Venice – Stained Glass Window At Night

Venice - Stained Glass Window At Night

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

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at:
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at:
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.
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2017-08-17 08:02:24

Tagged: , venice , italy , night , night time , window , stained glass , lit stained glass window , lit , venezia , venetian , march , 2017 , europe , lamp_through_a_window , lamp_in_a_window , light_in_a_window , stained_glass_window , alley , old_city

Home Built i7 Machine

Home Built i7 Machine

Taking a few photo’s for the community of my computer. Just for fun grabbed it and dusted it out then decided to take the photo’s. I have been meaning to do this for a while but haven’t taken the time to do it.

This is a composite of 7 images to capture the dynamic range, hardware lighting and to use flash to accentuate certain areas of the machine using an off camera, hand triggered SB-700. The photo’s were from about 1.6 seconds to 20 seconds each.

Posted by spikeyj37 on 2014-07-14 05:32:04

Tagged: , Computer , I7 , 4770k , Maximus , Asus , Corsair , XFX , Radeon , Air , 540 , H100i , Water , Cooled , Nikon , D3200 , Tokina , 11-16 , F/2.8 , SB-700 , Strobed , Strobe , Flash , Hand , Lit , Light , Painting , Composite

Any given workday

Any given workday

I took my handy and convenient XZ-1 to work today, instead of my normal goto cam "Nex 5r". It was just collecting dust so i decided why not take it for a day to work. Normally people do complain about compact cameras that they aren’t good in low light and that it has too much noise and blah blah. Every time i had to shoot with my little oly, i only wished it had more dynamic range period and noise was never an issue! This makes perfect sense, as i categorize my gear according to performance and practicality i strongly believe that your workhorse (for paid assignments) should be a Full Frame, your workhorse for hobby shooting should be an APSC and for Mirror less it should be either an APS-C or Fourthirds. A portable enthusiast Camera should at least have a 1 inch sensor like the Sony Rx-100 or the newly launched RX-10. Gone are the days of 1/1.7 sensors… the dynamic range is too damn low… but again, the best camera is the camera you have, so i should stop whining and focus on the photographs instead of getting into nitty gitty tech details 🙂

Facebook page:

Posted by Kamran ( Kami K ) on 2013-11-26 15:01:10

Tagged: , Olympus , Digital , Camera , Compact , XZ-1 , Point , And , Shoot , P&S , Shooters , Bw , Black , White , High , Contrast , Office , Work , Day , People , portraits , natural , light , perspective , angle , negative , space , zuiko , izuiko , 1.8-2.5 , laptop , emal , emails , computer , blinds , sunlight , sun , oldschool , Official , lamp , seashell , sea , shell , leaf , leaves , tree , plants , indoor , sidelit , lit , wall , walls

introducing cowboy 2.0

introducing cowboy 2.0

Welcome to "the hat chronicles" Season 3 – Episode 1:
he’s been training folks. he’s been studying too. he’s got some new gear and he’s not going to leave a fedora unturned… the cowboy is back! paybacks a bitch, isn’t it?

Welcome back everyone for Season Three of the Hat Chronicles. The third season of the hat chronicles starts…… NNNNNNNNow!

Since I’m the narrator for this story, I largely get blamed if things suck around here. I wanted to make up for season two ending abruptly. So I decided to go up to Heaven to kick off season three.

I reached the pearly gates in no time. When I got there Moses was waiting with the Holy Spirit shining his shoes waiting for me to arrive. The following conversation ensued:

narrator: "Wow cool hi Moses. I’m not trying to be a dick, but how come God didn’t come out to greet me too?"

Moses: "Silence! This isn’t an after school special young man. We send who is available. The Holy Spirit is here too and he gives great back rubs. Isn’t that good enough?"

Narrator: "Honestly I always wanted to meet you Moses. But no one cares about the Holy Spirit. Not even church goers seem to mention him except during that one stupid prayer. He’s like the red headed step child of all of God’s main club members. Plus he’s talking on his iPhone right now and not even paying attention to me. He’s a fraud."

Moses: "You’re verbage is that of ill-wit and speaks from lack of experience. That’s not a regular iPhone young man, that is a holy iPhone. It’s been blessed with holy water."

narrator: "and it still works??"

Moses: "We don’t have time to discuss the specifics of our holy water young man. God says it’s blessed so that makes it holy and that means it’s superior to any water you have ever known, okay? Now do you see the line of people behind you? What can we do you for?"

narrator: "Well Moses I don’t want to stick around. I’m not staying. I’m having one of those afterlife after-pimp experiences that happens when you view his photos for too long. In fact my body is passed out by my computer down on earth right now"

Moses: "We get a lot of people here at the pearly gates in the middle of an after-pimp experience. You are the first to be male though."

narrator: "Um, yeah. This is different. I need to ask a favor of you."

Moses: "If this has anything to do with getting me to do me to do that falling to the floor evangelist Christian impersonation, God told me to stop doing it in public. It causes too much of a stir. I guess I could abee………"

Holy Spirit (interupting…): "…….hey amigo, I have a holy sombrero hat. i give to you no problem. you want to wear i give to you"

narrator (looking at Moses): "Why does the holy spirit sound like a Mexican strawberry field worker?"

Moses (with eyes up in the air): "Listen young soul, what do you need of us here in Heaven? Your time is running out."

narrator: "Okay. Here it goes. I just want you to give me someone or something to make this new season of hat chronicles interesting. Can you help Moses?"

Moses: "Hmmmm. I can part with the Holy Spirit. Would you like to take him? He makes good burritos!"

narrator: "Come on Moses stop being funny! That’s really fucked up. Please!"

Moses (giggling): Jesus always tells me to try pawning him off first before committing miracles. I had to try! Now hmmmm. I know. I have the perfect person for you. He lives by himself on the outer limits of Heaven. I will call for him to come immediately.

narrator: "Oh Moses thank you so much"

Holy Spirit: "Yo Güey, you taken a "Jesus Is Coming, Look Busy" bumper sticker for you car vato?"

narrator: "This is perfect Mr. Spirit. The message is straight from Heaven, right? This is sound advice. Thank you both!"

Moses: "Now be on your way and be gone. Back to Earth with you!"

And at that, the narrator fell back to earth through a tunnel. Moses stepped aside to help the other dead people entering heaven. The Holy Spirit began fiddling with a soccer ball he had in his back pocket.

After about ten minutes, a man started coming out from the dark strangely lit hallways of heaven.

He was fittingly leaving a trail of pixie dust behind him as he bucked his way towards the pearly gates.

It wasn’t until he got right to the entrance that anyone watching could be sure who it was. Because when that cowboy hat finally was viewable in the lights leading to the gates, it was confirmed.

Could it be????


THE COWBOY!!!!!!!!!????????? Does he ever really die? Is it really him?????

Any doubt that it was truly him was squashed when he let out his familar chuckle followed by a spoken monologue given in the third person:

"Muhahahaaha!!! YEHAW!!. The cowboy has a score to settle! I’m having fedora’s for breakfast tomorrow y’all. Giddy up! YEEEEHAWWWWWWWWWW bitches!"

And at that he jumped on a cloud taxi and headed straight for the a pimp stream near you. Nothing and no one associating with pimp is safe now people.


…to be continued.

Posted by pimpdisclosure on 2011-09-25 16:54:57

Tagged: , pimp , pimpdisclosure , pimpexposure , the hat chronicles , season 3 episode 1 , cowboy , cowboy 2.0 , redding , sundial bridge , the actual location of this shot isn’t actually Heaven, it is the wonderfuly lit sundial bridge in Redding, California , night , heaven , moses , the holy spirit , god , jesus , lit , light , just wait till you see the cowboys new vest