTE WITH SHADOWS & LIGHT

This is a freeze frame taken from video that was shot by Linden Hudson (amateur photographer). She’s tall, fit, athletic, college degreed, pro model, and a kick boxer (ouch).

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 material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
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 said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But 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).
+++
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 conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
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 fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely 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 associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
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 specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 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 deserved. Instead he got ostracized."
+++
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 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 very first show).
+++
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 whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much 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 been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ 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 denied it.
+++
MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite 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 at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2018-09-29 00:10:46

Tagged: , alexis , pretty , cute , usa , american , american girl , american woman , model , professional model , femme , muher , mujer , donna , young lady , young woman , woman , women , girl , girls , female , girlfriend , beauty , nice , photography , lighting , sexy , cozy , warm , friendly , she , photo_model , photo_session , colored_lights , colors , pretty_american_girl , bonita , art , art_photography , pretty_girl , pretty_woman , chick , babe

Squad Stories: The Pentagram #1

Squad Stories: The Pentagram #1

The Belle Reve conference is a familiar sight to those in the front row, and a growing familiarity to the eight-fingered man in the row behind, but to Bito Wladon, the sight is new and unpleasant. Gone are the Balkan trappings of his home country. Gone even is the urban roar of Coast City, fetid and unbearable as it was. Now, there are only the stark gray walls of the Belle Reve conference room, the killers in the rows ahead, and the Steel-eyed woman on the podium, her hands rested on her hips.

Unlike that buffoon from Vlatava, Wladon wanted no part in the criminal element, and yet here he is. In his eyes, he was arrested unjustly by that imbecile with the green ring. The diamonds that rest in The Coast City Museum hail originally from Modora, it was simply Bito’s intention to return them to their rightful place.

And maybe gain some much-desired power in the process.

Boomerang: So what’s on the menu today, eh Waller?

Bito, under his breath: Prattling fool.

Boomerang: Ay! Excuse me?

Waller: Got something to share with the class, Sonar?

Bito: I implore you, do not link me with those names the filthy tabloids gave me.

Waller: Too late, suck it up. Now, it’s come to my attention, and to the attention of some the higher branches, that there’s been a cult cropping up and kidnapping young girls near the DC area. Most of those girls have been the daughters of prominent senators. Naturally, they want this scourge stopped, and, provided they’re still alive, the girls recovered.

Deadshot: Who’s the cult? Anyone we tangled with before?

Waller: It isn’t, actually. They call themselves The Pentagram.

Angle-Man: The what?

Waller: Did Creeper rip off your ears, too, Bend?

Angle-Man sinks lower into his seat, his arms crossed. Wladon notes that Bend seems not to be taken by The Waller Woman either.

Waller: Supposedly they were active during the whole War for The Card fiasco, but no one had any indication of their activities until after the dust cleared. Apparently they never actually got involved. We have a general location thanks to The Answer’s obsessiveness, and No-ears here will take you as close as you can get. You can surmise what to do from there.

Sonar, bitterly: That’s putting a lot of faith in us, isn’t it.

Boomerang, smirking: Careful now, kid. One wrong word and. . .

Deadshot: Boom.

Boomerang: Speakin’ o’ ole Exclamation Point, will he be guiding us on our merry way?

Deadshot: Also seems like Orchid would be good for this raid.

Answer, over their earpieces: Orchid and I are sitting this one out. The best I can do for you on this one is shout obscenities in your ear. If that helps you, then I’ll be fucking glad to do it! I will be monitoring the two naughtier operatives on the computer here though, so smile, you’re on bio-reader!

Deadshot: What about Orchid?

Answer: She’s uh, busy. (hey don’t touch me there), and uh, she’s not feeling herself (yeah no, there’s fine) and uh, she has to wash her cape. Answer out.

Boomerang: I’d say she’s not feeling *herself* in the slightest, if ya know what I mean, eh?

Sonar: Why do you suffer these fools?

Waller: Because so far they’ve been useful. I suffer you too, don’t forget. Now, anything else?

Deadshot flicks his cigarette butt away. It bounces off the wall and lands in the trash can across the room.

Boomerang: Showoff.

Deadshot: I got a question. Seein’ how last time we were blindsided by Rustam’s boys, who are we up against here? Specifically.

Waller: Answer?

Answer: Confound it, don’t you know I’m planting flowers?

Waller: I’m not going to begin to unpack that. Just tell us who’s in the current roster of the Pentagram, and you’ll be free to tend to your . . . garden.

Answer grumbles: Alright fine. Their leader is some short oaf calling himself Brimstone, probably with BO to match. After that is Deacon Blackfire, one of the countless nutjobs from Gotham’s sewers. Then you’ve got Blaze and Satanus, the brother-sister duo almost literally from hell, and last, and probably least, Hellhound. He’s a dog lover.

Waller: And their power sets?

Answer: Nope, that wasn’t in the deal, now if you’ll excuse me- *the line goes dead*

Sonar: Disgusting.

Boomerang: Face it, Amanda, y’finally found a personality stronger’n yours.

Waller: That remains to be seen. If there’s nothing else, it’s time to roll out. Task Force X is already above-site, combating a fabricated Seven-headed dragon of our own design, I advise you get on your way. Bend?

Angle-Man, standing up grudgingly: Alright, it’s not like we have all the same incentive. I’d like to be paid too, you know.

Waller: Don’t push your lu-

Before she can finish, the Squad have vanished in a green triangle of light.

—————————————————————-

Somewhere, deep under the foundations of one of Washington’s DC most-loved monuments, under the massive marble throne and kind, watching eyes cast in marble, something detestable and bloody has been taking place. Over the past few weeks, four girls have been spirited away through a specially-cut door in the base, and never heard from again, their screams echoing through the freshly-carved halls and lost amidst the barking of hellish dogs.

The fifth of those girls, newly kidnapped, lies semi-unconscious on an oak table older than the monument itself. The air is filled with the haze of burning candles, the light is low, and five figures stand in symbolic position.

They are ready to complete the ritual.

Brimstone: And, with this mystic dagger, may the wicked lord that we sacrifice this virgin blood to,

Blackfire: Hear our praise,

Satanus: Accept our gift,

Blaze: Grant us power,

Hellhound: And- *KNOCK KNOCK KNOCK.

The five stand in silence for a moment. This wasn’t supposed to happen. Perhaps it was just more of the foundations collapsing.

Hellhound: And- KNOCK KNOCK KNOCK.

Hellhound: Alright, what the hell.

Brimstone sighs: Someone get the door.

Blackfire: What do you MEAN get the door?

Satanus: I for one, find it entirely obvious what he means. Hellhound, get the door.

Hellhound: Why me?

Blaze: Cause you’re closest, puppy.

Hellhound: You’re closer than I am! Blackfire is closest!

Blackfire: That is DEACON Blackfire to you, mutt!

KNOCK KNOCK KNOCK

Brimstone: For Sweet Satan’s sake, will one of you assholes get the door?

Satanus: Not I, sir!

Blaze: Nor I.

Brimstone: I don’t CARE who’s not getting the door, I only care who IS!

The door slams open with a resounding thud and a flash of green light. The wood nearly shatters against the wall and the sound echoes through the chamber.

Blackfire: WHO DARES!

Deadshot: We do.

Boomerang: Candygram!

Posted by Lord Allo on 2018-09-27 08:17:16

Tagged:

SHOP WINDOW IN ROME – FOOD

SHOP WINDOW IN ROME - FOOD

Snapshot by Linden Hudson (amateur photographer) in Rome Italy 2017 at night. These cheeses looked good, was hungry.

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 material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
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 said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But 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).
+++
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 conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
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 fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely 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 associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
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 specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 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 deserved. Instead he got ostracized."
+++
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 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 very first show).
+++
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 whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much 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 been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, 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 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 denied it.
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MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite 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 at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2018-09-28 01:03:05

Tagged: , rome , shop , cheese , late night , food , italy , italia , roma , europe , delicious , cheeses , foods , italian , italian_cheese , travel , great_food , at_night , shop_window , provolone , provolone_del_monaco , caciocavello , caciocavello_cheese

ANTWERP BELGIUM – NICE

ANTWERP BELGIUM - NICE

Photo by Linden Hudson (amateur photographer). Antwerp is a city very near Brussels. There are some very cool buildings there and tons of amazing beers.

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 material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
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 said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But 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).
+++
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 conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
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 fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely 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 associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
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 specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 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 deserved. Instead he got ostracized."
+++
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 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 very first show).
+++
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 whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much 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 been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ 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 denied it.
+++
MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite 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 at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

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21 Things You Won’t Miss Out If You Attend The History Of Claymation | the history of claymation

21 Things You Won’t Miss Out If You Attend The History Of Claymation | the history of claymation

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Bush Mechanics Claymation | Motor Museum – the history of claymation | the history of claymation

Adventure amateur are some of my best favorites. I was added of a LucasArts guy than a Sierra guy, but both studios fabricated absurd being in the backward ‘80s through the ‘90s: The Monkey Island series, Space Quest, Sam & Max, King’s Quest, Full Throttle, etc. They were acute and, in an era area video amateur had never been anticipation of as comedies before,often funny. They were additionally acknowledged by any and all metrics.

Until they weren’t.

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Telltale was accomplishing aggregate it could to accompany chance amateur aback into the boilerplate – they aloof bare the apple to listen.

As gaming confused into the third dimension, chance games, by and large, didn’t appear forth for the ride. And so they were larboard behind, with layers of dust acquisition on them. They were forgotten, acutely apprenticed to a specific time and abode in the industry’s history. That is, until Telltale came along.

But what abounding may not bethink is that Telltale didn’t appear out of the aboideau with the wind at their back. The Northern California aggregation — founded by Kevin Bruner, Dan Connors, and Troy Molander and headed by ex-LucasArts veterans like Dave Grossman (whose credits included Day of the Tentacle and Monkey Island 1 and 2) — capital to accomplish chance amateur but they hadn’t absolutely ample out how to accomplish them for a 21st-century admirers yet. Their big abstraction was episodic; they were abiding about that. They started with acceptable point-and-click book like a Sam & Max awakening and adaptations of accepted backdrop like the clear atypical Bone and the claymation alternation Wallace & Gromit, award added analytical than bartering success in the early-going.

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They acclimatized and evolved, continuing Guybrush Threepwood’s adventures in a new anecdotal Monkey Island series, bagging the Aback to the Future license, and alike landing the rights to Jurassic Park to accomplish a (not decidedly good) chance that took abode on Isla Nublar afterward the contest of the aboriginal film. Telltale was accomplishing aggregate it could to accompany chance amateur aback into the boilerplate — they aloof bare the apple to listen.

Telltale’s The Walking Dead was watercooler-talk-worthy every time a new chance dropped.

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Enter Sean Vanaman, Jake Rodkin, Robert Kirkman, and a new access to Telltale’s games. Jokes were traded in for drama, amusement for emotion. Telltale’s aboriginal division of The Walking Dead took the exact appropriate access to the exact appropriate authorization at the exact appropriate pop-culture moment in time. Lee begin Clementine, abashed and alone, in the treehouse at her parents’ abode in the premiere episode, and aback Telltale’s The Walking Dead was watercooler-talk-worthy every time a new chance dropped, appropriate up through the duo’s affecting aftermost meeting.

Awards and Bold of the Year nominations (including from IGN) followed, and Telltale connected to comedy it acute with their new acceptable formula. They acclimatized the Fables clear novels into one ablaze division of The Wolf Among Us, partnered with Gearbox on the arch Tales from the Borderlands, gave us our aboriginal accurate Bruce Wayne bold with their booty on Batman, and more. Telltale had done it: they’d auspiciously active chance games. You could comedy them on PC, consoles, tablets, and smartphones. They were everywhere, agreeable by anyone. They weren’t perfect, by any stretch: their bold agent should’ve been replaced years ago, and they apparently advance themselves too attenuate afterwards they begin success. But the chance bold brand – and absolutely video amateur in accepted – were bigger off because of Telltale, and I will consistently bethink the aggregation and the abundantly accomplished bodies who formed there affectionately for that.

Ryan McCaffrey is IGN’s Executive Editor of Previews. Follow him on Twitter at @DMC_Ryan, bolt him on Unlocked, and drop-ship him Taylor Ham sandwiches from New Jersey whenever possible.

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16 Reasons Why People Like Moving Wallpapers For Windows Xp | moving wallpapers for windows xp

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Windows 10 is a axis point for Microsoft, which hopes to balance afterwards the Windows 8 disaster, so accepting appropriate every distinct affection of the new operating arrangement is analytical for the company.

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Today, Redmond appear the official wallpaper which would be acclimated in Windows 10, answer that this photo is absolute and no Photoshop has been acclimated to actualize it.

Instead, the aggregation catholic to San Francisco to set up a flat area the Windows 10 logo was advised application light, lasers, and projectors to actualize the alarming aftereffect that you can see in the video below.

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“Blasting lasers, pumping smoke machines, black filters and falling clear dust. Not all desktop images are created equal. Take a attending abaft the scenes at the authoritative of the iconic Windows 10 angel in our accord with apple renowned, San Francisco-based architecture administrator Bradley G. Munkowitz aka GMUNK,” Microsoft explained in the description of the video which you can watch below.

With Windows 10, Microsoft is aggravating to actualize a new iconic wallpaper that would be at atomic as acclaimed as Bliss, the official desktop accomplishments that was acclimated in Windows XP.

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Obviously, it all depends on how acknowledged Windows 10 will absolutely be, but there’s no agnosticism that the wallpaper plays a actual important role for the all-embracing attending of the operating system, abnormally for first-time users who install the new Windows afterwards July 29.

The wallpaper matches the aphotic affair of Windows 10, which is already accessible in the cabal examination builds, so no abruptness here. Obviously, it won’t be animated, but Microsoft could use a agnate action for the cossack awning in the final adaptation of Windows 10.

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Windows 10 will clearly admission on July 29 and will be offered as a chargeless advancement for users active 18-carat Windows 7 or 8.1 on their computers. Enterprise barter still accept to pay for Windows 10.

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26 Disadvantages Of 26 Mustang Performance And How You Can Workaround It | 26 mustang performance

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Like food, music, or literature, every country puts its own ambit on cars. While European and Japanese firms are accepted for emphasizing handling, the acceptable American access has been all about power.

In the 1960s, American automakers began capacity the better engines they could acquisition into the smallest, lightest anatomy that would authority them. It was a time back achievement was as important a business bend as smartphone connectivity is today, and it birthed American beef cars.

Traditionally, a beef car’s achievement is authentic by the admeasurement of its engine. As the adage goes, there’s no backup for displacement. Avant-garde American achievement cars are added well-rounded, but big engines and lots of application are still their calling card.

Many abundant beef cars accept been unleashed over the years, but this account represents our claimed favorites. We’ve got article from every above manufacturer, including affluence of abstract and a scattering of newer models. We listed agent displacement in both cubic inches and liters for the earlier cars, back that’s how they were articular back new.

Plymouth Barracuda (1964)

While the Mustang is accustomed with creating a class of “pony cars,” the Plymouth Barracuda absolutely exhausted the Ford to showrooms. But Plymouth didn’t bazaar its car with the aforementioned alacrity as Ford, and “Fish Cars” aloof doesn’t complete as good. The Barracuda acquired into a Plymouth-badged adaptation of the Dodge Challenger, complete with an accessible 426-cubic-inch Hemi V8. While Plymouth is gone, rumors occasionally apparent that Chrysler is planning to recycle the Barracuda name for use by addition brand.

The Pontiac GTO is arguably the aboriginal beef car. Numerous American achievement cars preceded it, but the GTO was the aboriginal to amalgamate an colossal engine, affordable pricing, and business that emphasized performance.

In 1964, Pontiac put a 389-cubic-inch (6.4-liter) V8 into its Tempest, blank restrictions put in abode by the GM higher-ups on agent sizes for abate cars. To top it all off, Pontiac blanket a name from Ferrari. “GTO” is abbreviate for “Gran Turismo Omologato,” cogent hunt cars that charge accept road-going counterparts. The Pontiac GTO wasn’t congenital to race, but the name still articulate cool.

The GTO kicked off a beef car accoutrements race, with Pontiac’s adolescent GM divisions, as able-bodied as rivals Ford, Chrysler, and AMC accepting in on the action. The GTO itself grew added elaborate, with bigger engines and added affable styling. It eventually disappeared, abiding briefly in the aboriginal 2000s as a rebadged Holden Monaro. That car wasn’t as able-bodied accustomed as the 1960s aboriginal and was bound scrapped. Pontiac itself didn’t survive abundant longer.

Chevrolet Camaro Z/28 (1967)

The aboriginal Camaro Z28 was congenital for Trans Am racing, area it faced off adjoin the cast of the Ford Mustang Boss 302 and Dodge Challenger T/A. It alveolate an absorbing record, acceptable the championship in 1968 and 1969. On the street, the Z28 name has been activated to assorted hot Camaro models over the years, best afresh a hardcore, track-focused adaptation of the fifth-generation Camaro.

American Motors Corporation (AMC) was the underdog compared to Detroit’s Big Three, but the automaker from Kenosha, Wisconsin had its moments. The AMX was one of them.

Rather than aloof soup up a accepted assembly car, AMC beneath the wheelbase of its Javelin to actualize a audible two-seat achievement model. The AMX had muscle, in the anatomy of an accessible 390-cubic-inch (6.4-liter) V8, but additionally a different look. Alike today, the aboriginal AMX stands out amidst the sea of Ford, GM, and Mopar beef cars that flood every car show.

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Like abounding added beef cars, the AMX atrophied over the years. It eventually became aloof a cast activated to added banal AMC models, culminating with the blah Spirit AMX, afore dematerialization altogether in 1980.

Dodge Charger (second generation, 1968)

The Dodge Charger launched in 1966 as a glassy fastback, and lives on today as a four-door sedan, but it’s the second-generation archetypal awash from 1968 to 1970 that became an icon.

The 1968-1970 Charger is apparently one of the best apparent American cars every made. Aloof the attractive administration abandoned would accept ensured that, but the Charger is additionally accustomed from endless cine and television appearances, from The Dukes of Hazzard to Bullitt.

The Charger wasn’t all appearance and no go. A alternative of able V8 engines ensured it could accumulate up with Ford and GM rivals on the street. Back engineers begin out it was about as aerodynamic as a brick on the track, they created the Charger 500 and active Charger Daytona variants, arch to celebrity on the NASCAR circuit.

Ford Mustang GT (second generation, 1968)

The 1968 Ford Mustang GT may be the best iconic beef car of all, acknowledgment to its co-starring role in the Steve McQueen cine Bullitt. McQueen piloted a Highland Green Mustang with a 390-cubic-inch V8 to aeon in what abounding accede to be the greatest cine car hunt of all. To bless Bullitt’s 50th anniversary, Ford created a special-edition 2019 Mustang, and helped accompany one of the aboriginal cars acclimated in the cine out of hiding.

Plymouth Alley Runner (1968)

By the backward 1960s, the aboriginal abstraction of beef cars as affordable achievement cars seemed to accept run its course. Beef cars were accepting added busy and, consequently, added expensive. That’s back Chrysler’s Plymouth analysis saw an befalling for a back-to-basics model.

The Alley Runner was annihilation added than an accustomed car with a big agent and copious references to a assertive animation character. On the outside, the Alley Runner didn’t attending like annihilation special, but it arranged some austere firepower beneath the hood, including Chrysler’s allegorical 426 (7.0-liter) Hemi V8. In 1970, Plymouth adapted the Alley Runner with a automated adenoids and massive rear addle-brain to actualize the Superbird, a NASCAR-inspired affinity to Dodge’s Charger Daytona.

Things went decline from there, though. Later Alley Runners lacked the audacity of models from the backward ’60s and aboriginal ’70s. Today, not alone is the Alley Runner gone, but so is the absolute Plymouth brand.

Ford Mustang Boss 302 (1969)

The aboriginal canicule of beef cars were all about NASCAR and annoyance racing, but those weren’t the alone motor sports disciplines beef cars were created for. The SCCA Trans Am road-racing alternation afire a war amid Ford, General Motors, Chrysler, and AMC.

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Ford’s weapon of best was the Boss 302, a adaptation of the Mustang congenital accurately to win in the Trans Am. The “302” referred to the car’s 302-cubic-inch (5.0-liter) engine, congenital to amuse Trans Am rules attached agent displacement.

In the easily of disciplinarian Parnelli Jones, the Boss 302 took the action to Ford’s rivals, arch to some ballsy on-track battles. While far from the alone memorable Mustang achievement variant, the Boss 302 was so affectionately remembered that Ford active the name for a limited-edition archetypal in 2011.

Pontiac Firebird Trans Am (1969)

Today, the Trans Am is apparently best accepted as the car Burt Reynolds collection in Smokey & The Bandit, but Pontiac launched the archetypal in 1969. It was alleged afterwards the Trans Am hunt alternation and positioned as a high-performance adaptation of the Pontiac Firebird, itself a accompanying of the Chevy Camaro. The Trans Am was one of the few beef cars to survive into the 1970s, continued abundant to accomplish figure cachet with Reynolds at the wheel.

Chevrolet Chevelle SS 454 (1970)

In the aureate age of beef cars, the Super Sport (or SS for short) cast denoted high-performance versions of Chevy’s boilerplate models. It’s survived to the present day on the Camaro SS and afresh discontinued SS sedan, and that’s acknowledgment to allegorical cars like the Chevelle SS.

The Chevelle SS was in abounding means the quintessential beef car. Chevy took its bread-and-butter midsize car and blimp a assumption of massive V8 engines beneath its hood. The carelessness culminated with the SS 454, which debuted in 1970 with a 454-cubic-inch (7.2-liter) engine. With that big agent and a beautiful exterior, the SS 454 represents the aiguille of archetypal beef cars. As the 1970s wore on, emissions standards and allowance companies gradually dead them off.

By the 1980s, the aureate age of beef cars was continued gone. But Buick was able to accumulate the abstraction alive, swapping big, artlessly aspirated V8s for a 3.8-liter turbocharged V6. With that additional engine, the Buick Grand National was one of the quickest cars of its time, and looked like it was advised by Darth Vader.

By 1987, the Grand National was on its way out, but Buick gave it a abundant sendoff. A bound cardinal (547) of GNX versions were built, with engines acquainted to aftermath 276 hp and 360 lb-ft of torque. The GNX ran the division mile in 12.7 abnormal at 113 mph — quicker than a Ferrari F40.

Like the Corvette, the Viper is absolutely added of a sports car with American beef car DNA. Congenital about a massive V10 engine, the Viper was accepted for actuality both refreshingly basal and difficult to drive, attributable to Dodge’s attrition to avant-garde disciplinarian aids like absorption control. The last-generation Viper acquired that feature, as able-bodied as added animal comforts, but that wasn’t abundant to accumulate it alive. At atomic Dodge beatific it out in a bonfire of celebrity with the ACR, a hardcore archetypal that set annal at 13 racetracks.

Ford Shelby Mustang GT350R (2015)

With the current-generation Mustang, Ford approved to body a car that would not alone address to acceptable American fans, but additionally do action with European sports cars. The Shelby GT350R was Ford’s abstruse weapon.

Inspired by a archetypal 1960s archetypal of the aforementioned name, Ford launched the Shelby GT350 in 2015, and with it the hardcore “R” variant. Both versions are powered by a high-revving 5.2-liter V8, but the GT350R takes things to the acute with carbon cilia auto and a callous access to weight savings. The rear seats and air conditioning are alternative extras.

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The aftereffect is a car that is abundantly able on the track, but additionally refreshingly analog. While best avant-garde achievement cars await on electronics to go fast, the GT350R relies on well-sorted automated components, and leaves the blow up to the driver.

Chevrolet Camaro ZL1 (2016)

In Chevrolet-speak, the appellation ZL1 denotes the fastest Camaro anytime built. It boasts 650 application from a supercharged, 6.2-liter V8 agent adopted from the Corvette Z06. Buyers can stick with the accepted six-speed stick, if you’ll absolution our pun, or pay a little bit added for a 10-speed automated transmission. Either way, the eight-cylinder routes its achievement to the rear auto — the way the beef car celestial capital it.

It’s not all about straight-line speed, though. This Camaro can handle, too, acknowledgment to a well-tuned anatomy additional adapted anchor and abeyance parts. Afterwards active the ZL1, we assured it “elevates the Camaro out of the beef car ranks into the branch of world-class sports cars.”

Chevrolet Corvette ZR1 (C7, 2017)

The Corvette is absolutely added of a sports car than a beef car, but Chevy has produced several abundant ‘Vettes over the decades that are aces of both titles. The current-generation C7 Corvette may be the best able aggregate of sports car and beef car attributes yet.

The C7 ancestors is currently crowned by the ZR1, the best able Corvette anytime produced.Based on the Z06 belvedere with a few changes, the agent appearance a 6.2-liter V8 with an upgraded supercharger, a bifold ammunition bang system, and four new radiators, adopting achievement to 755 hp and 715 lb-ft. The achievement assault the Z06 and alike the Dodge Hellcat out of the water, and with a top acceleration of at atomic 210 mph, it’ll leave about every car on Earth in its dust. The agent can be akin to either a seven-speed chiral or an eight-speed automatic.

Balancing out the ability is a anatomy set up for clue driving, as able-bodied as an cyberbanking bound blooper differential, alluring ride control, and achievement absorption management. The aforementioned goes for the Brembo carbon bowl brakes, authoritative abiding you can accompany the ZR1’s backpack to a stop consistently. Put it all calm and the ZR1 isa ample achievement car for drivers who appetite to do added than aloof go in a beeline line.

Dodge Challenger SRT Demon (2017)

Many automakers accept congenital track-focused cars for active on alley courses, but Dodge is the aboriginal to administer the aforementioned akin of accuracy to a agent congenital for the beef car’s accustomed environment: The annoyance strip. The Demon will run the division mile in 9.65 abnormal at 140 mph. On the way, it will do 0 to 60 mph in 2.3 abnormal — and cull a wheelie.

That batty achievement is due in allotment to an 808-hp (840-hp on 100 octane antagonism fuel) 6.2-liter supercharged Hemi V8, but additionally to some ambush accouterments ahead apparent alone on hunt cars. The Demon runs on racing-style annoyance radials, uses a accessory alleged a “trans brake” to lock the chiral while the car is on the starting band for quicker getaways, and comes accepted with alone one seat. The akin of adherence to quarter-mile times is about frightening, and it’s absurd that we’ll anytime see annihilation like the Demon again.

Jeep Grand Cherokee SRT Trackhawk (2017)

Who said a beef car needs to accept two doors? Certainly not Jeep engineers. They adopted the boss 6.2-liter Hellcat V8 agent from sister aggregation Dodge and blimp it amid the Grand Cherokee’s fenders to actualize the world’s best able SUV. Meet the Grand Cherokee Trackhawk.

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The about-face places 707 application and 645 pound-feet of torque beneath the driver’s appropriate foot. All that ability campaign to the four auto via an eight-speed automated transmission. Anchor and anatomy upgrades accumulate the army in check. The result? It’s aggregate you adulation about the Grand Cherokee, including the amplitude for bodies and gear, in a souped-up amalgamation that blasts through the division mile in 11.7 abnormal at 116 mph.

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