ORIGINAL REHEARSAL TAPE OF THE SONG “TV DINNERS” (A SHORT SAMPLE)

ORIGINAL REHEARSAL TAPE OF THE SONG

The soundtrack you hear is the very genesis (beginning) of the creation of the hit song "TV Dinners" by ZZ Top (this demo recorded 1982). This very beginning idea track was created by Billy Gibbons and Linden Hudson.The version you hear on this video sample was called actually called "Troubles" but it morphed later into "TV Dinners". It started with just Billy Gibbons (on vocals and guitar) and the original bass and drums were played by Linden Hudson using digital synthesis. However, some of the secondary early versions did experiment with Dusty on bass and Frank Beard on drums (this could be that version, not sure). But, on the final release of the "Eliminator" album "TV Dinners" reverted back to the original plan (only Billy & his guitar with a fully synthesized rhythm section). Besides being on the massively platinum "Eliminator" album, "TV Dinners" was also a hit single. Linden Hudson never received credit nor did the band opt to compensate him for any of his work or creativity. Linden spent a considerable amount of time working with Billy Gibbons on this album in 1982,

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: youtu.be/2QZ8WUTaS18
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
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
+++
Linden’s name is all over this Wikipedia page as well: en.wikipedia.org/wiki/El_Loco
+++
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 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 2019-06-17 16:32:48

Tagged: , zz top , original tape , tv dinners , song , rehearsal tape , behind the scenes , fame , hit song , eliminator album , beginnings , earliest version , famous , legendary , music , pop , pop music , rock , rock music , hall of fame , linden hudson , billy gibbons , dusty hill , frank beard , co-writer , songwriter , platinum , record , platinum record , hit record , old tapes , rock and roll , usa , american , american band , band , rock band , musicians , gold , story , girls , pretty girls , beautiful girls , rock star , stardom , famous musicians , eliminator , zz top eliminator album

MAROON 5 PLAYS OCEANSIDE

MAROON 5 PLAYS OCEANSIDE

Photo by Linden Hudson (amateur photographer) while he was working as an audio engineer with a film crew for Maroon 5. This concert was in front of a cruise ship at the ocean at Galveston Texas (Gulf Of Mexico). The band is backlit by the setting sun (it was a beautiful day, and there were beers afterward).

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.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: youtu.be/2QZ8WUTaS18
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
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
+++
Linden’s name is all over this Wikipedia page as well: en.wikipedia.org/wiki/El_Loco
+++
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).
+++
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?)
+++
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 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 2019-09-25 23:42:12

Tagged: , huge crowd , crowd , rock and roll , rock , music , concert , outside , outdoors , audience , concert goers , people , big , stage , stage lights , band , fame , famous , adam levine , american , american band , usa , united states , thousands of people , rock concert , rock n roll , crowded , fans , musicians , onstage , celebrities , maroon 5 , maroon five , famous band , musical group , hi res , high resolution

Five Taboos About Painters Artwork You Should Never Share On Twitter | painters artwork

Five Taboos About Painters Artwork You Should Never Share On Twitter | painters artwork

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The mountains in Fernando Amorsolo’s paintings – painters artwork | painters artwork

Fans of the backward star’s singing, acting, appearance – and adumbral links – can buy into his bequest address of a accessible bargain at Sotheby’s in New York. The bargain abode is affairs off acreage from the acreage of Sinatra’s fourth wife, Barbara, who died in July 2017.

“Drawn primarily from the Sinatras’ residences in Palm Springs, Los Angeles and Malibu, this bargain will action artwork and altar from their homes, in accession to her admirable claimed accumulating of jewellery and accessories,” runs the blurb for Lady Blue Eyes: Acreage of Barbara and Frank Sinatra.

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“Together, the bargain will brighten the two worlds that the Sinatras occupied: the fashionable affairs of a admired amateur and philanthropist, and the home activity area the brace amidst themselves with the bodies and altar they loved.”

The 123 lots on action accommodate aggregate from Sinatra’s John F Kennedy accolade from the All-American Collegiate Golf Foundation – featuring a apprehension of the backward admiral – to a Tiffany lamp, Fabergé boxes, a set of golf clubs, a brace of microphones and a hand-crocheted yarmulke.

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A design and able fair armlet would set bidders aback amid $20,000 and $30,000 (£16,000-£24,000), while a Bentley could be had for alone a little more.

Clues as to the couple’s aesthetic acknowledgment abound. The bargain includes works by Pablo Picasso, Joan Miró, Walt Kuhn, Marc Chagall and David Hockney, as able-bodied as paintings by Sinatra himself. Two – lots 25 and 26 – arise to appearance afflicted antic faces that would accord analysts and biographers abeyance for thought.

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Fans of his affecting achievement could dig abysmal into their pockets for scripts from The Man with the Golden Arm, From Here to Eternity, The Manchurian Candidate and Ocean’s 11.

Sadly, no aimless shoes accept been offered in the sale, but those absent to get a little afterpiece to the man himself could bid on his US Drinking Team “Coach” anorak (estimate $300-$500), or a cape reading: “It’s Sinatra’s world. We’re aloof active in it”.

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Posted by painterlegend on 2018-12-01 05:41:24

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The dust has continued aback acclimatized on the final blind and 20 years accept anesthetized aback the lids came bottomward on Ol’ Blue Eyes for the aftermost time. But the end of the world’s cultural and bartering admiration with Frank Sinatra is far from near.

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Fans of the backward star’s singing, acting, appearance – and adumbral links – can buy into his bequest address of a accessible bargain at Sotheby’s in New York. The bargain abode is affairs off acreage from the acreage of Sinatra’s fourth wife, Barbara, who died in July 2017.

“Drawn primarily from the Sinatras’ residences in Palm Springs, Los Angeles and Malibu, this bargain will action artwork and altar from their homes, in accession to her admirable claimed accumulating of jewellery and accessories,” runs the blurb for Lady Blue Eyes: Acreage of Barbara and Frank Sinatra.

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“Together, the bargain will brighten the two worlds that the Sinatras occupied: the fashionable affairs of a admired amateur and philanthropist, and the home activity area the brace amidst themselves with the bodies and altar they loved.”

The 123 lots on action accommodate aggregate from Sinatra’s John F Kennedy accolade from the All-American Collegiate Golf Foundation – featuring a apprehension of the backward admiral – to a Tiffany lamp, Fabergé boxes, a set of golf clubs, a brace of microphones and a hand-crocheted yarmulke.

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A design and able fair armlet would set bidders aback amid $20,000 and $30,000 (£16,000-£24,000), while a Bentley could be had for alone a little more.

Clues as to the couple’s aesthetic acknowledgment abound. The bargain includes works by Pablo Picasso, Joan Miró, Walt Kuhn, Marc Chagall and David Hockney, as able-bodied as paintings by Sinatra himself. Two – lots 25 and 26 – arise to appearance afflicted antic faces that would accord analysts and biographers abeyance for thought.

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Fans of his affecting achievement could dig abysmal into their pockets for scripts from The Man with the Golden Arm, From Here to Eternity, The Manchurian Candidate and Ocean’s 11.

Sadly, no aimless shoes accept been offered in the sale, but those absent to get a little afterpiece to the man himself could bid on his US Drinking Team “Coach” anorak (estimate $300-$500), or a cape reading: “It’s Sinatra’s world. We’re aloof active in it”.

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Posted by painterlegend on 2018-12-01 01:14:32

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BEIRUT — The Sursock Architectonics is housed in a arresting white mansion, congenital in the aboriginal 20th century as the abode of an art-minded aristocrat. Having aboriginal opened as a architectonics in the 1960s, the Sursock connected hosting exhibitions throughout Lebanon’s 15-year civilian war, afore closing in 2007 to acquiesce for seven years, and $12 million-worth, of renovations. The building, with its august bifold access and Venetian and Ottoman detailing, looks like an ingeniously structured meringue.

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The Sursock is one of actual few ancestry barrio in Beirut that has been pristinely preserved. The owners of Beirut’s old, dilapidated, and conflict-scarred barrio — dating to the Ottoman, French Mandate, or “modern” periods — generally accept to let their backdrop abatement into busted to accomplish way for added assisting development.

The majestic charcoal peppering the burghal are the accommodation of Alone Dwellings. Affectation of Systems, an exhibition at the Sursock by researcher and columnist Gregory Buchakjian, curated by Karina El Helou. The appearance is aloof one artefact (in accession to a book and a PhD thesis) of Buchakjian’s seven-year activity to analysis and photograph Beirut’s bare buildings, canonizing a vanishing burghal mural and the lives that intersected with it.

“You know, back you animate in a city, you accept your way of affective in the burghal from one adjacency to another,” Buchakjian told me in July. “And some canicule you canyon on the road, there is something, you see an alone artifice or you see a architectonics armpit and you wonder, what was there before? Because there was absolutely article there before. So you try to remember, and best of the time, you don’t.” Afterwards one 1920s architectonics Buchakjian decidedly admired aback disappeared, he set off to photograph what charcoal he could find.

The antecedent photographs Buchakjian took axial the barrio were too close, he thought, to what some ability alarm ruin porn or “Detroitism” — a archetypal brand of burghal exploration. Watching the 1980 becloud Hamasat, in which artist Nadia Tueni is apparent abnormality the charcoal of burghal Beirut, he was aggressive by “the abstraction that her achievement could breach afterlife and be a way of befitting animate article and addition who is not actuality anymore.”

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The consistent staged photographs — displayed alongside narratives about the structure’s history and Buchakjian’s appointment with it — absorb alone changeable figures, frequently in white. The adumbration of the apparitional woman can assume annoyed and essentialist. But at atomic these abstracts don’t boss the images, and Buchakjian affidavit that macho accommodation would anon accept reminded the eyewitness of militiamen or snipers — abounding of whom inhabited these structures during the years of civilian conflict.

In one angel of the Heneine Palace, in Beirut’s axial celebrated adjacency of Zokak al-Blat, alveolate ablaze apparel languorously beyond the frame, aloof anecdotic a august staircase. A woman sits inconspicuously at its base, partly blocked by the adorned balustrade. In addition building, articular as actuality in the Medawar area, ablaze filters through the dust to brighten a rubble-strewn sitting allowance and reflects distantly off the chestnut beard of a woman aptitude adjoin a cinderblock bank in the background. The animal figures, for Buchakjian, are a agency of “appropriating the house.” The images become a allegorical affirmation of the burghal and its history.

These chiaroscuro interiors are accompanied by texts which accumulation gossipy, generally absurd, or black (or both) snippets of that building’s conflict-ridden history, its accelerating abandonment. The Heneine Palace, we learn, was the abode of a Russian blueblood and afterwards a Dr. Calmette, who fled afterwards the beginning of World War I. The architectonics again hosted the consulates of the United States and the Netherlands, afore acceptable a restaurant, again a accommodation for refugee families, again a billet for architectonics workers. One accommodation in addition building, in Saifi, was active by a woman called Victoria, as apparent by her correspondence, diaries, poems, affidavit and medical prescriptions. Intriguingly, Victoria’s prescriptions for radiology and claret tests connected able-bodied afterwards the date that an balance was issued for her inhumation.

Buchakjian’s accurate activity became alone one aspect of a broader accomplishment to analysis the city’s alone houses and ascertain the lives that had anesthetized through them. From 2009 to 2016, the columnist begin able-bodied over 700 buildings, entering about 140 of those. “I was aggravating to do a absolute database, which was absolutely utopian,” he says, ruefully. Nevertheless, the across of his activity is axiomatic in the 760 abstracts sheets, breach into 11 Beirut areas, that are displayed alongside the photographs. Each area provides an exoteric photograph of the abode (if one was taken afore its destruction), as able-bodied as its location, era, architectural details, and accompaniment of conservation. Beirutis can cast through an account of their neighborhood, retrieving accommodation of half-collapsed structures they’ve never absolutely looked at before.

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As Buchakjian conducted his survey, the action of “encountering the neighborhood, the city” — his interactions with policemen, dwellers, refugees, locals, wildlife — became important. So too, as he began to aggregate items from the houses. The activity now began to accommodate “disclosing the lives of people” — some of whom had lived in celebrated buildings, others whose dwellings were accustomed and whose lives were almost obscure. Not all of the 140 houses he entered supplied absorbing repositories, but about 10 appear narratives he begin fascinating.

“The big question,” he thought, was “how and why bodies leave these things back they leave … The kinds of belletrist area you accepted you cheated on your bedmate or wife. You don’t leave this on the ground.” (Especially accustomed that some of these barrio and abstracts had been alone not in war but in peacetime.)

Some of these belief are laid out in the video “Abandoned Dwellings, Archive,” in which Buchakjian and his assistant Valerie Cachard appraise the miscellanea, account aloud excerpts of the begin documents, interspersed with their own observations. A gloved duke snaps a woman’s purse, amber with age, accessible and closed; autogenous architectonics affairs are unrolled like parchment. “Damn the bearings is messed up… the bombing doesn’t stop back this morning” — “To the smartest and brightest accustomed albino on the high floor: blessed birthday!” — “A photograph of ghosts or a apparition of a photograph?” — “All the lists in this alone account are strange.”

There is no context, no acumen fabricated amid aboriginal ascertainment and begin text. Of the 700 “elements” that were cleaned, photographed, and filed — for what Buchakjian hoped would be their closing acknowledgment to their owners — we see lace, aggravate and thread, pieces of tile, a mirror, doilies, assorted documents.

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On the walls, agenda frames affectation photographs of alone buildings’ interiors: a clothesline, the affected ambit of a marble staircase, decrepit glass, the design becloud of a wire fence in the foreground, two alone wine bottles, lanterns, and an busy adhesive ceiling. Plants advance through ashen architecture, ammo holes fleck concrete, case wallpaper (mint green, with flowers) and absurd acrylic acceleration aloft geometric tiles.

The exhibition generally feels added like a sociological display than an art show. In his photographs and the narratives he unearthed, Buchakjian conveys the faculty that in these visits, which became, for him, “something of a ritual,” he apparent “traces of the bodies who were there.” Bodies who, afterwards all, “could accept been you, finally.”

Unlike abounding others absorbed in Beirut’s ancestry architecture, Buchakjian has not alone focused on historic, august homes, and expresses little absorption in advance and canning (although he is alike beneath enthused about development). “The alone houses are important in their accompaniment of abandonment,” he says — in their accommodation as time machines, but additionally as alone lots; areas chargeless of business or abundance or purpose. “You accept spaces that — alike if bodies are not activity to access in them — if you airing in a neighborhood, you accept [empty] pockets. You accept article that is useless.”

Gregory Buchakjian: Alone Dwellings. Affectation of Systems continues at the Sursock Architectonics (Greek Orthodox Archbishopric Street, Ashrafieh, Beirut, Lebanon) through February 11, 2019.

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Posted by painterlegend on 2018-12-07 17:01:07

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Art Industry Account is a circadian abstruse of the best consequential developments advancing out of the art apple and art market. Here’s what you charge to apperceive this Tuesday, November 27.

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Artists Survey Wreckage of California Fires – American artisan Lita Albuquerque, one of the abounding artists who alive in and about Malibu, absent her home and flat to the Woolsey Fire, as able-bodied as her absolute annal of art. “We had nine structures; aggregate burnt to dust,” Albuquerque said. The aforementioned was accurate for artisan Samantha Thomas, who watched her abode bake on civic television while sitting in addition city. (The Art Newspaper)

Nan Goldin Stages a Protest in Advanced of the Governor’s Appointment – Artist and activist Nan Goldin’s P.A.I.N. accumulation active the artery in advanced of Governor Cuomo’s appointment in New York on Monday morning. They set up a apish safe bang armpit and alleged out Governor Cuomo for his cessation in angry the ascent opioid crisis. Back January, Goldin has been staging absolute activity protests at assorted locations that accept been accepted to accept taken money from the Sackler family, including the Metropolitan Architectonics of Art in New York and the Freer-Sackler in Washington, DC. (Press release)

Madonna Buys a Artery Artist’s Assignment – Canadian artery artisan MissMe has a actual acclaimed new client, accepting awash a six-foot-tall self-portrait from her alternation “Portrait of a Vandal” to Madonna, who showed it off on her Instagram stories. The assignment depicts the self-declared feminist artisan cutting her signature Mickey Mouse balaclava, which she advisers to advance anonymity, and affairs her shirt up to betrayal her naked body. Madonna aboriginal encountered MissMe’s assignment on the streets of Lisbon in 2017, and again addled up a accord with the artisan afterwards administration a account of the mural on amusing media. (Edmonton Sun)

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Marina Abramović Inspires a Novel – Novelist Heather Rose alternate to Marina Abramović’s blockbuster 2010 achievement The Artisan Is Present every day for three weeks, celebratory the bodies who came and watching their reactions, which aggressive her part-fiction story. The Architectonics of Modern Love draws heavily on Abramović’s activity and work, and will be appear in the United States on November 27 with a barrage hosted at MoMA. Abramović herself gave it a aglow review, admitting the two did not acquaint during the autograph of the book. (New York Times)

The Hottest Art Venue in Hong Kong Is… a Restaurant? – While Hong Kong has a activating art arena and a accepted all-embracing art fair, abounding who alive there feel the area needs to do added to abutment its own arising talent. One accessible answer: the restaurant-slash-gallery Duddell’s, which has been arena host the assignment of acclaimed artists like Ai Weiwei alongside that of home-grown, adolescent artists. (Financial Times)

Censorship May Limit Advance of China’s Art Bazaar – On the mainland, things are a bit dicier for China’s art world. Some say that accretion censorship beneath admiral Xi Jinping could bind the advance of the bazaar there. Advanced of Shanghai Art Anniversary in November, one accommodating banker said the altitude had developed added bourgeois in the years he had apparent there. “Every year, we accept a few works rejected, but it is accepting [to be] added and more—it makes me feel uncomfortable,” the banker said. (The Art Newspaper)

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Kohn Arcade to Rep Gonzalo Lebrija – Los Angeles’s Kohn Arcade has added the Guadalajara–based artisan to its roster. The arcade will appearance his assignment in a accumulation presentation at Art Basel in Miami Beach abutting week, while the abstruse painter and sculptor prepares for a abandoned appearance at the arcade in January 2019. (ARTnews)

Cooper Hewitt Adds to Curatorial Staff – The biographer and babysitter Alexandra Cunningham Cameron was appointed the Smithsonian architectonics museum’s new babysitter of abreast architectonics as of September 20. Meanwhile, Yao-Fen You will booty up the role of chief babysitter and arch of the artefact architectonics and adorning arts administration in January 2019. (Press release)

Georgia Names Venice Biennale Artisan – The Georgian artisan Anna K.E. will represent Georgia at the Venice Biennale abutting year with a presentation blue-blooded “REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation.” The pavilion will be curated by the New Museum’s Margot Norton and commissioned by the arcade Project ArtBeat. (ARTnews)

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Glasgow Academy of Art Gets a New Administrator – Professor Irene McAra-McWilliam has been called the school’s new director. McAra-McWilliam, who will activate her new role abutting year, has served as collective acting administrator with Ken Neil back October 16. She abutting the academy in 2005 and has apparent it through adverse fires in 2014 and again again this summer. (BBC)

FOR ART’S SAKE

Rain Complicates Salvaging Effort at Brazil’s Civic Architectonics – Seasonal rain is putting a damper on accretion efforts for the fire-damaged architectonics in Rio. Added than 90 percent of the museum’s accumulating was destroyed in the fire, and the water—followed bound by the Brazilian heat—is disappointment salvaging efforts. Ceramics and metal are decidedly vulnerable. (TAN)

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Dispute Arises Over the Dismissal of Beirut Artisan – Hala Wardé, who played a key role in Jean Nouvel’s Louvre Abu Dhabi, has been let go from her role as the artisan of the Beirut Architectonics of Art. The account was fabricated accessible in an accessible letter by Lebanese artisan Etel Adnan, who is creating a assignment for the architectonics and was aghast that the lath chose a “rising figure of all-embracing architecture, alone to ambit [her] abreast years later.” Wardé’s abandonment may accept been acquired by a altercation over payment. (TAN)

See This Artisan Camouflage Herself – The Peruvian artisan Cecilia Paredes camouflages herself adjoin blooming backgrounds by painting her bark and cutting custom accouterment for her trompe l’oeil photographs. “I wrap, cover, or acrylic my anatomy with the aforementioned arrangement of the actual and re-present myself as allotment of that landscape,” explains the artist, who is the accountable of a abandoned exhibition at the Architectonics of Latin American Art in LA through December 30. See some of her arresting cocky portraits here. (Colossal)

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Ten Ingenious Ways You Can Do With Famous Artists Tattoos | famous artists tattoos

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A dad from Newcastle has had Jeremy Kyle’s face assuredly tattooed on his bum. Yes, really.

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Ryan Porter is already planning on accepting Jerry Springer active on his added bum cheek, afterwards accepting Jeremy tattooed on him by Instagrammer Jord Liddell.

Yet Ryan isn’t alike a big Jezza fan – and alone capital some of ‘genius’ Jord’s art on his body.

‘If you could booty the bark off – abnormally in a few years – I anticipate it would be account a fortune,’ claimed Ryan about his bum tattoo.

‘I could be sitting on abeyant gold dust!’

He got his aboriginal inking age-old 15, but said he’s been branded ‘crazy’ for accepting Jeremy’s face.

‘I like him, but I don’t like genitalia of his appearance – I anticipate it is accessible humiliation,’ added Ryan, whose bum has been credible by bags online.

‘But I adulation art and I adulation the abstraction of art actuality on my skin.’

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Ryan, from Wallsend, is covered from arch to toe in tattoos, and had dreamed of a sitting with Jord afterwards afterward his Instagram bristles months ago.

‘I accept tattoos in my aperture and everything,’ said affianced Ryan.

‘I accept one in my lip adage “bite me” and I’ve done some myself.’

But the area of his latest fabricated a DIY job about impossible.

So afterwards Jord, who has over 100k Instagram followers, asked for a model, Ryan couldn’t say yes quick enough.

‘I’m skint, but he said if addition is bold abundant to get Jeremy Kyle boom I’ll do it for free,’ added Ryan, who estimates the bristles hour sitting would accept usually amount £400.

Jord capital addition to get the Jeremy Kyle boom – but he wasn’t agitated where.

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With amplitude at an credible exceptional on Ryan’s body, it was he who appropriate putting it on his bum.

‘When he said he capital it on the a***, able-bodied I had to it for free!’ laughed 24-year-old Jord.

‘It was a aboriginal appear aboriginal served action and he was aboriginal – but I admired it, and he said I was the alone guy he trusted to let me do it.’

The tattooist and archetypal afterwards aggregate a breeze on Instagram, captioned with a appeal to ‘put article on the end of it!’ aback he alone his Calvin Klein underpants at Wrekenton’s Ace of Art flat for the sitting.

The tattooist has a huge fanbase there, accepting done the job for about a year.

He admits Monday’s sitting was his best surreal yet.

The after-effects accept been beheld over 8,000 times to date. Ryan claims his backside’s now so famous, he was allocation his buzz arrangement and the EE chump account adviser recognised him from the tattoo.

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Now he’s set his architect on added tattoos. Afterwards Jerry Springer, he affairs on axis his aback into a ‘shrine’ for asleep bodies who accept aggressive him.

Biggie Smalls will be fatigued alongside Albert Einstein beneath the tagline ‘We Are Not Promised Tomorrow’.

And afterwards his Jezza tattoo, he will accomplish abiding addition with aptitude is in allegation of that.

‘I’ve had some messes over the years – I’ve alike concluded up with tattoos I’ve not asked for,’ added Ryan.

‘I fabricated some asinine accommodation aback I was younger, so I’d consistently accomplish abiding I pay addition like Jord who knows what they are doing.’

MORE: Taco Bell is advancing to London this Friday

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Most Effective Ways To Overcome Artists Of Landscapes’s Problem | artists of landscapes

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Walk through “While the Dew Is Still on the Roses,” Ebony G. Patterson’s new abandoned appearance at the Pérez Art Museum in Miami, and it’s accessible to be lulled into a apocryphal faculty of security. At aboriginal glance, the arena appears like a serene ablaze garden. A magical, pearl-encrusted carpeting lies at your anxiety sprigged with adornment flowers, like blush peonies in abounding bloom; appliqué assistant leaves dusted with beam are bashed on the walls; bunches of red, orange, and white carnations anatomy the bright topiary-style sculptures dotted about the space.

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But don’t be fooled: This is no alluvial paradise. Article apocalyptic lurks in the bushes. Entangled in the abundant flora and fauna of her work, alone pieces of accouterment advance a missing person’s report. A ghostly, arctic bottle sneaker is nestled in a bed of flowers. And wait—is that a headless anatomy lying in the grass? Dismembered atramentous and amber calmly and feet? Again it dawns on you: A aphotic spirit blights this bugged place. Dangling from the beam like a arduous army of vultures ambit an accessible grave are hundreds of women’s shoes, biconcave in sparkling atramentous paint.

Though Patterson’s assignment seems to be abundant with activity on the surface, her art confronts afterlife head-on, accurately the abortive deaths of atramentous and amber people. Her alluring multimedia pieces are advised to pry accessible the thorniest conversations about chase and amusing abuse that abide to affliction our society. And in this awful abounding tableau, appearance and appearance comedy an important role.

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To accumulate the 756 pairs it took to anatomy her shoe cloud—one of several site-specific new works in the show—Patterson put the alarm out on amusing media, allurement accompany to accord their old shoes. The Jamaican artist, who splits her time amid the Caribbean and the States, additionally trawled the austerity food of Lexington, Kentucky, area she teaches. “I bethink authoritative one cruise to Goodwill, and acrimonious up so abounding shoes that the accountant angry to me and said, ‘Nobody’s anytime activity to accept that I rung up $300 on one bill,’ ” she says. Like sneakers strung up on buzz lines, the consistent allotment is a accessible canonizing of sorts, address attestant to a host of souls alien and unseen.

“Her assignment manages to amalgamate two actual disparate things—beauty and violence—to bear a able message,” says Christian Louboutin, who absitively to accede the exhibition afterwards advertent Patterson via his friend, rapper and ambassador Swizz Beatz. A mural artisan in a above life, Louboutin was initially fatigued to the evocative agronomical aspects of Patterson’s art. (Ironically, a brace of Louboutin heels had already fabricated it into the above shoe cloud, unbeknownst to him.) The carpeting he commissioned her to actualize for the window of his abundance in Miami Beach is awash with alien flowers and anchored with the words “See Me.”

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This acicular alarm to activity has been alloyed into the seams of Patterson’s artistic action aback the beginning. Growing up in Kingston, Jamaica’s active basic city, the 37-year-old artisan aboriginal came to accept the self-actualizing ability of dress acknowledgment to her mother. “My mother consistently enjoyed bathrobe herself. She’s the blazon of being that if you were to acclaim her, acquaint her ‘You attending beautiful,’ she’d say, ‘Tell me article I don’t know,’ ” she says. “And aback you anticipate about area atramentous and amber bodies accept concluded up historically, again appearance becomes an important way for us to affirmation our identities. Consider that civilian rights leaders would alarm the apparel they wore armor.”

Photo: Ebony G. Patterson / Courtesy of Monique Meloche Gallery, Chicago

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The way in which Patterson dresses herself speaks to that faculty of self-assuredness and pride. In her brand billowing eyeglasses and a disco-inspired jumpsuit from ASOS, she was calmly one of the best dressed at the affair Beatz and Louboutin cohosted for her aftermost anniversary during Art Basel. So I’m not afraid to apprehend that she designs all the accouterment that appears in her work. “I consistently say, ‘It all starts with the clothing.’ I absorb a lot of time in bolt food attractive for the appropriate textiles. Anniversary allotment is custom-built for the archetypal aural the tapestry. At that point, the compositions are not absolutely ample out—that happens over the advance of several photo shoots,” says Patterson, who works with Jamaican artist Chris Pablo to accompany her account to life. “These things are not apparel to me; I adopt to use the chat outfits. It’s actual important that they bell in a absolute way. It’s added about embellishing—essentially gardening—their bodies with the fabric.”

Photo: Ebony G. Patterson / Courtesy of Monique Meloche Gallery, Chicago

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Perhaps the best emotionally answerable archetype of this comes in Three Kings Weep, the video accession that closes the show. Projected assimilate a leash of floor-to-ceiling screens, the allotment opens with three adolescent atramentous men who are bare to the waist and stood adjoin a accomplishments of floral wallpaper and aerial cardboard butterflies. With tears alive bottomward their faces, anniversary man boring and anxiously dresses himself in blithely atramentous rose prints and clear patterns. As this sartorial ritual unfolds, the articulation of a adolescent boy can be heard account We Must Die, a composition accounting by Jamaican-born Harlem Renaissance artist Claude McKay aback in 1913.

“McKay was referencing the advance in ancestral abandon that had happened in Chicago. Aback you anticipate about the resonance it has with the accepted moment, it’s like things absolutely haven’t changed,” she says. “It’s strategically placed as the aftermost assignment in the exhibit. You’re larboard thinking, What does it beggarly for the atramentous macho anatomy to be seen, for its altruism to be seen?” In the final abnormal of the video, a moment that’s brave with affront and dignity, anniversary man raises his “crown” (a bandana, a brazier hat, and a brace of sunglasses, respectively), a baron in his own right.

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FAMOUS ROCK STAR SAMMY HAGAR – CANDID

FAMOUS ROCK STAR SAMMY HAGAR - CANDID

Photo by Linden Hudson (amateur photographer) while working on a television crew for a shoot with mr Hagar. Shot in Texas in May 2019. A nice guy. Sammy is of long time fame, first with Montrose, later with Van Halen. He’s also known as the Red Rocker.

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: 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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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 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 2019-05-01 23:49:28

Tagged: , sammy hagar , red rocker , candid , production still , usa , american , rock musician , famous rocker , rock , rock and roll , heavy metal , metal rock , famous , american music , music , hard rock

FAMOUS ASTRONAUT

FAMOUS ASTRONAUT

Photo taken by a fellow crewmember while Linden was working on a film crew as an audio engineer. This astronaut was a super nice guy.

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."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
+++
MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2018-09-22 18:44:42

Tagged: , famous , astronaut , shuttle , arm , shuttle arm , french , america , usa , snapshot , nasa , hubble , hubble_repair