Lights, Camera…

Lights, Camera...

} Part 7 of 7. This is the last installment of what has been the Flickrverse’s backstory of Clayface. For the complete final arc, start at “Reprise”. I want to express a thank you (that can’t even begin to be big enough) to Duncan Young, Lord Allo, and though they are inactive, Brute Eatin and FeelOkayInc as well, for that first invitation to be canon in the universe they started. And also, to anyone that’s stuck through even one of these stories, or left a kind comment: This really has been a blast, because of you.

The charge is fleeting. Morgan immediately butts heads with Bonecrusher and comes to a standstill. Ivy vaults out the way of several gunshots, with the aid of a stalk erupting through the pavement. Electro uses the plant as cover to retaliate with his own blaster. I head straight for Flannegan, still standing over my son, but Diablo throws up a funnel of fire in my way.

Zodiac: To hell with this. I’m a lover, not a fighter.

He releases smoke pellets from a cancer symbol on his suit, and just as the King of Cats lunges for him, he vanishes.

Electro: Recreant deserter!

Sims still stands out of range, surveying the pandemonium. He shakes his head at me.

Myself (glowering): You’ll beg for death, Sims. For me.

Sims (ignoring me, his words finally having tired): The big man sends his regards. He couldn’t make it, but he wanted you to know he’s thinking of you.

At that, I begin to realize several faces in the sea of challengers before me are painted. Pastel cheeks. Bright hair. Clowns. HE was still there, in the background, taunting me. I barrel through three of the henchmen, slicing one across the chest. Sims only smiles.

***

Garfield Lynns clambers out of the rubble. His hand is still tight around his tool’s trigger, but little more than a spark spurts forth in response. Fuel is leaking from his tanks fast. And three of Sims’ lackeys are approaching: Planet Master, some hulking devil… thing, and that green creep that was sucking up to Sims.

Gar (only half-kidding): … Batman?

Bulb: He’s taking a swim.

Burke: Any less-pathetic last words?

Gar: Gosh, uh, how does Sims taste?

Burke (lowering his palms): I don’t get it.

Bulb: I do. Let’s haul him back there so the boss can take this chump’s ‘headshot of death’. I didn’t develop my greatest handiwork for it to be used ONCE.

NKVDemon: I kill him here. Camera doesn’t need them all for himself.

Burke: But I wanna try the suit out on-

Bulb: NEVER MIND, someone just off him!

NKVDemon: до свида́ния, little bug.

Gar: Okay, what I really meant was…

He discreetly taps his flamethrower’s muzzle to the fuel puddle.

Gar: Burn.

The trail ignites and flows into Gar’s wrecked pack. It detonates, propelling Gar straight into Burke, too fast for NKVDemon to take aim, and back towards Karlo and the others. The blast also catches Bulb, flinging him, alight and screeching wildly, into the water.

***

I’ve gained next to no ground on Diablo, continuously swarmed by underlings and nobody-villains. In my peripheral vision, Morgan has thoroughly taken Harbinger’s Bonecrusher body out of the fight, but is being menaced by Swagman, Pyg and Karl. Ivy is still on the defense, and Electro is running headlong into a billowing ash cloud for a kill. I try to tear away and assist even one of them, only to be assaulted with the sensation of railroad spikes easing into my brain, and a nauseating, distinctive tune being hummed. Tetch had gotten within range. I thrash about blindly, but couldn’t land a single blow, even on the odd minion. Then it ceases, and I’m greeted by Gar holding his flamethrower like a mallet; Tetch, with a bruised jaw, dazed at his feet.

Gar (already dashing away from a hail of gunfire): Don’t take on Sims yet! His secret weapon… I think it’s in his h-

That’s all I can make out before Burke floats down and a gravitational surge tosses car-sized chunks of cement at me from every direction. I briefly make contact with my son’s stare before I’m entombed by the avalanche.

***

Ivy endures her plants cries as they choke on the flames that are now spreading everywhere. A few Joker goons are wrenched into the ground by enraged roots. She spies Anarky, on the heels of Gar, and scoops him up easily in a tangle of wicked-looking briar thorns. He howls, until he realizes it’s only heightening the agony. Ivy draws him closer.

Ivy (venomously): My son is going learn you and your friends are not the most terrifying force in Gotham. I am.

Ulysses (excruciatingly collecting himself in his final breath): There’ll be more h-… after me. Ngh… I AM Gotham.

His thumb pulls taut a cord under his jacket; his vest is rigged. Ivy narrowly grows a mass of branches in front of herself as the explosion shakes the entire yard.

***

The shockwave helps clear the debris suffocating me, but I make it no more than a step outside my crater before Burke has attacked again, icing me over to a Plutonian temperature. I’m helpless as I see NKVDemon approaching Gar’s hideaway; Diablo, readying to torch a pile of lumber Ivy may or may not be alive under. Electro springs out of a recently-formed ditch and zaps Dorian with his firearm. Before my eyes, the mad doctor shrinks to the size of a tangerine, and Electro gleefully crushes the pitiful thing. I would have gladly turned away, if not for my cocoon. What have I wrought?

Electro’s celebration is cut off by shrapnel ripping into his shoulder. He trips. I hear a muffled decree of revenge before he hits a button on his belt and warps into nothingness, just as Swagman fires at him again. Morgan bolts at him from behind, with Pyg’s cleaver wedged in his collarbone. Swagman draws his own blade and the pair tussles up and over a trench carved in the concrete, out of sight. Burke hasn’t let up on my prison for one moment. Sims… I see Sims looking hideously pleased. He’s about to call it a wrap.

?: A bloodbath, and I reccceived no invitation? I ssshould be insssulted.

a second, deeper rasp, piercing the battleground: Bad call, Camera. Word travels fast in our line of work… I didn’t even ask the coin for this one.

A Thompson submachine gun being cocked finally betrays the location of the echoing voices. Sims’ forces turn as one to see Two-Face and his gang, Dr. Hellfern, The Mad Monk and even Magan, marching in behind me. Some of my oldest comrades. I hadn’t even asked them.

Magan: Hhnngm FNGND.

Sims: … What?

Hellfern (injecting something into his forearm): Er sagte, … ”you’re fucked.”

Diablo acts faster than anyone, lobbing two quick fireballs at the group. Magan unpacks his sandblaster and turns it on the projectiles. The collision fuses the sand to glass, and multitudes of shards fly into Diablo’s eyes, as well as a few larger ones into Burke’s suit. They aren’t dead, but their successive moans tell me that prospect wouldn’t be entirely disagreeable to them. The Mad Monk darts forward, displacing clowns like water, hurling a few straight up. Hellfern is now metamorphosing into a gangling monster, protrusions of unnatural bone all along his back.

Hellfern: Now I have become death.

Pyg (the first in Hellfern’s path): Oh my… you *snort* are ALREADY perfect…

Hellfern backhands Pyg, joining in The Monk’s carnage. Gar and I are freed now, back to back with Dent, as everyone Sims has left rallies. I can’t see Ivy; the rain has increased, and the entire area is a smoldering maze.

***

Ivy stirs under the wood pile, feeling a cold hand on her arm. It’s… The Mad Monk? When did…

Tepes: Ssstay out of sssight; I can sssmell internal bleeding.

She ignores him, standing with some travail. An atrocious creature with Doctor Death’s unmistakable facial hair teeters after the vampire, dragging a body like a doll.

Tepes: The boy, Hellfern! Ssspare only the one that appearsss as Clayfaccce!

Ivy sees they’re making a beeline for Sims and Flannegan; the two, along with her son, are almost backed up to the water’s edge. All their defenses are occupied by Basil. She meets Sims’ eyes from a distance. There’s worry in them. And she savors it.

Sims (pushing along his feeble captive and directing Flannegan with a nod): That’d be your department.

Tepes is upon him first. With his staff, Flannegan counters three swipes from the hooked, undead fingers, and with a fourth move, drives the blunt end into Tepes’ neck. The Monk gurgles and bellows, as Flannegan snaps his own weapon in half, bashing Tepes in the forehead the lantern, and finally thrusting the final section of the rod into his heart. Ivy hasn’t managed more than a few yards, in her condition.

Flannegan: And the next…

Hellfern wails like a phantom, slashing at his much shorter foe. Flannegan lures his attacks towards a stack of tires, rolling out of way for Hellfern to stab into the rubber and negate their lethality. The swings are still powerful though, and just one nicking Flannegan’s calf slings him upside down into a brick wall. Hellfern fails to finish the job, however, downed by two potshots in the skull, courtesy of NKVDemon. The Russian himself receives several stray bullets seconds later, from Two-Face’s gun.

Ivy sees her opportunity, but falters as she nears Flannegan. He wipes a glove on his leg, and bends down to her. He removes his mask.

Flannegan (hovering close enough to feel her breath): Go ahead, plant one on me.

Her fist flies up, but not to his face. A sizable, lush tree with green fruits pushes through the ground, but no vines or barbs reach out at Flannegan. She slumps.

Flannegan: Cute. Yeah, not really my type anyway.

He stretches, looking up at the rain trickling through the leaves and onto his eyes.

Flannegan: You know, I would’ve helped you and Basil if you’d come to me first. Just the luck of the draw. You both could’ve stood to be mor- agh… gAAH… HAUUG-

The sap of the manchineel tree behind Flannegan has already begun exhibiting its blistering effects, only spurred on by the rain carrying it. Ocular and respiratory damages, Ivy knows, will follow next. She and Flannegan both crumple.

***

Magan, Gar and Two-Face are all pinned down, but there doesn’t appear to be any more heavy-hitters to have a chance at slowing me. Sims must still be trapped along the shore. I start to transform into a Joker thug, but I’m blindsided by someone we’ve all overlooked: Hagen. Still taking cheap shots. We trade punches and attempts to draw in the others’ mind, ending in a stalemate just far enough from Sims, and my son, to be seen through the haze.

Myself (to Hagen, via our current telepathic link): I’m sure you’d like to think you’re my arch-enemy, Hagen, but I’m killing you quickly. Not even for Cassie will I give you the satisfaction…

Hagen (also through the link, barely warding off my onslaught): Cassie… alive. Please… make it seem… I’m dead… or Sims will… my friends…

Sims cannot see from his position that Hagen’s hand is stretched out to a manhole, a portion of himself preparing to sever.

Hagen (pleading): I failed his plan… Please Basil… I have… other life.

Any longer and Sims will know something is wrong. I steel myself, hardly believing it as I allow just enough of Hagen to wriggle out of sight. The faintest “Thank-“ reverberates through what I still have left of him in my clutches. Then I lay it on hard, for Sims’ enjoyment.

Myself (with the Hagen decoy): This… is what I promised you… for stealing from me!

Sims sees me consume what he thinks is the last of Hagen, and he fidgets slightly as I turn to him. My sons eyes are so, so empty now.

Myself: Release him. You can’t do anything else.

Sims (hoisting the boy to his feet): Y’know how I know you’re wrong? Because what I’m going to kill you with, I already tried out. On Sloane. Yeah, he DID remember you. I had Hagen replace him because that imbecile, after you burned his face off, FORGAVE you, in his last moments. So I put the sap out of his delusional misery.

I’m at a loss. What could I say, “How could you”? After what I had done?

Sims: Gotham’s underworld is stagnating, with the likes of you at the helm. I’ll be giving back to the lifestyle you claimed to care about… once you’re a lifeless mound.

Can my son hold himself together if he should fall in the water? Don’t let this happen…

Myself: I sent you down the wrong path… Harry. I never would have let you take this road if I knew-

Sims (through his teeth): That I would be better than you at it! You. STILL. Can’t say it!

Myself: Let me be a better father to him than I was to you. I can’t fix anything here, only move past.

Sims (ready to shove the boy): Save it!

A sudden splash startles us both, and a cord fired from the bay a few meters out snags Sims’ pant leg. He hollers as The Batman, still grappling with the yellow scuba diver, succeeds in toppling him. I react just in time to catch my son, who made no movement to stop from falling in himself. And like that, at long last, my child is there, in my arms. He looks like me, but I can’t feel me at all when I hold him; he’s really himself. His own.

Myself: Do you know me?

He finally overcomes his trance. His hand tries to point at me.

Myself: Do you know… your mother?

My son (now extending a hand to the ground): Cold… below…

More violent breaches of the water’s surface ring out, and I’m reminded of our need to flee. Gar is a distance away, just now making it through a stilled battlefield.

Gar (checking his back): Basil? You got him, let’s go!

Myself (to my son, as I begin to lead him away to cover): I understand. I’ll take you back to the sewer. You’ll never have to see any of this again.

His grip now equals my own, and I know he comprehends. I would make good on what I said to her all that time ago. He would be my one wise choice. Not a repeat. Not a mistake. She could heal him again. Knowing that, I could rest.

***

Sims flounders and sputters. Tiger Shark still hasn’t done away with The Bat. And now, Basil is going to get away… The thought flows through his veins, and gives him new strength. He kicks and claws his way out of the mess of cable and cape, overflowing with loathing. He rockets straight onto land on his stomach, letting loose a bloodcurdling shriek, flicking the new mechanism behind his mask. The helmet is waterlogged, but he hears Gar’s concerned cry to Basil; he’s in range. Sims takes the shot.

***

Gar sees Basil and the kid rounding a barrier from Sims’ attack, as he falls back himself, behind a container, shutting his eyes. There’s still a white puff that penetrates his lids, and for an instant, he thinks he’s done for. But he still feels the gravel under his head. The newly acquired burns. He cracks one eye, then crawls back to the open.

There’s Basil… or his son?.. Standing over… dust. Already the pile is being carried away in the runoff.

Gar: Jesus… Basil?

They don’t say anything, just stand like a statue, save for trembling hands. Sims, folded over the dock, rips off his helmet. He too witnesses the scene, and begins half-choking, half falling over himself in hysterics.

Sims (in stitches): It… it doesn’t matter! Ha ha… It’s even more perfect in a way… It…

A spray of bullets scares Sims into submerging. Two-Face hikes up into the scene.

Two-Face: Which of them..?

Gar: I don’t know.

Ivy is has found it in herself to rise again. She sees the last of the unknown victim slide away, in addition to the survivor standing over it. He looks at her with such departure and a quality of lostness. It’s her turn as a statue when the Clayface still living descends into a grate. Gar sprints to it, calling out, but they’re gone.

***

Sims regains his head as Tiger Shark throws him down.

Sims: We’re on… ground…

Tiger Shark: My sub. Bats is shish kebab-ed, good as dead. Now cough up.

Sims (breaking into a laugh again): Good as dead. Aheh. GOOD, as dead. As most things ar-

Tiger Shark (punching him): You full of it? I want my payment, asshat.

Sims (composing momentarily): You’ll get your fortune. The previous holder… won’t miss it. He hasn’t for a while. H-ha…

Tiger Shark (dropping him again): I plan to wear a REAL suit before my career is up, you get me? I’m done with this dress-up crap. You try to get funny, I’ll feed you your hands.

Sims pets the photo in his pocket. Damaged, but distinguishable. Basil Karlo’s last moment alive. It will need a frame.

***

Ivy turns as The Mad Monk, singed and impaled, joins the rest.

Tepes (removing the skewer): Amateursss, ssstill consssulting fairytalesss to ssslay me…

Two-Face: If that putz didn’t drown, he and I are having words… Where are you headed, Lynns?

Gar: … Drink.

Ivy cradles Morgan’s massive head. He now carries Swagman’s machete in his chest too. The blood has pooled as high as his heels.

Morgan: Did Basil… get…

Ivy: Yes.

Morgan (every syllable arduous): He told me… your son. Back when he was better… he liked Creighton. For a name. Had he said…

The bestial man’s muscles stop being ridged. Ivy’s head bows.

Tepes (walking with Hellfern’s broken form): He mussst be returned to hisss lab, with hassste.

He pauses only briefly, before soaring away.

Tepes: My… condolensssesss.

Magan punts a rock.

Two-Face: One of them was still there! Go after him, before-

Ivy: He won’t come back. Neither of them. Whichever one it was.

***

Cassie sits up. Not the first time she had done so, greeted by broken ribs and a nasal cannula. God she hated those. Alfred is standing by, alerted by the same thing that roused her: The Batmobile returning to base. She goes to hop up before Alfred gives her a sad, stern look.

Bruce (bounding out of the car’s cockpit, the engine running): Some of them got away. Kyle. Zodiac. Tetch. I need footage from the entire district.

Alfred: The computer is still irreparable. Sir… the harpoon in your arm-

Bruce (already having located gauze and forceps): Is the reason I’m not telling you this over comms. Find another way. Gordon’s officers can’t round them all up in time; a new one got away aboard a submarine.

Cassie: Basil?

Bruce: You’re in that bed because of him. Worry about recovering.

Cassie: He had to have known I’d survive the fall. Maybe he was forced to. They had his son…

Bruce is already patched up, Alfred trailing and scolding him all the way back down to the Batmobile.

Cassie (laying back): I know it wasn’t you Basil. It had to have been something…

***

News gets around before dawn. Claims to the bodies in the street, most of them false boasts. Money traded from a few macabre bets on the outcome. And Gotham would see no shortage of villains even now. The lowest of the low were emboldened. The mainstay masterminds and gangsters’ trigger fingers were faster than ever. Seeds of rivalry now planted would ensure for the city’s unrest and a hundred more wars to be fought in the night.

In a rundown carnival, a pair of red lips arches with glee, while a battered henchman tells the whole story again. The Clown Prince of Crime kicks up his spatterdashes and toys with an old VHS of the original “Dread Castle” in one hand, and a root beer float in the other.

“Here’s mud in your eye, Karlo. I’ll thank the academy for you.”

***

Ext. A farmers’ market – The next day

Matt Hagen: Carrots, two-forty a bundle? You keep trying to rob us, and I’ll give you your own supervillain name.

The lady grocer across from him: You are perfectly within your rights to take your business elsewhere, pal.

They both laugh.

Matt (paying): My cat likes them; please, show some mercy.

Grocer (still acting): I only make exceptions for friends.

Matt glances around while she’s opening the cash register. No cameras. No stalkers.

Matt: Ouch… say listen, if it’s not indelicate, I haven’t asked… why are you here? In Gotham, not the market, I mean.

Grocer: It’s my hometown, I’ve alway loved it here, especially summer.

Matt rolls his eyes.

Grocer: Yeah, well, what’d you think? I’m stuck here for now. Who isn’t?

Matt: You know, I could leave anytime. I’m kind of over this place. Most of it, anyway. I might even ask a friend to tag along.

Grocer (smirking): Sounds adventurous for the person that always gets carrots, two bags.

Matt: It’s just… someone I knew, who I thought wouldn’t have given me the time of day, did something really amazing for me recently. I think it’s time I let some people in myself. Shed my layer.

***

Int. “My Alibi” – 2:47 AM, right after the dust had settled

Drury Walker: … Just like that? Where’d Sims, and Batman, and that… other guy go?

Gar: Underwater. I don’t know Dru.

Drury: I can’t believe… Sewer King too.

Two-Face: Maybe it wouldn’t be so unbelievable if you’d BEEN there, Moth.

Gar (downing a shot): Piss off Dent, s’nothing he could’ve done.

Drury opens his mouth but says nothing.

Two-Face: Well it turned out there was nothing ANY of us could’ve done. What this stripy oaf failed to acknowledge, same as Sims, Flannegan, all those others, is that Basil was a founder. Of everything that IS, now, for Gotham’s criminals. And if you respected the ounce of credibility YOU have, you’d have SHOWED.

Len (without looking up, with fingers laced on his counter): You can rant out there.

Two-Face: Another softy. It goes for you too, Eraser, you greasy…

He kicks over a stool and points at Drury as he goes.

Two-Face: Don’t let me see your face until you can say you protect the likes of us. That you’ll risk something. I won’t hold my breath.

Magan passes Len Basil’s knife, recovered from the scene, before stepping out.

Len: And Ivy. She’s long gone by now?

Gar: Get me another one of these.

Drury: I swear I would’ve gone, but I’ve, eh, met someone. Being there, on Clayface’s side… it’s that new Tiger guy. If he’d seen me, there’s no way he’d let me near… what I mean to say is, I need his approval with…

Gar: Hey, am I blaming you? And am I asking?

Drury: … Do you love anyone?

Gar: God I need to be more drunk than this.

Len: Lay low for a while. You’ve got a gimmick, you’ve got heart. You’ll make it big one day.

Drury: I’d be there, for either of you guys. One day, I swear it. What other family am I ever going to have?

The End {

Posted by Gallisuchus (Clayface) on 2020-07-01 15:25:10

Tagged: , lego , dc , comics , batman , supervillain , story , mister , camera , firefly , matt , hagen , tiger , shark , ratcatcher , poison , ivy , doctor , death , mad , monk , no-face , two-face , killer , croc , cassandra , cain , moth , clayface , basil , karlo , anthology

NATIONAL NEWS TV CREW – HURRICANE

NATIONAL NEWS TV CREW - HURRICANE

Photo by Linden Hudson (amateur photographer) taken in Florida in 2004. Linden was the sound engineer for a national television network. The cat 4 hurricane (hurricane Frances) is due the next morning.

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 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 Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
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Follow this Wikipedia link and find Linden’s name throughout the article & read the album songwriter credits about halfway down at: en.wikipedia.org/wiki/Eliminator_%28album%29
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Linden’s name is all over this Wikipedia page as well: 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 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)
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MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons 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).
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FROM ROLLING STONE MAGAZINE (Late 80’s)(ZZ Top management comments on the deeply disturbing treatment of Linden Hudson): "It’s an unfortunate situation," added J.W. Williams, a spokesman for the band (ZZ Top). "Here’s a guy (Linden) who was a friend. It’s hard to explain…" (end quote) (Linden comments: "Yes, it IS very hard to explain, 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 conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
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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."
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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?
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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.
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
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(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.)
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In 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."
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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)."
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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)
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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)
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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, 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."
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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."
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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 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.
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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."
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FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was 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."
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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 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."
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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."
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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.
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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.
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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 synthesisers 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 2019-09-03 18:15:14

Tagged: , hurricane frances , florida , tv crew , television crew , ocean , water , camera , lights , tv reporter , reporter , journalists , hurricane , news , news crew , news team

Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

Canon’s new EOS Rebel T1i is packed with features, both refined and new. In addition to its admirable performance with an all-new 15.1 Megapixel Canon CMOS sensor, DIGIC 4 Image Processor, a 3.0-inch Clear View LCD with anti-reflective and scratch resistant coating, and compatibility with the EOS System of lenses and Speedlites, the EOS Rebel T1i adds remarkable Full HD video capture at resolutions up to 1920 x 1080.
Canon EOS Digital Rebel T1i digital SLR highlights
An HDMI port allows for quick connections to high definition TVs and monitors for easy viewing of your stills and video. The entire operation is simple and easy even if you are a beginner. You’ll have uncompromised EOS Digital performance with power and flexibility right in the palm of your hand.

EOS Rebel T1i Highlights

New 15.1-megapixel CMOS sensor with DIGIC 4 Image Processor
Canon’s CMOS (complementary metal oxide semiconductor) sensor captures images with exceptional clarity and tonal range and offers the most pixels in its class. It offers many of the same new technologies as used by Canon’s professional cameras to maximize each pixel’s light gathering efficiency. Its APS-C size sensor creates an effective 1.6x field of view (compared to 35mm format). Canon’s DIGIC 4 Image Processor dramatically speeds up all camera operations for intuitive operation and offers improvements in both fine detail and natural color reproduction. It works in concert with the EOS Rebel T1i’s image sensor to achieve unprecedented levels of performance in all lighting situations.

14-bit A/D Conversion
With the EOS Rebel T1i, analog to digital signal conversion is executed by a 14-bit processor, which generates digital data with incredibly smooth tones. A feature that originally appeared in top-of-the-line pro digital SLR cameras, the 14-bit conversion gives incredibly smooth transitions from light to dark colors with far less risk of "banding." A sky at sunset is a perfect example. With this rich 14-bit gradation, the EOS Rebel T1i offers RAW images of the highest quality that can be processed with Canon’s Digital Photo Professional software. Even JPEG files, which are always finished at 8-bits per channel, use the full 14-bit conversion initially to generate the best possible color and tonal detail.

Canon EOS Digital Rebel T1i digital SLR highlights
Full HD video capture at 1920 x 1080 resolution
The EOS Rebel T1i shoots brilliant video, even in full high definition. By simply selecting Movie mode on the EOS Rebel T1i’s mode dial, the camera’s 3.0-inch LCD lights up, and it’s ready to go. Shooting is at a frame rate of 30 fps when shooting SD or HD quality video (640 x 480 and 1280 x 720 pixels, respectively) and at a frame rate of 20 fps in Full HD (1920 x 1080 pixels) recording. Sound is recorded through the camera’s built-in microphone. Playback modes are simple to access, and all Live View AF features can be used in shooting video.

Live View Function for stills and video
With Live View Function on the EOS Rebel T1i, you can enjoy nearly every camera function available in normal shooting, all with the convenience of composing on the camera’s brilliant 3.0-inch LCD monitor. You can zoom in and navigate the composition and there’s even a grid overlay for architectural shots. Live View focusing modes include Quick mode, Live mode and Face Detection AF mode and these are easily selectable through the convenient Live View Function menu.

Canon EOS Digital Rebel T1i digital SLR highlights

Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

Wide range ISO setting 100-3200
The EOS Rebel T1i features a greatly expanded ISO range that makes shooting possible in situations previously impossible without flash. With an expanded setting to ISO 3200 (ISO expansion: 6400, 12800), along with the DIGIC 4 Image Processor’s improved noise-reduction technology, your creative possibilities are nearly endless. Combine the EOS Rebel T1i with one of Canon’s EF/EF-S lenses with Optical Image Stabilizer and watch your shooting possibilities expand even further.

3.0-inch Clear View LCD (920,000 dots/VGA) monitor
The EOS Rebel T1i has a 3.0-inch high resolution LCD monitor that features 920,000 dots/VGA for far more detail than previous Rebel-series LCDs. It’s the same screen found on professional models such as the EOS 5D Mark II. A number of features enhance usability: an anti-reflective and water-repellant coating provides a clearer and more smudge-resistant surface and screen brightness can be adjusted in 7 steps in accordance with ambient light.

Canon EOS Digital Rebel T1i digital SLR highlights
Auto Lighting Optimizer for superior highlight-shadow control
The EOS Rebel T1i’s Auto Lighting Optimizer is yet another image-quality tool that comes to the rescue in tricky lighting conditions. It can actually lighten dark areas of a scene while ensuring that bright areas maintain tonal detail. It’s available in all shooting modes, including P, Tv, Av and Manual.

Creative Auto goes a step beyond auto allowing control
Especially for beginners looking to expand their photographic horizons, the EOS Rebel T1i offers Creative Auto mode. While basic settings are based on full automatic operation, shooting guides on the LCD screen enable you to make corrections based on simple to follow guidelines. In essence, with Creative Auto mode, you can learn about photography while taking stunning photographs.

Canon EOS Digital Rebel T1i digital SLR highlights

Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

Compatible with over 60 Canon EF/EF-S lenses and most EOS System accessories
EOS Rebel T1i is compatible with all Canon lenses in the EF and EF-S lineup, ranging from ultra-wide angle to super telephoto lenses. Canon lenses employ advanced optical expertise and micron-precision engineering to deliver unprecedented performance in all facets of the photographic process. Special optical technologies, such as Aspherical, ultra-low dispersion, or fluorite elements are featured in the universally acclaimed L-series lenses, and Canon’s Optical Image Stabilizer technology is featured in select lenses, including the EF-S 18-55mm IS lens bundled with the EOS Rebel T1i, to minimize the effect of camera shake. With Canon lenses, you can truly maximize the quality and performance of the EOS camera.
Canon EOS Digital Rebel T1i digital SLR highlights

Flash Photography
The EOS Rebel T1i features Canon’s acclaimed E-TTL II flash metering system. With any EX-series Speedlite, E-TTL II provides reliable flash output whether shooting fill-in flash pictures in sunlight or using flash in total darkness. With E-TTL II, the exact same 35-zone metering sensor used for measuring ambient light is also used for flash metering–giving even finer metering command of the image area. If you prefer a broader area for flash metering, there’s a menu setting to change to "Average" flash metering–where the entire 35-zone area is measured evenly for flash exposure.
Canon EOS Digital Rebel T1i digital SLR highlights
T1i DSLR with optional Speedlite

Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

Software

Canon EOS Digital Solution Disk (Version 20)
The EOS Rebel T1i comes bundled with a Canon EOS Digital Solution Disk, which features powerful software programs designed to extend the EOS experience to the computer. These include Canon’s EOS Utility (Version 2.6), Digital Photo Professional (Version 3.6), ZoomBrowser EX for Windows (Version 6.3), ImageBrowser for Macintosh OS X (Version 6.3), the Picture Style Editor (Version 1.5), PhotoStitch (version 3.2), WFT Utility (version 3.3). Each application is designed to perfect the captured images and streamline the digital workflow.
Compatible Operating System
Windows: Windows XP SP2 or SP3/ Windows Vista (all version except the Starter Edition)
Macintosh: OS X 10.4 to 10.5

EOS Utility (Version 2.6) for Macintosh or Windows handles the connection between the camera and computer, whenever they’re connected via USB. It allows remote controlled shooting from the computer, handles downloading of images from the camera to the computer, and allows seamless linking to either Canon’s ZoomBrowser EX/ImageBrowser or Digital Photo Professional software once images have been copied to the hard drive. Furthermore, it’s used to upload settings back into a USB-connected camera.

Digital Photo Professional (Version 3.6) is an image processing program that enables high-speed RAW image processing, high-speed previewing for real-time image adjustment and support for sRGB, Adobe RGB and Wide Gamut RGB color spaces. Because it’s CMS (Color Management System) compatible, Digital Photo Professional allows for easy image layout and printing in Adobe RGB in conjunction with Easy-PhotoPrint and PictBridge printers. It also features the Dust Delete Data Detection tool for cleaner images.

Picture Style Editor (Version 1.5) enables you to create custom Picture Style profiles that can be used to customize the appearance of JPEG and RAW images captured with EOS Digital SLR cameras. Picture Style files created with Picture Style Editor can be loaded into the EOS cameras that support Picture Style and may also be used when processing RAW images in Canon software applications Digital Photo Professional, ZoomBrowser EX (for Windows) and ImageBrowser (for Mac).

ZoomBrowser EX (Version 6.3) for Windows and ImageBrowser (Version 6.3) for Mac OS X are the easy, user-friendly options for viewing and editing of JPEG and even RAW image files. Both allow viewing of numerous types of images including finished TIFF and BMP files. Both also have a variety of search options for finding images, allow re-naming of single images or batches of files, and offer a variety of options for printing without using a separate image-editing program.

See Discount Price Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

Posted by USA_ToDay_Buying on 2011-02-15 10:11:41

Tagged: , Canon , EOS , Rebel , T1i , 15.1 , MP , CMOS , Digital , SLR , Camera , with , 3-Inch , LCD , EF-S , 18-55mm , f/3.5-5.6 , IS , Lens

The Scarlet Crusader

The Scarlet Crusader

} Relative to my other stories, this segment takes place earlier in the careers of Clayface and other featured characters.

Hey, my name’s Wally West. I’m one of the, what, nine or so people that’ve been dubbed “The Fastest Man Alive”? … I’d say I’m at least the second fastest, especially when you factor in that some of those guys can only reach top speed on straightaways, I happen to know two of them are doppelgängers, and really, I’d call Savitar more of a sprinter… I, uh, don’t like to get hung up on technicalities.

I’m an invaluable member of the Justice League, and not just for my powers. I’ve got a winning personality that neither hardened space-cops nor immortal warriors can resist. Even Batman likes me. Or, “trusts me”… Trusts me enough to protect his city, and that’s saying a lot, for him. He contacted me this morning, explaining that he has business on the other side of the world, something about his ex and a pool turning people into zombies… I don’t think I would’ve gotten the gist of it, even if he’d expounded. He says he’ll make it back by tonight, and if it were anyone else but him (or me, I guess), I wouldn’t have believed them.

Being Batman for a few hours doesn’t sound so bad, but the thing is, I’ve got a decent system with the Rogues back in Keystone. They’re good at avoiding collateral damage, usually even-tempered about the “getting arrested” part… Even got Tarpit to take it to an abandoned lot the other week. I’ve heard Gotham has less cordial villains. And more of them. And more than a few citizens that have had their share of false vigilantes running around. Nothing a dashing guy like me can’t work around!

0.082 seconds after I stepped boot inside city limits (I was taking it slow until I saw some action), I was in the GCPD precinct to let the commissioner know about the changing of the guard, maybe catch a whiff of a case that could use solving. Turns out you don’t need the Speed Force to find a crime scene in Gotham. The nice officer at the front desk informed me that a break-in had occurred INSIDE the station at dawn.

*flash*

GCPD EVIDENCE STORAGE

I probably should’ve thought about how people from around here aren’t used to a red and yellow lightning bolt zipping through buildings. I might not have made the lasting impression of causing the portly detective before me to hurl his styrofoam coffee cup into the air. I caught it too late to save his shirt.

Detective: What IS this?!

Me (handing the cup back): This is yours. (pointing at his stains) THIS is my dry-cleaning bill, sorry pal. (jerking both thumbs at my chest) And THIS is Gotham’s substitute hero for the day, made with 100% less angst.

Detective (glowing crimson): I’m gonna wring the Bat-freak’s neck! What’s he do, take sick days now??

Another detective walks in around a shelf. Her uniform is tidy, her hair even more so.

Detective #2: Don’t tell me you MISS the Bat now, Bullock.

Bullock: If he’s gonna be a nuisance, I’d prefer he be a predictable one. Now he’s phoning up other leotards to come stick their noses in my cases!

Me: “Leotards”. I get it.

Detective #2 (offering a handshake): Detective Montoya. Batman already got in touch with the commissioner, told us you’d be here before we knew it.

Me: That’s my thing. So… don’t take this the wrong way, but how…

Montoya: … did we let someone sneak into our evidence room and get away? We’re in the middle of breaking up a gang dispute at the docks AND a massive manhunt for a birthday-obsessed serial killer. The station has been practically vacant, and no one’s had time to fully assess our latest acquisitions.

I look over the unsorted items that have halved the room’s capacity, all strewn across tables.

Bullock: Hands off. I don’t care if you ARE wearing’ gloves!

Me: You don’t have to tell me that… although I could touch everything in here, and if you blinked, you would never know.

Bullock’s mouth opens wide enough to ensnare passing birds, but Montoya interjects.

Montoya: Cameras were wiped. I know it looks like a mess, but we’ve had a dozen other of our people take inventory, and nothing’s been nicked. Someone came and went without lifting a single thing…

Me: … Had the sense to take out the cameras…

Bullock (unwrapping a toothpick): … But was sloppy enough to set off the alarm. It’s gotta be some goon screwin’ around with no real plan in mind.

Montoya: On top of all that, if they touched anything in here, we’ll never find it against a hundred other fingerprints.

Amidst the chaos, a computer monitor and what appears to be a heavily modified hard drive catch my eye.

Me: Mhm… What’s the story with this?

Bullock (hurriedly): Some guy we nabbed last week; Etienne Guiborg, “The Dealer”. Thinks he’s a real mastermind, but we dismantled his illegal auctioning ring without any fight at all.

Montoya: He has his OWN inventory on that computer; thousands of heisted weapons, artifacts, and their locations. Once our schedule lightens up, we’re hunting down every last one. Actually…

Me: You need a speed-reader. On it.

Bullock: Wait a minute, I’ve seen you in the papers before. Can’t you do that, whatsit called, time-hole thing? Go back a few hours and catch the perp in the act!

Me: Do you want to run the risk of my actions causing a ripple in reality that changes this timeline to one where everyone is biologically half-chicken, all on the account of stopping an opportunistic thief?

Bullock: …

Me: Time travel’s nuts, man.

*flash*

Me: Hey, anyone else notice this down here?

The detectives lean under the desk to where I went to plug in the machine.

Me: This outlet has dust all over it, but the lower socket, it’s clean. And what do you know… The Dealer’s extension cord has dust between the tines.

Bullock: Sunuva… they DID swipe something!

I think it over for 0.053 seconds (I’m sluggish on weekends), then a light bulb switches on.

Bullock: Well, are you gonna plug it in? They may have wiped the memory!

Me: Don’t touch anything.

Bullock: You can’t tell ME not-

*flash*

*Scotch tape obtained from main office*

*flash*

I begin tearing tape and sticking every inch of the keyboard’s surface.

Montoya: What is he-

*flash*

Me (thrusting fistfuls of tape towards them): LOOK!

Bullock: … Congratulations genius, you managed to get NO fingerprints on even one of ‘em.

Montoya: Wait… no fingerprints? But it hasn’t been dusted, not since we busted The Dealer.

Me: YEAH!

Bullock: Would you care to let us in on whatever harebrained theory you just concocted?

Me: No time, but I’ll have your guy in a jiffy.

Bullock: “NO TIME”, he says!

Me: Uhh, I’m going to need…

*flash*

Me: (arms loaded with twenty-odd tape dispensers): … all of these. I’ll restock, promise.

*flash*

Montoya: Under that mask, I’d put money on him being CSI.

Bullock: I’d put money on him being a fruitcake.

***

Thirty intersections later, and I find myself at what I’m hoping is the bad guy’s lair. A middle school, deserted for the summer. Everything’s fitting together.

*flash*

My entrance, like last time, startles the classroom’s occupant. This time, they drop a neatly-organized box of Crayola. This time, I don’t bother to recover it. Villains don’t deserve neatly-organized boxes of Crayola. I rush forward and slug the surprised criminal in his cylindrical mask. He careens over the desks, and catch him by the collar on the opposite side of the room, before he has an unfriendly run-in with the floor.

Me: Alright, pencil-neck, talk to me.

Eraser: Hands off the suit! Do you know how much money you have to sink into a cyber-yellow pinstripe suit? Did you even know CYBER-YELLOW was a color?!

Me (lowering him): Okay, noted, the suit’s expensive.

Eraser: How did you FIND me??

Me: Familiarity with GCPD’s layout and security, leaving no evidence behind but still tripping an alarm to show off… Fits your m.o. like a glove. I do my supervillain homework before I go barging into other cities. You couldn’t resist wiping off the keyboard, so I had a hunch you also compulsively cleaned other public property before use… like crosswalk buttons. After some trial and error, and no small amount of tape, I tracked y-

Eraser (scoffing): Aaand Batman would have me snitching by now. You’re not so fast.

Me: Trust me, you don’t want me to get too Batman on you, or…

Eraser (dramatically): You wouldn’t be able to come back from the darkness?

Me: I was going to say it might make me physically ill. Speedsters eat way more than the average person every day, and if I vomit, it’ll be one heckuva mess to clean up. One that you probably won’t be able to ignore.

Eraser: … That’s the flimsiest, most contrived threat; you can’t actually get physically ill from tha-

Me (crossing arms): I’ll self-induce it.

Eraser: You wouldn’t…

Me: Tell me what you saw on Dealer’s database.

Eraser: Okay look, some guy I’ve never seen before hired me. Says he knew about Dealer’s confiscated computer, and wanted me to get him inside just for five minutes to look around. It’s not like I cared what he was doing, so I have no idea what he got out of it. But I know what I got out of it: Stencils. The good stuff.

Me (gritting teeth): I’m a millisecond away from collecting all the gum under the desks in this place and putting them inside your mask.

Eraser: EDWARD BURKE! I heard him whispering “Edward Burke” over and over! I’ve got nothing else!

Me: That’s oddly useful. Okay, I’m arresting you now.

*flash*

GCPD HOLDING CELLS

Me: I’d appreciate it if you confessed to your crimes, whenever they happen to notice you in here. I’m sort of up against the clock.

Eraser: Nothin’. doin’.

Me (locking Eraser in): By the way, you made me waste a bunch of these guys’ tape just to find you. Why can’t you Gotham rogues all hang out at a bar, like they do in Keystone?

*flash*

Eraser: … A supervillain bar… huh.

BURKE INSTITUTE OF ASTRONOMY (formerly Norbet Institute of Astronomy)

I pause for a entire 1.4 seconds to confirm the sign outside, before crashing through the main entrance and finding my way to the development facility. Machinery is scattered across the tiles, beakers bubble uncontrollably… and a man that looks like an astronaut suffering from insomnia is slouched on the floor, rewiring the circuitry running through his suit’s chest-plate.

Me: Dr. Edward Burke?

Burke: Oh, have you been here long? I’m very sorry, I’ve been preoccupied with my work for…

He glances at a wrinkled calendar, halfway lodged in a drawer near his head.

Burke: … a solid two weeks now, I suppose. Time management was never my strongest quality.

Me: Don’t get me started. Look, I know all about Etienne Guiborg using your laboratory to store his wares, and I think we can resolve this without any violence…

Burke (perking up): That name! I heard about him in the newspaper not long ago. Oh, no sir, I’m not involved with any smuggling, I must affirm! No, no more business with supervillains. My old boss Irving Norbet, he was a very bad fellow! Tried to use our technology to rob banks!

Me: You’re wearing the suit right now.

Burke (toying with small components and dials on the suit): AM I?!? … Ah, so I am. Well, it really has quite fascinating functions; I’m only looking to improve the design, not use it for anything nefarious, absolutely not! Dr. Norbet only did what he did after overexposure to a strange meteor we were analyzing… messed with his head. This was all confirmed by the police!

I take a quick survey of the room while he’s rambling, spotting a grey mass perched on a workbench, shrouded in a sort of haze, like it’s giving off energy.

Me (scowling): Does this meteor look anything like that one sitting over there, NOT in its container and likely effecting you?

Burke: Dear… dear me. Well, this all must look highly suspicious! If you didn’t believe I was innocent, as I’m sure anyone as keen as you would, you might be very confused by the circumstances.

Me: Actually I’m… still comprehending the idea that two people in this timeline wanted to use the name “Planet Master”.

Then the most embarrassing thing that can happen to a speedster happened; I got ambushed. Enough volts to jumpstart Gotham City shoot through my body, launching me straight through the reinforced wall of Burke’s Institute and into the evening air, leaving me a smoking red heap on freshly-cut grass.

… I’d like to take an intermission from my story to clarify that accelerated perception is a superpower that has to be turned on. OKAY? It takes a lot of adrenaline and carbs to activate. I can’t just see EVERYthing in slow-motion. … Moving on.

I crane my head and spit out a mouthful of sod, while my eyes adjust to see my attacker stepping through the Flash-shaped hole in the building. He’s dressed in black armor, orbs of electricity wavering in his fists, and grinning like a wild dog. Lester Buchinsky.

Electrocutioner: Heh. Friend of mine tipped me off that some hero might come poking around here tonight. Not the one I was hoping for, but murderers can’t be choosers.

Me (feeling Speed Force welling up inside me again): Just keep talking there, friend-o, I’ll be with you in a sec.

Electrocutioner (unfazed): Overheard you talking to that idiot Burke. You really think our kind would trust our gear with him? Be caught DEAD working with him?

Me: Yeah, well, the bar’s set pretty low, Taserface.

Electrocutioner: That’s it.

Before he can lift his arm to incinerate me, I dart at his midsection, only to once again rebound and land in the planters HARD.

Electrocutioner: Like the force-field? I’ve been upgrading. Get this…

I roll out of the way of a bolt lobbed from his fist, leaving it to carve a charred path across the lawn.

Electrocutioner (admiring the gloves): They’re projectile now.

Me: Mama Buchinsky must be proud.

I begin running circles around him, as Electrocutioner jerks around to try and draw a bead on me. The faster I punch him, the more the force-field will resist. If I try running at him at a normal pace, his gauntlets will meet their mark before I can land a blow. So… I guess I’ll have to try letting him hit me again.

I take a detour to the parking lot, rip the tires and hoods of off two vans, and race back to Electrocutioner before he knows I’m gone. I come to a halt and plant the hoods on either side of me, with the tires wrapped around my torso. Now for the only part of this plan that I know will 100% work…

Me: Yo, Shocker!

Electrocutioner lets loose a solid flow of electricity from his hand to me, and I brace myself as it races directly at my chest. My suit is a conductive elastomer: Good for streamlining my own charge, but the Speed Force doesn’t play nicely with outside currents. That’s why this guy is even a slight threat to me. Car tires, on the other hand, are great insulators. Or so I’ve heard. I’m really hoping that’s true.

Electrocutioner’s assault strikes the tires. I still feel it. A lot. But I force myself to stay put. As I hoped, Electrocutioner only pours on more power when he sees I’m still standing. I have no idea how much juice he has left in those gloves, or if I can outlast them. Just as everything starts turning grey and I feel my knees giving out, the pain stops, and he’s standing with outstretched arms and sputtering gloves, and I’M standing with two car hoods locked in potential difference.

Electrocutioner: Wha-?

Me: Capacitor. Seriously, you should know what that is.

*flash*

Electrocutioner collapses with a black eye. I shake out my knuckles and check on Burke, who’s still tinkering away carelessly. Maybe whoever hired Eraser thought to make up Edward Burke a ruse, just to sic Electrocutioner on anyone potentially tracking him. In which case, I was looking at a dead end, unless Electrocutioner wasn’t as dumb as he looked. As I go to interrogate my third supervillain today, I notice something on Electrocutioner’s fingertips and boot soles.

Salt. I hadn’t drained his power supply with my capacitor at all; salt was its own dielectric, and enough had accumulated on his weapon to short-circuit the system when Electrocutioner overdid it. The question of why it would be anywhere near his equipment came to me just as quickly as the answer. Salt. The Dealer’s storage space. I knew where I had to look next.

*flash*

WAMPUM UNDERGROUND, PENNSYLVANIA (a lively 300+ mile jog from Gotham) {

I zip into the mineshaft-turned-warehouse, slowing once I pass into the restricted sections, and all ambient light winks out. I try to muffle the slap of my boots on the expansive floor, but the echo is unstoppable. Rubbing my palms together at just the right speed, I generate a steady flow of Speed Force sparks, enough to brighten a few feet around me. I’m in the right place; old movie props, autographed portraits, film reels stacked to the ceiling…

A mannequin with a camera for the head…

*flash*

Only this time it wasn’t me. Blinding white like I’ve never seen washes over my field of vision, and I stagger backwards, trying to shake it off.

Voice #1: Feeling a little EXPOSED?

Something damp and heavy envelops why chest and neck, lifting me off the floor. My head is still spinning, and before I think to phase through the restraint, I’m slammed back down. The back of my skull hits a metal shelf, and at once my strength gives out. I lay there stunned, barely picking up on another voice past the ringing in my ears. A choked, slithery sort of voice.

Voice #2 (sighing): “The Flash”, is it? No need to fret, in that event; your concussion will clear right up in a few hours, no doubt. You ARE one of those heroes that can heal. Makes for such dull, tensionless action sequences.

Me: What… are you looking… for, in here… Clayface?

Clayface: Ah, I needn’t introduce myself, how convenient. I see The Batman DOES brief his minions before sending them to their doom.

Me (ignoring him): Let me guess… a potter’s wheel? Been… wanting to lose some weight and… make a nice vase at the same time?

Voice #1: A regular Bob Hope, this guy.

Clayface (ignoring me in turn): You still managed to locate us.

Me: What, after you sent me on a goose-chase after Planet Master? Your hired meathead still had some salt on him from when he was, I guess, helping you break into this place? I already knew you were looking for something The Dealer had hidden away… Salt, secret stash…

I hear Clayface walking closer.

Me: … Salt mines. The moisture is great for preserving all kinds of stuff. I went to the one out in Hutchinson, Kansas for a field trip.

His pace stops inches from my face.

Clayface: I RIGHTFULLY assumed Eraser would betray me. I had not known he overheard my mention of Edward Burke until he queried me later on, and so I concocted a lie for him to pass on to YOU.

Me (the pain in my temple worsening): If you weren’t… looking for Edward Burke after all, then what… did Eraser hear?

Clayface: He heard correctly. I am looking for an Edward Burke… Edward C. Burke…

There’s a sound of metal clunking into metal; Clayface’s accomplice rummaging through the film reels. One last crash, and a whoop of excitement reverberates through the cavern.

Voice #1: Right where the computer said it was, Karlo!

Clayface (clasping his grimy palms): Splendid, Mr. Camera! You see, FLASH… Edward C. Burke is portrayed by the great Lon Chaney, in the lost film “London After Midnight”. That is to say, formerly-lost. The Dealer did indeed possess many antiquities.

Me: You… tampered with evidence in police custody, hired an… assassin, and broke into this place for a MOVIE?

Clayface: I cannot always gratify the wild imaginations of you vigilantes, assuming we supervillains are continuously out for blood, dreaming up blueprints for world domination. A film like this deserves to be in the care of someone who can appreciate it, not lock it away.

Me: And “Mr. Camera”; you suckered a C-Lister into… helping you with this insane hobby?

Mr. Camera: He’s in it to build a legacy. Me, I’m making a scrapbook.

Clayface (amused): You are so deluded, speedster, you think anyone branded a criminal has no allegiances to their own, never without an ulterior motive. Eraser, Electrocutioner, they knew precisely what they were in for. Now look at yourself, bludgeoned like a dumb animal, conveniently in a deep hole to have dirt poured over you… Did The Batman offer you some compensation for this humiliation? Why would he appreciate your reckless heroics when he would gladly sacrifice himself in the same manner, in the “righteous pursuit of evil”, and think nothing of it? … I could smother you right now, but I choose to leave you alive…

His footsteps leave in the direction of the mine’s entrance.

Clayface: … I do not wish to instigate bad relations with the Rogues. Unlike you noble heroes, I value partnerships. I would not dream of robbing them of their favorite quarry. Let us withdraw, Mr. Camera.

Mr. Camera follows him. I feel something light and stiff bounce off my arm. A Polaroid photo.

Mr. Camera (sneering): Here. I think I got your good side.

I muster the energy for one more sentence.

Me: Heroes don’t… need a pat on the back to feel… good about the work they do. You’re right, we hardly ever know what we’re… getting into… aside from our eventual deaths. That’s okay, because… we’re not living for ourselves…

The waves of nausea take their toll, and I pass out. Whether or not Clayface was still near enough to hear me, I can’t shake the feeling my words have fallen on deaf ears.

Posted by Gallisuchus (Clayface) on 2019-04-12 17:14:19

Tagged: , lego , dc , flash , superhero , villains , mystery , story , eraser , mr , camera , electrocutioner , custom , detective , montoya , bullock , planet , master , minifigures , basil , karlo , anthology , clayface

CINEMATOGRAPHER WORKING

CINEMATOGRAPHER WORKING

This photo taken by Linden Hudson in 2014 in Wisconsin USA while working on a worldwide release tv show. This show was shot all over the USA and in Mexico (Mexico City, and Yucatan), the shoot lasting almost a month and requiring hopping a jet at the end of almost every shoot day to move to the next city. Linden was the sound engineer. He mixed sound on a portable mixer and transmitted it to the receivers that are seen on the back of the camera. He also recorded in 24 bit on an audio recorder in his shoulder kit. Redundancy is a good thing.

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.)
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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...
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Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
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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)
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MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons 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).
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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 conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
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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."
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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?
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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.
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
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(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.)
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In 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."
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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)."
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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)
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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)
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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, 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."
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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."
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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 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.
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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."
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FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was 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).
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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 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."
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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 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."
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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."
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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.
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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)."
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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."​
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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 2018-09-22 02:19:05

Tagged: , pbs , cinematographer , camera , cameraman , camera operator , worldwide tv , field , film shoot , video shoot , hi def shoot , crew , cattle , long haired cattle

MAN BROADCASTING FROM HURRICANE FRANCES

MAN BROADCASTING FROM HURRICANE FRANCES

Photo by Linden Hudson (amateur photographer, cheap cameras, just having fun).

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 2017-09-09 01:52:57

Tagged: , hurricane frances , news man , on camera , wind , ocean , news crew , high wind , florida , usa , america , news , camera , cameraman , crew , water , danger , rain , hurricane , high_winds , reporting_from_a_hurricane , network_news , national_news , tv , television , television_broadcast , reporter

CINEMATOGRAPHER ON A CLIFF

CINEMATOGRAPHER ON A CLIFF

Photo taken by Linden Hudson (amateur photographer, cheap cameras, just having fun).

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’s 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 2018-01-08 15:19:51

Tagged: , Mexican border , mexico , camera , camera man , cinematographer , evening , sundown , cliff , river , rio grande , rio grande river , North_America , photographer , film_crew , Ciudad_Acuña , bridge , suspension_bridge

CINEMATOGRAPHER IN A FIELD – EASTERN COLORADO

CINEMATOGRAPHER IN A FIELD - EASTERN COLORADO

Photo by Linden Hudson (amateur photog)

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 2017-09-21 21:08:49

Tagged: , camera , camera man , cinematographer , colorado , beautiful day , daytime , hay , rolls of hay , farm field , blue sky , cold , sunshine , farmland , golden_hay , beautiful_sky , america , usa , colorado_usa , east_colorado , eastern_colorado , pretty_scene , heartland , american_heartland , hay_rolls , farm , awesome_day

SHOOTING NETWORK TV SHOW

SHOOTING NETWORK TV SHOW

Photo shot by Linden Hudson (amateur photographer).

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the 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.)
+++
(see full story at Linden’s website: www.linden-hudson.com/birth-of-the-zz-top-eliminator-album )
+++
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...
+++
LICKLIBRARY DOT COM (2013 interview) ZZ TOP’S BILLY GIBBONS SAID: “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."
+++
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."​

Posted by lindenhud1 on 2017-10-06 08:55:48

Tagged: , television , network tv , network television shoot , network television , tv , famous , national show , usa , elgin texas , elgin , camera , tv camera , lights , car , crew , tv crew , television crew , american , american_television , car_shot , production , tv_production , field_production

CINE PHOTOGRAPHER SHOOTS NORWAY FJORDS

CINE PHOTOGRAPHER SHOOTS NORWAY FJORDS

Photo by Linden Hudson (amateur photographer), taken in 2003 while Linden was working with a film crew, in Norway (near Stavanger).

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.)
+++
(see full story at Linden’s website: www.linden-hudson.com/birth-of-the-zz-top-eliminator-album )
+++
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…
+++
LICKLIBRARY DOT COM (2013 interview) ZZ TOP’S BILLY GIBBONS SAID: “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."
+++
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."​

Posted by lindenhud1 on 2018-05-12 16:20:06

Tagged: , norway , ocean , fjords , beautiful , cinematographer , camera , cameraman , hd camera , expensive camera , sun , sunshine , nice day , pro camera , hd video camera , professional , professional_camera_operator , scenic , scenery , water , mountains , bridge , travel , film_crew , american_film_crew , cliffs , beauty , sky , suspension_bridge , video_camera , professional_shoot , europe , beautiful_scenery