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.)
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Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: youtu.be/2QZ8WUTaS18
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Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
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Follow this Wikipedia link and find Linden’s name throughout the article & read the album songwriter credits about halfway down at: en.wikipedia.org/wiki/Eliminator_%28album%29
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Linden’s name is all over this Wikipedia page as well: en.wikipedia.org/wiki/El_Loco
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LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
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MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
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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 2019-06-17 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

Increasing ambition for worldly acclaim

Increasing ambition for worldly acclaim

Posted by alexandriabrangwin on 2018-01-17 08:29:55

Tagged: , Alexandria Brangwin , Second Life , 3D , CGI , Computer , Graphics , Virtual , world , photography , Fallout , 4 , fan , art , lone , wanderer , sole , survivor , Vault , Suit , blue , gold , trim , barbed , slugger , baseball , bat , jail , cell , post , apocalyptic , setting , wasteland , ruined , dark , evening , dying , light , Flit , Ulrik , tribute , woman , standing , Sunset , Sarsparilla , Live , Love , skill , book , magazine , grime , urban , dust , dirt , hair , updo , ponytail , Inkspots , I don’t want to set the world on fire , lyrics , song , proto , mod , Pip Boy

Viva Umkhonto!

Viva Umkhonto!

The Beaten Generation

During the course of 2015 I recommissioned my 21st birthday present from my father – a Micro Seiki MB-14ST that I brought over to the UK from my mom’s place in South Africa. I’ve also been slowly bringing over my collection of vinyl albums, meticulously selected and acquired, and lovingly cared for between the early-70’s and the late-80’s. They’ve also been stashed away at my mom’s place, protected from the elements in plastic sleeves and stored in bespoke cases holding about 50 albums apiece. Over the course of the past few months I’ve been playing some of the gems in my collection, and it’s been very rewarding to reconnect with my past. Both the good and the “interesting”.

On one of our trips to Europe in the late-80’s my future wife and I made our regular pilgrimage to the music stores, including WOM (World of Music) in Germany. It was here (in which city, I don’t recall) that I bought the LP "Viva Umkhonto!" a compilation of punk and hardcore music that featured previously unreleased material by European and US bands. The record was released in April 1987 as a collaborative effort by two independent labels, namely Mordam Records (USA) and De Konkurrent (Holland), both of whom were strong backers of the struggle against Apartheid. According to a statement on the back of the sleeve, “All money raised by this record goes to Umkhonto We Sizwe. So this was a benefit album for the military wing of the ANC (African National Congress).

For context, allow me to turn to Wikipedia:

Umkhonto We Sizwe (abbreviated as MK, Zulu for "Spear of the Nation") was the armed wing of the African National Congress (ANC), co-founded by Nelson Mandela in the wake of the Sharpeville massacre. Its founding represented the conviction in the face of the massacre that the ANC could no longer limit itself to nonviolent protest; its mission was to fight against the South African government. After warning the South African government in June 1961 of its intent to resist further acts of terror if the government did not take steps toward constitutional reform and increase political rights, MK launched its first attacks against government installations on 16 December 1961. It was subsequently classified as a terrorist organisation by the South African government and the United States, and banned”.

The album itself was definitely banned in South Africa and so possessing it was illegal. I took it into the country through Jan Smuts Airport (subsequently known as “Johannesburg International” and now, “O.R. Tambo International”) on my return from my trip to Europe and kept it safely tucked away in the belly of the beast in South Africa’s capital city, Pretoria.

On the tenth anniversary of the Soweto uprising, the Nationalist regime declared State of Emergency in June 1986. It forbade any action that could undermine the Apartheid state, nationwide. Also forbidden were any kind of “subversive statements”, defined as statements that promoted unlawful strikes, boycotts or civil disobedience, attacked military conscription, promoted disinvestment or sanctions, or that “aggravated feelings of racial hostility”. The penalty for engaging in these actions was a maximum of ten years imprisonment. Ouch – I definitely did not want to be caught with this album!

Of the people detained under these draconian regulations (circa-8,000 in the first couple of months) no names were published with the exception of those released at the discretion of the South African Police. Throughout the State of Emergency, newspapers had to engage in self-censorship, at the risk of being closed down by the government, and many used to print disclaimers alongside their articles that read” “This report has been restricted to comply with the Emergency Regulations”. Some newspapers and magazines were not able to appear, and no news came out of the black townships, except through the state’s Bureau of Information. At the time I stuck stickers on the front of my television screen and computer monitor that read “SABC News is Biased” just to remind myself to be vigilant about government disinformation.

The music on the compilation album is okay, but it’s the packaging and presentation that I really enjoyed as a snapshot of the times, and as an interesting piece of social history. Along with the record were included a poster and a booklet filled with newspaper clippings and ANC propaganda about the armed struggle against Apartheid. It also highlights companies that were breaking economic sanctions by continuing to do business with South Africa. The “Throw Well – Throw Shell” slogan is parody of oil the giant’s official marketing tag-line at the time, namely Go Well – Go Shell. I have uploaded a scan of this booklet to my DropBox.

I’m not going to comment on the accuracy or veracity of the information in the booklet, but in those turbulent times – under a state of emergency, with broad media censorship and where owning certain music could earn you a jail sentence – it was thrilling to see what people abroad were thinking and to read material that was not towing the official National Party line. With the benefit of hindsight, it’s fascinating to see how right Matt Johnson was back in 1989 (The TheMind Bomb). Although he wasn’t talking about South Africa, per se, when he sang that we were the “beaten generation, reared on a diet of prejudice and misinformation”, he pretty much hit the nail on the head. Prejudice and misinformation were weapons in the arsenal on both sides of the struggle in South Africa. I was one of the few pale South Africans to have the privilege of being exposed to both sides of that deformed coin.

The The – "The Beat(en) Generation" – YouTube Video Clip

When you cast your eyes upon the skylines
Of this once proud nation
Can you sense the fear and the hatred
Growing in the hearts of its population
And our youth, oh youth, are being seduced
By the greedy hands of politics and half truths

The beaten generation, the beaten generation
Reared on a diet of prejudice and mis-information
The beaten generation, the beaten generation
Open your eyes, open your imagination

We’re being sedated by the gasoline fumes
And hypnotized by the satellites
Into believing what is good and what is right
You may be worshiping the temples of mammon
Or lost in the prisons of religion
But can you still walk back to happiness
When you’ve nowhere left to run?

The beaten generation, the beaten generation
Reared on a diet of prejudice and mis-information
The beaten generation, the beaten generation
Open your eyes, open your imagination

And if they send in the special police
To deliver us from liberty and keep us from peace
Then won’t the words sit ill upon their tongues
When they tell us justice is being done
And that freedom lives in the barrels of a warm gun

The beaten generation, the beaten generation
Reared on a diet of prejudice and mis-information
The beaten generation, the beaten generation
Open your eyes, open your imagination

If you’d like to take a listen to "Viva Umkhonto!" I’ve found a ripped copy of the LP available for download here.

Also take a look at my Blogger posting.

Cheers, 2016 ©

Posted by anjin-san on 2016-01-17 21:02:45

Tagged: , Record Sleeve , Album Sleeve , Album Dust Sleeve , The Beaten Generation , Viva Umkhonto! , Umkhonto , South Africa , Nelson Mandela , ANC , African National Congress , LP , Long Player , Long Playing , Long Playing Album , Album , Vinyl , 33 RPM , 33.3 RPM , Apartheid , State of Emergency , National Party , Racism , Fascism , Terrorism , Terrorist , Censorship , Armed Struggle , Pretoria , WOM , World of Music , Sharpeville , Soweto , Mordam Records , De Konkurrent , Punk , Punk Rock , Hardcore , Hardcore Music , Propoganda , Matt Johnson , The The , Mind Bomb , Music , Song , Booklet , Eighties , 2016 , 80s , 1986 , 1989

Viva Umkhonto!

Viva Umkhonto!

The Beaten Generation

During the course of 2015 I recommissioned my 21st birthday present from my father – a Micro Seiki MB-14ST that I brought over to the UK from my mom’s place in South Africa. I’ve also been slowly bringing over my collection of vinyl albums, meticulously selected and acquired, and lovingly cared for between the early-70’s and the late-80’s. They’ve also been stashed away at my mom’s place, protected from the elements in plastic sleeves and stored in bespoke cases holding about 50 albums apiece. Over the course of the past few months I’ve been playing some of the gems in my collection, and it’s been very rewarding to reconnect with my past. Both the good and the “interesting”.

On one of our trips to Europe in the late-80’s my future wife and I made our regular pilgrimage to the music stores, including WOM (World of Music) in Germany. It was here (in which city, I don’t recall) that I bought the LP "Viva Umkhonto!" a compilation of punk and hardcore music that featured previously unreleased material by European and US bands. The record was released in April 1987 as a collaborative effort by two independent labels, namely Mordam Records (USA) and De Konkurrent (Holland), both of whom were strong backers of the struggle against Apartheid. According to a statement on the back of the sleeve, “All money raised by this record goes to Umkhonto We Sizwe. So this was a benefit album for the military wing of the ANC (African National Congress).

For context, allow me to turn to Wikipedia:

Umkhonto We Sizwe (abbreviated as MK, Zulu for "Spear of the Nation") was the armed wing of the African National Congress (ANC), co-founded by Nelson Mandela in the wake of the Sharpeville massacre. Its founding represented the conviction in the face of the massacre that the ANC could no longer limit itself to nonviolent protest; its mission was to fight against the South African government. After warning the South African government in June 1961 of its intent to resist further acts of terror if the government did not take steps toward constitutional reform and increase political rights, MK launched its first attacks against government installations on 16 December 1961. It was subsequently classified as a terrorist organisation by the South African government and the United States, and banned”.

The album itself was definitely banned in South Africa and so possessing it was illegal. I took it into the country through Jan Smuts Airport (subsequently known as “Johannesburg International” and now, “O.R. Tambo International”) on my return from my trip to Europe and kept it safely tucked away in the belly of the beast in South Africa’s capital city, Pretoria.

On the tenth anniversary of the Soweto uprising, the Nationalist regime declared State of Emergency in June 1986. It forbade any action that could undermine the Apartheid state, nationwide. Also forbidden were any kind of “subversive statements”, defined as statements that promoted unlawful strikes, boycotts or civil disobedience, attacked military conscription, promoted disinvestment or sanctions, or that “aggravated feelings of racial hostility”. The penalty for engaging in these actions was a maximum of ten years imprisonment. Ouch – I definitely did not want to be caught with this album!

Of the people detained under these draconian regulations (circa-8,000 in the first couple of months) no names were published with the exception of those released at the discretion of the South African Police. Throughout the State of Emergency, newspapers had to engage in self-censorship, at the risk of being closed down by the government, and many used to print disclaimers alongside their articles that read” “This report has been restricted to comply with the Emergency Regulations”. Some newspapers and magazines were not able to appear, and no news came out of the black townships, except through the state’s Bureau of Information. At the time I stuck stickers on the front of my television screen and computer monitor that read “SABC News is Biased” just to remind myself to be vigilant about government disinformation.

The music on the compilation album is okay, but it’s the packaging and presentation that I really enjoyed as a snapshot of the times, and as an interesting piece of social history. Along with the record were included a poster and a booklet filled with newspaper clippings and ANC propaganda about the armed struggle against Apartheid. It also highlights companies that were breaking economic sanctions by continuing to do business with South Africa. The “Throw Well – Throw Shell” slogan is parody of oil the giant’s official marketing tag-line at the time, namely Go Well – Go Shell. I have uploaded a scan of this booklet to my DropBox.

I’m not going to comment on the accuracy or veracity of the information in the booklet, but in those turbulent times – under a state of emergency, with broad media censorship and where owning certain music could earn you a jail sentence – it was thrilling to see what people abroad were thinking and to read material that was not towing the official National Party line. With the benefit of hindsight, it’s fascinating to see how right Matt Johnson was back in 1989 (The TheMind Bomb). Although he wasn’t talking about South Africa, per se, when he sang that we were the “beaten generation, reared on a diet of prejudice and misinformation”, he pretty much hit the nail on the head. Prejudice and misinformation were weapons in the arsenal on both sides of the struggle in South Africa. I was one of the few pale South Africans to have the privilege of being exposed to both sides of that deformed coin.

The The – "The Beat(en) Generation" – YouTube Video Clip

When you cast your eyes upon the skylines
Of this once proud nation
Can you sense the fear and the hatred
Growing in the hearts of its population
And our youth, oh youth, are being seduced
By the greedy hands of politics and half truths

The beaten generation, the beaten generation
Reared on a diet of prejudice and mis-information
The beaten generation, the beaten generation
Open your eyes, open your imagination

We’re being sedated by the gasoline fumes
And hypnotized by the satellites
Into believing what is good and what is right
You may be worshiping the temples of mammon
Or lost in the prisons of religion
But can you still walk back to happiness
When you’ve nowhere left to run?

The beaten generation, the beaten generation
Reared on a diet of prejudice and mis-information
The beaten generation, the beaten generation
Open your eyes, open your imagination

And if they send in the special police
To deliver us from liberty and keep us from peace
Then won’t the words sit ill upon their tongues
When they tell us justice is being done
And that freedom lives in the barrels of a warm gun

The beaten generation, the beaten generation
Reared on a diet of prejudice and mis-information
The beaten generation, the beaten generation
Open your eyes, open your imagination

If you’d like to take a listen to "Viva Umkhonto!" I’ve found a ripped copy of the LP available for download here.

Also take a look at my Blogger posting.

Cheers, 2016 ©

Posted by anjin-san on 2016-01-17 21:02:56

Tagged: , Record Sleeve , Album Sleeve , Album Dust Sleeve , The Beaten Generation , Viva Umkhonto! , Umkhonto , South Africa , Nelson Mandela , ANC , African National Congress , LP , Long Player , Long Playing , Long Playing Album , Album , Vinyl , 33 RPM , 33.3 RPM , Apartheid , State of Emergency , National Party , Racism , Fascism , Terrorism , Terrorist , Censorship , Armed Struggle , Pretoria , WOM , World of Music , Sharpeville , Soweto , Mordam Records , De Konkurrent , Punk , Punk Rock , Hardcore , Hardcore Music , Propoganda , Matt Johnson , The The , Mind Bomb , Music , Song , Booklet , Eighties , 2016 , 80s , 1986 , 1989

75/365/3

75/365/3

The last store left at the Westminster Mall. I miss the days of the malls from the 70s, 80s, and early 90s. I have good memories from back then.

I will post a video of a song from the 90s, You Get What You Give, and it always makes me think of "those days" that I miss so much right now.

youtu.be/DL7-CKirWZE

lyrics by the New Radicals:
"You Get What You Give"

Wake up kids
We’ve got the dreamers disease
Age 14 we got you down on your knees
So polite, you’re busy still saying please
Fri-enemies, who when you’re down ain’t your friend
Every night we smash their Mercedes-Benz
First we run and then we laugh till we cry
But when the night is falling
and you cannot find the light
If you feel your dream is dying
Hold tight
You’ve got the music in you
Don’t let go
You’ve got the music in you
One dance left
This world is gonna pull through
Don’t give up
You’ve got a reason to live
Can’t forget you only get what you give
Four a.m. we ran a miracle mile
were flat broke but hey we do it in style
The bad rich
God’s flying in for your trial

[chorus]

This whole damn world can fall apart
You’ll be ok follow your heart
You’re in harms way
I’m right behind
Now say youre mine

[chorus]

Fly high
What’s real can’t die
You only get what you give
Just dont be afraid to leave
Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they’re multiplying
Fashion mag shoots
with the aid of 8 dust brothers Beck, Hanson
Courtney Love and Marilyn Manson
You’re all fakes
Run to your mansions
Come around
We’ll kick your ass in!
Don’t let go
One dance left

Posted by f l a m i n g o on 2014-03-09 00:48:19

Tagged: , instagram app , square , square format , iphoneography , uploaded:by=instagram , Rise , lyrics , music , song , Westminster , Mall , JCPenneys , new radicals , project365 , 365days , March , 2014 , group , iPhone , photo , picture

Mare Imbrium

Mare Imbrium

afallofmoondust.wordpress.com

Posted by ►A.FALL.OF.MOONDUST ► on 2010-11-07 13:31:35

Tagged: , moon , dust , fall , afallofmoondust , silver , sea , rains , earth , red , purple , record , lp , computer , sleeve , cover , song , music , space , photoshop , filter , planet , science , fiction