++ NAME: Linden Hudson (70 years old)(secretly famous, see below for details).
++ HOME: Texas (Gulf Coast, in Metro Area), USA
(Linden is always seeking new female models in his home area, some experience is required, send a message to Linden on Flickr messaging if you're a model and wish to pose, you'll get paid, and you'll get lots of views, Linden's Flickr photos get 3 to 4 million views per year) (Texas metro coastal area).

++ PROFESSIONAL LIFE: Linden has been a Location Sound Engineer for Video & Film (past 30 years, semi-retired) (look below for huge client list). During this career Linden has worked on brief jobs with 4 presidents of the USA, worked a World Series, worked two Super Bowls, and has been around the world on hundreds of freelance film and video shoots.
++ SECRET FAME: Before working in the Film & Video industry, Linden spent much of a 20 year period as a recording engineer, recording musical projects (in studios). In the early 80's he found himself living at ZZ Top's drummer's house and he built a studio there, and he was involved with two of ZZ Tops albums. On the ELIMINATOR album, Linden was co-writer, integrated synthesizers into the album, formulated tempos, and much more, and, unbelievably, he never received credit. Not receiving credit or specific compensation for ELIMINATOR was a huge tragedy in Linden's life and he still fights to make the facts known (the internet has helped Linden tell his story)(credits should always be given to the creators and CO-CREATORS of works of art). It is guaranteed that Linden spent a year with Billy Gibbons birthing the ELIMINATOR album project, and Linden knew much of the material before even ZZ's bass player or drummer (in fact, Linden knew the ELIMINATOR song material before ZZ's manager did, because he was inventing those songs and their sound designs with Billy Gibbons). ELIMINATOR was ZZ Top's largest album success by far. It sold beyond 10 times platinum. More than 30 years after that album was released, Billy Gibbons (ZZ Top guitarist) slowly (and half-heartedly) began to admit these Linden Hudson facts in several interviews (and only because Linden was shaming the group for leaving him out in the cold). Linden was certainly Billy's friend (at least that's what Linden thought), and Linden Hudson turned out to be a most valuable friend at that (game changer). But the great Billy Gibbons has never apologized or made voluntary reparations to Linden Hudson for what Linden had to go through. There's no true redemption for what Billy Gibbons did to Linden Hudson. In recent years, Billy candidly (in private) told a famous recording engineer that the act of leaving Linden out of the Eliminator credits was a management decision (Gibbons was trying to shift the blame, it was a gutless position for him to choose). Everyone in Billy's circle knows that Billy could have changed that tragic turn of events by standing up to ZZ Top management, all that Billy needed was a pair of balls. Billy Gibbons and his manager made a choice to take full credit for the huge success of Eliminator (greed, ego). When it comes to the great ELIMINATOR album Linden Hudson was "ELIMINATED". (Linden's personal opinion: if you want to be in the music business, be prepared to get ripped off).

++ LINDEN'S PHOTO HOBBY: Linden is an amateur photographer & videographer, but he works in pro TV broadcasting & documentary film biz as a sound man, so he has incidental knowledge of video, photography & lights. In fact Linden has worked in the shadow of several good and great cinematographers (and videographers) of varying levels of skill, and Linden has assisted in lighting projects in many under-manned situations. Linden's incidental experience around lighting is that of working with continuous lighting (he knows little about strobes). Linden just plays with cameras in his spare time and he knows what he knows and nothing else. Just having fun.

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) (Tragically, Linden was not credited by the band but has been written about in at least 4 books and many articles. This is a major example of someone being horribly screwed over by famous people)
LICKLIBRARY DOT COM (interview with Billy Gibbons, in 2013) ZZ TOP'S BILLY GIBBONS SAID: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote)
(Gibbons admits these facts after 30 years, but offers Linden no apology or reparations for lack of credits/monies)
MUSICRADAR DOT COM (in 2013): Journalist Joe Bosso interviewed Billy Gibbons (ZZ Top guitarist). 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.” (end quote)
(once again, there were no apologies from Billy Gibbons & ZZ Top)
FROM THE BOOK: "SHARP DRESS MEN - ZZ TOP" BY THE LATE 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 should have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized." (end quote)(Note: the author David Blayney was ZZ Tops first roadie, and then was their stage manager, was with them for 15 years. He passed away in 2010. His knowledge of these matters is unquestionable.)
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." (end quote)
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: BEER DRINKERS & HELL RAISERS: A ZZ ROP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)." (end quote)
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 foo inside Ardent Studios." (end quote)
FROM ROLLING STONE MAGAZINE (Late 80's)(ZZ Top management comments on ZZ Top vs 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 fucking hard to explain, is it not?)
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 dummer 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." (end quote)
FROM THE BOOK: "SHARP DRESSED MEN - ZZ TOP" BY DAVID BLAYNEY: "The boys (ZZ TOP) were trying to explain to Bill Ham (ZZ Top manager) that Linden was the studio architect and integral to making the whole electronic concoction (ZZ's studio) work properly. He (Linden) had built it; moreover, it was his direct technical assistance that had produced what ELIMINATOR was proving to be." (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)
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.
ANDREWGOUTMAN DOT COM: It was said that, during the Eliminator sessions, a sound engineer named Linden Hudson played “high-tech teacher” to very willing pupils in guitarist and songwriter Billy Gibbons and drummer Frank Beard. (Perhaps a reprise of the influence “Magic Alex” had on the Beatles’ John Lennon.)
AN INTERESTING NOTE ABOUT LINDEN: At the time that ZZ Top formed, in 1970, Linden was a DJ at a very popular rock and roll station in Houston (KLOL FM). His air name was Jack Smack. Linden emceed the very first ZZ Top show at the Knights Of Columbus hall not far from Houston, and in fact, Linden sang a song with them that night on stage. They weren't well known at that beginning but had a good record deal with London records and had just released their first album (were about to start a 10 year tour). There were only about 40 people in the audience that night.
LINDEN HUDSON IS IN WIKIPEDIA (do a "find" on each page for Linden)


This section is a work in progress, therefore, it rambles a bit, but this is true and first hand information. First off: famous rock stars, and their management, love to invent far-out bullshit stories about how they wrote and recorded their record albums (Billy Gibbons too? Duh. no way, really?). Yes, It's what they do. So, trust me, much of what rock and roll stars tell to journalists is fiction (PR firms, who work for rock stars, make stuff up too, it's what they do, it's what they do to make the band seem interesting). On the other side of all this, the non-rock-star Linden Hudson has no reason to make up fake stories. What the hell for? Bullshit fantasy stories will never help Linden one bit. He would never make a dime from doing that. Linden Hudson is just a regular guy telling a basic story about something in which he was deeply involved.

(Please note that ZZ Top, Billy Gibbons, and his management chose to deny and disavow the existence of the creative and technical work that Linden Hudson contributed to the beginnings of the very famous ELIMINATOR album. In fact, the band and it's management probably would deny Linden the ability to tell any of this story if they somehow had the ultimate power of censorship. But, at this point in time, they do not have that right.)


Since the ZZ Top ELIMINATOR album was the biggest album on earth for awhile, there are lots of bullshit stories about its making (most are untrue, most were invented by the band). I (Linden Hudson) was deeply involved in the making of this album. The true story of ELIMINATOR wasn't about a big amazing explosion of creative bullshit, but a pretty simple beginning and process. Here is an accurate description of the absolute beginning and the developmental phase of the ZZ Top ELIMINATOR album:

Often, the making of a high-end record album can be a process which might involve phases. The making of the ELIMINATOR album was a process, or at least it became a process, once a direction had been established. I (Linden) was involved in the developmental part of that process. It was the birth of the very famous ELIMINATOR album. At that time I wasn't employed by ZZ Top or anyone, I was an unemployed recording engineer, so therefore, I didn't really have a job title (anywhere). This ELIMINATOR album project had an informal and spontaneous beginning, but for those folks who require to hear somone's job title, let's just say I was the pre-production engineer, and a co-writer (and more) for ELIMINATOR. I worked with Billy Gibbons for about a year on the album's planning and development. I take no reservation in saying that I participated in the genesis (conception and beginning) of the ELIMINATOR album. By the time ELIMINATOR was ready for release I knew more about the content and design of the album than Frank or Dusty knew (that's two thirds of ZZ Top). Never has anyone ever revealed such an unusual thing about a famous rock and roll band. But it's true. Read further and you'll understand what that means.
I lived at Frank Beard's (ZZ Top's drummer) house in those days. Frank had gotten me to build a semi-pro recording studio in the front room. Me (Linden) and Billy (Gibbons) began experimenting with sounds and musical ideas in that front room. We were just two guys who were wired (in the brain) to do just that. It was just a compulsion with us, just automatic behavior. To be quite honest, I didn't even know we were working on an album when the experiments began (maybe Billy didn't either). Billy and I began recording musical ideas together on Frank's new 16 track Tascam tape recorder. This Tascam recorder was only a ten thousand dollar machine, which is about one tenth the price of a true professional studio recorder. This "low budget" machine was not good enough for final record production (Billy and I totally knew that). Therefore, we knew that what we were doing for the experimental music project (not named at that point in time) was "mock-up" or "developmental" (or R&D). This was still a step up for ZZ Top because the Tascam 16 track recorder was a better recording tool than the band had had before for developmental use. It was a perfectly logical way to build up ideas. It was pretty handy.
This simple (low budget) front room studio was the equivalent of our "secret laboratory" in which we could experiment and invent. Even though we were not working with a high end recorder, some of the vocals and other recorded elements that were engineered by me on that Tascam machine (in Frank Beard's house) actually ended up on the final ELIMINATOR album (I myself learned this part of the story 30 years later).
For this ELIMINATOR album project, Billy Gibbons and I (Linden) tested guitars, tested riffs, tested lyrics and constructed tunes right there in that suburb of Houston (except "Give Me All Your Lovin" which was written later). For example, even the synthesizers in the song LEGS were written and recorded to a demo tape by me (Linden) and Billy before Billy went to Memphis for the final recording process of ELIMINATOR.
We were deeply engrossed in these musical experiments. One evening Billy and myself (just the two of us) invented and recorded a full demo of the song UNDER PRESSURE, and late that night while we were finishing it up, Frank Beard (ZZ Top's drummer) stuck his head in the door and said "hey, can you guys turn that down, Deb and I are trying to sleep". Yes, that really happened. Frank (and Dusty) didn't even know the song existed for weeks (but I did).
I (Linden) still have the mixes of most of the early versions of the ELIMINATOR songs on old cassette tapes (songs such as TV DINNERS, LEGS, DIRTY DOG, ETC). In fact, over the years, certain people have asked me to post those early ELIMINATOR recordings on the internet for all to hear. I've resisted, for fear of being legally harassed, but I've finally posted some short sound clips from the original ELIMINATOR tapes to SoundCloud Dot Com to illustrate and PROVE certain realities. Again, as I've said, synthesizers and gimmicks for ELIMINATOR were mostly worked out in Houston by me and Billy ahead of time. These tapes prove the level of development of the songs in the Houston sessions. Billy Gibbons drove by his manager's office every week and played him the latest song demos. Billy's manager apparently thought it was recordings of the actual band, but alas, it wasn't.
THEN: A copy of the pre-production audio tapes was sent to the brilliant Terry Manning in Memphis. I believe that Terry Manning is one of the greatest recording engineers on the planet and I was honored to be in the flow of a famous project with him. The flattering quotes about me (Linden) in books, about my skills, are over-blown when I consider the genius and skills of Terry Manning (and his resume'). Terry has engineered recordings for some of the worlds most famous artists (Joe Cocker, Joe Walsh, James Taylor, Leon Russell, Led Zep, Jimmy Buffet, Al Green, Sam And Dave, and so many more). Full respect from me Terry. Anyway, Terry's the guy who took the blueprint tracks from the Houston ELIMINATOR sessions and rebuilt them and made them shine. To set the record straight, I was not involved in that last phase in Memphis, however, as I said, the album was mostly written and designed before reaching Memphis. ​
Terry Manning very carefully (and rarely) gives out bits of information about the ELIMINATOR track construction (respecting confidential client procedures) because ZZ Top and management were his "clients". He would especially adhere to this protocol when discussing sensitive topics. Think about it. Terry is being professional. Therefore, Terry keeps a somewhat secretive approach with regard to giving away inside information about the ELIMINATOR project.
The relationship between rock groups and their engineer is kind of like a doctor patient relationship in some ways. Some things are to be kept quiet, so to speak. For example, it has been widely rumored that a Linn digital drum machine (like I used in pre-production) was used, instead of the real drummer Frank Beard, for the final rebuild of the ELIMINATOR album. The band and management DO NOT want people to know that. So, in a carefully worded statement that Terry left on a blog on the internet, he says: "On​ Eliminator I changed the drum approach pretty radically, for reasons that I shall not say at this point. There was no Linn product involved". (end quote from Terry Manning) (LINDEN SPEAKING AGAIN): So, there, you must read between the lines a bit. Nice try Terry (with all respect to you). I (Linden) usually feel a need to keep the business of my clients private too, but I was not treated well with regard to this ELIMINATOR project, so I don't mind talking about this (besides they were not clients, I never got paid).
BOTTOM LINE: It doesn't matter what kind of drum machine was used to track the final cuts of the album (Terry says it was not a Linn, that's cool, it doesn't matter what brand). A drum machine is a drum machine. However, I repeat, many engineers would get fired for publicly saying that one of it's band clients had used a drum machine. Back in the 80's using a drum machine would have been considered cheating, however, now 98 percent of pop music releases rely on drum synthesis, but it's still not openly admitted to. To the average person, without a trained ear, drums on a recording are just drums on a recording, be they real, synthetic, sampled, or whatever.
More about drum machines: in the early and mid eighties there was a large list of hit songs that had been released that used drum machines (by famous artists): Billy Idol, The Cars, Devo, Hall & Oates, Prince, Steve Winwood, Paul McCartney, and so on. Drum machines replacing real drummers on albums for famous bands was nothing new (ZZ Top was just one example, it was pretty common, you might as well get over it). And, in 1982 there were a few drum machine brands available, such as Linn, but there were a good many Frankenstein units out there too (home made, back room digital drum computer rigs, similar to mini-mainframes made by geeks, example: in 1978 engineer Roger Nichols initiated the making of a drum sample sequencer named "Wendel" which was used on the Steely Dan album GAUCHO).
There is absolutely no question about this ZZ Top ELIMINATOR drum machine matter with me. Why would I have any doubt, I was up to my neck in this project. And, just remember, I was in Frank's living room, looking directly at him and Billy when Frank discovered that he had been replaced on the Eliminator album by a drum machine (a near fight resulted, Frank was beyond angry, his fists clenched, "who's that fucking drummer" he yelled. It was a nasty scene, even Frank thought it was a real human drummer). However, for reasonable proof, just put the ELIMINATOR tracks into some graphical/audio software, then look at the waveform and measure the distance from one snare lick to the next. You will notice the God-like precision (quartz precision) on each and every ELIMINATOR song track. Humans absolutely (abso-fucking-lutely) can't play like that. Enough of my rambling.
Anyway, Terry, you're doing a great job of skirting the issue and it's good client etiquette (I respect you for that). I'm sure you're not mad at me for saying these things, in fact, you're probably smiling. I hope you are well Mr Manning, and I hope life has been good to you.

​ By the way, after I (Linden Hudson) wrote the previous few paragraphs I found a more recent quote on the internet posted by engineer Terry Manning (quote by Terry, he said): "I will make it clear that my preference is always to use the actual players, to not edit between takes extensively, to maintain the best live feel the band can perform, in general to not resort to trickery. But sometimes you do what you have to to get the best record. Also, I reiterate that this is not referring to Frank, ZZ's drummer. I stated before that I will not talk about certain aspects of the ZZ recordings, out of respect for the band and management. Frank did a marvelous job on many records, and this reflects on him as a great drummer." (end quote from Terry Manning) (Linden speaking again): Thanks Terry, nicely put again. It backs up what I (Linden) have already said, a hired recording engineer is a lot like a movie director who's been hired by a big movie producer, if the producer tells his lowly director to "make Tom Cruise look tall" then that freakin' director is probably going to make Tom Cruise look tall AND that lowly director most probably will not give interviews to magazines about how he made Tom Cruise look tall. BUT, TERRY, It sounds like you're just dying to give it away. It totally does.
ONCE AGAIN: I (Linden Hudson) have found YET ANOTHER set of comments from Terry Manning that he wrote in 2005 in a person to person blog and I hope Terry doesn't get upset if I put excerpts of those quotes here. This helps tell my story and helps tell the very interesting story of the multi-layered process of the making of the ELIMINATOR album. (QUOTES FROM TERRY MANNING) TERRY SAID: "the full story of the making of ELIMINATOR (the politics, the chicanery, the technical aberations, the high social drama, the exodus, the payback) is one that I cannot tell. Even if I could, there certainly wouldn't be room for it here! It probably won't even make it into the book (or the movie). Just don't forget that truth is often stranger than fiction! (skip to...) However, I will address certain specifics (skip to...) Well I guess it can be told, as long as you promise not to pass it on, but yes, I played drums on LEGS, and in fact, almost the whole album. (skip to...) (specific about the song LEGS). The drums were a combination of things. There was programming, on my Oberheim drum machine, and then a multitude of samples triggered in over the snare as well..." (END QUOTE FROM TERRY MANNING 2005). (Comment from Linden: HOORAH !! That's it Terry, what more can I add? I knew you wanted to tell us, and there it is. HOWEVER, TERRY, I TOLD THE AUTHORS OF 3 BOOKS THIS FACT ALMOST 3 DECADES AGO. So, you are a 2nd and highly regarded witness.)

​ (LINDEN HUDSON SPEAKING AGAIN): A few questions that many people ask me (and Terry) were "what guitar and amplifier did Billy use on the ELIMINATOR album?". When Billy and myself (Linden) mocked up and tested the ELIMINATOR songs in pre-production sessions, Billy used a Legend amplifier and Dean guitar (and an AKG condenser mic on the guitar amp). Terry Manning verifies that those were the devices that Billy used for the final tracking in Memphis (of the ELIMINATOR album).
Billy hated that Dean guitar. One day when Billy and myself (Linden) were working on a song in Frank Beard's home studio, Billy broke a string on the Dean and set it down and picked up a custom made yellow guitar (Billy loved that yellow guitar but it sounded thin). I guess he figured he was through with the Dean since it now had a broken string. But that night I put a new string on it, and tuned it, and sat it in Billy's practice chair. When he came in the next day, there was the Dean in his chair with six strings. That Dean was like an ugly girlfriend that kept coming back around. "Oh man" he whined comically as he put it on for another writing session.
Almost every time Billy arrived at Frank's house to work on the ELIMINATOR album with me (Linden) he would pick up a different guitar hoping I wouldn't notice. Later in the work session he'd ask me "what do you think about THIS guitar?" My answer was always "it doesn't sound as cool as the Dean". Then he'd look pissed and say "aw man, I hate that Dean", then he would pick up the Dean and finish the writing session with it. But, in my opinion, the Dean was nasty sounding, on the edge of feedback constantly, funky, gritty, and sounded a bit crazy, untamed, crude, and wild. However, Billy was tired of that guitar for several reasons. It was a flying V so it didn't sit on his knee worth a damn, it needed constant tuning, and he wanted to move on to other guitars. But, all our pre-production demos (made in Houston) had the Dean sound. ZZ's manager insisted that the final tracking in Memphis sound like our Houston proto-types. So, Billy was stuck with the Dean guitar, at least for recording purposes. In fact, when this pre-production phase was finished and it was time for Billy to go to Memphis to track out the final version of ELIMINATOR, he got a piece of paper and drew a diagram of exactly how the microphone was placed in front of his guitar amp and he wrote down all the settings on the knobs and which mic we used on the guitar amp (as his guitar tech packed the Dean guitar, and legend amp, for the Memphis trip).
By the time the ELIMINATOR album hit the market, there were a lot of man hours invested, and just a very few people had been involved.

++ I apologize, but (because it's such a disputed topic) let me make one more stab at the drum machine issue: When Billy and myself (Linden Hudson) mocked up the ELIMINATOR album in pre-production we used an electronic drum maching instead of real drums (this occurred in the final rebuild of the album as well, I assure you). We used the drum maching for two reasons: (1) it was always available to play drums for Billy and I and would sit ther for hours on end without complaining (Frank Beard was mostly playing golf), (2) the drum machine played cleaner drums (perfect, more dance-able). For the bass we used a machine as well (Dusty was also scarce). For anyone who does not believe that the ELIMINATOR album used a drum machine, just get a copy of the vinyl album and hold it up to at an angle in sunlight. BEHOLD the perfect spirals that jump out to the eye. These spirals on the perfect mathematics of the kick drum of a drum machine. Real dummers do not make perfect spirals on vinyl with their kick drum (no matter how hard they try, only God or a digital drum machine could to that). There's no way around this reality, just give it up. If a forensic specialist was called in to a court trial to prove that digital drums were used on the ELIMINATOR album, he could use this "drop dead" simple and crude vinyl/spiral demonstration to get the proof moving along quite nicely. It's probably one hundred percent compelling to most logical folks. This forensic expert would probably be allowed to walk away from the witness stand after that demonstration.

This has been an accurate overview of the "process" that "fell into place" which gave birth to the amazing ZZ Top ELIMINATOR album. In the interest of accuracy, I (Linden) invite engineer Terry Manning to correct me on anything that I've told incorrectly, as I fully respect the man (he's the best of engineers). Terry Manning (and a couple of million bucks worth of sound gear at Ardent studios) added that stroke of awesome sound quality during the "re-build" of the perfect and incredibly successful ZZ Top ELIMINATOR album. AND, please understand that there was yet another engineer in the chain after Terry Manning, and that was the famous and brilliant mastering engineer Bob Ludwig. A mastering engineer is the guy who makes that final touch of perfection to the EQ and the overall tone and consistency of the album. Bob Ludwig has mastered records and CD's for every major musical star there is for many decades (records by Bruce Springsteen, Don Henley, John Mellencamp, The Cars, David Bowie, The Police, The Stones, Fleetwood Mac, The Who, and many hundreds more). I (Linden Hudson) was blessed to be in the engineer chain with Terry Manning and Bob Ludwig, in this respect I was truly completely blessed. So, in the end, there were three engineers in a row for ELIMINATOR, each to do his job and perform his magic. The ELIMINATOR album was perfect. Many journalists and reviewers over the three past decades have agreed, it was a perfect record. That's the part I (Linden Hudson) am so deeply proud of. This many years later, all I have is this true story.
A statement directly from Linden: "I was there from the very beginning for this project. In fact, I was working on this project with Billy before I even knew we were working on a project. I knew about the approach to ELIMINATOR and songs on ELIMINATOR before two-thirds of the band did (Frank and Dusty). I was deeply involved, then I was shunned, bad-mouthed, shat upon, disavowed and treated like a dog. It really happened like this. What more can I say or do. You're welcome Billy Gibbons (WTF)."

(Random ZZ TOP AND/OR ELIMINATOR related recollections by Linden)

A few more things about guitars and stuff with reference to Billy Gibbons. I never saw him use a Mexican Peso for a pick (a self-started, Bull-Shit Billy, legend I suspect). I've had people ask me about that and I've laughed about it a few times, everyone just grow up.
On the subject of guitar picks, I always kept a few in my pocket (I had a pick fetish). I'd find them on the floor in the rehearsal studio (Frank's recording studio). The black hole (magic place) where picks ended up was in my right pocket. Billy knew that. So, when he would ask me "hey, do you have a pick?" I was always proud to produce five or six from my pocket (his choice of red medium, yellow thin, or whatever). Without ever making a choice of which one he wanted, he'd just pick one out of my hand "thanks man".
The Mexican peso story, again, is (in my opinion, as a very close observer) just standard every day Billy Gibbons BS, although I've noticed in recent times (decades after the fact) he markets them online (or something like that). I think he's trying to cover his tracks on the self-started legend.
Also: Amp cabin? I'm sure you've heard that BS story. Never saw that either. Ridiculous. Also, micing a guitar amp in a junkyard through a bunch of junk cars? Wow, ok, whatever. The joke is on you (of course). Just bullshit Texas stories.
A certain Rolling Stone reporter, Deborah Frost, who was writing a book about ZZ Top, interviewed me in the mid 80's (many times) and she was really pissed off when she found out that lots of those Billy stories weren't true. She was pissed off because she had reported them as fact in some previous magazine articles. Deborah was a serious writer for Rolling Stone and for People Magazine, and very professional. She didn't take her writing assignments lightly. So, again, she was mad as hell when she discovered the level of bullshit that she had been subjected to.
By the way, David Sinclair (writer for the Times Of London, also a serious and professional writer) was interviewing me for his book as well, and he thought that people generally knew that rock and roll stories were partly (or mostly) bullshit. Sinclair had a different attitude and a high level of suspicion about what rock stars tell during interviews.
On the plus side, when it comes to guitar, Billy Gibbons is the real thing. When Billy was sitting in that front room of Frank's house (the pre-production studio that I built) he always had a guitar in his hands, and even when we were talking, discussing, planning, taking a break, or whatever, his fingers were always playing licks. I'm sure he plays guitar (mentally) even in his sleep. I guess he's a guitar Ninja. So, at least there's that. I'm not defending the way he interacts with people, I'm just trying to fully paint the picture with all the different observations. There was positive along with the negative. Anyway, if you're into guitar playing, then Billy is your man.

Information Tidbit: I (Linden) just want to set the record straight about something. I notice on blogs and comment sections that people just go on and on about how great Dusty's bass solo is in the song THUG. By the way, it's the song I fully wrote (100%). Well, the truth is, the THUG bass solo is played by Billy Gibbons. In fact, Dusty isn't playing on the song at all. The "underneath" bass is synthesizer and the "on top" bass is a bass guitar (played by Billy). Nothing against Dusty, but this is just the way it went down. Make a note.

Another interesting note: During those early proto-type sessions for ELIMINATOR (in Houston) I had asked Billy why he wasn't doing much squank any more (squank is the squealing sound from the guitar when the pick hits the string at an angle with slight feedback, there was lots of it on the song LAGRANGE). "People love that shit" I told him. Billy said "aw, I don't know, some people think it's just a cheap trick." I strongly urged him to give a good dose of that to some of these ELIMINATOR songs that we were working on. To my delight, he really threw a pile of squank on GIVE ME ALL YOUR LOVIN and TV DINNERS (TV DINNERS was originally called I'VE GOT PROBLEMS). The entire ELIMINATOR album was blessed with a bit more squank. Squank is fun like a cheap carnival ride. Rock and roll and fun go together.
TIME TO LEAVE: A little story from my memory banks: when I (Linden) had started my lawsuit against ZZ Top (1983) I was still living at Frank Beard's house (ZZ Top's drummer). It's a bit bizarre, but Frank knew I was suing ZZ Top and management. In a way it wasn't bizarre because Frank and I were, quite simply, friends. Anyway, one evening he sat down at the dinner table with a strange grin and said "well Linden, I guess it would be a good idea for you to move out of the house before my manager finds out you're still living here, he's freaked out over the situation." Frank and his wife (Deb) and I laughed, and I said "yea, I know, I get it". It was actually a pretty shitty situation, but we all understood it, and we tried to make the best of it. I moved out of Frank's house a few days later into a small apartment. I missed Frank and Deb a lot.
A hurricane (Hurricane Alicia, Aug 18, 1983, 115 mph winds) blew into Houston a few weeks after I moved out, and Frank Beard was on the road touring with ZZ, and his wife Deb called me at the peak of the hurricane winds and said "Linden, I think the roof is coming off and I'm worried." The phone line went dead during the conversation, which is no surprise in a storm. So, I got in my car and drove seven miles through the hurricane, around broken trees and telephone poles, to their house to check up on her (because she and Frank were still bonded as friends). All was well. So, I drove back to my apartment. Hurricanes often aren't as bad as they sound from inside the house. Anyway, I missed Frank and Deb. I missed their dog Gabby and I even missed their stupid parrot that used to bite the absolute crap out of me.
A QUICK TRIP: I (Linden) want to go back in time a bit and tell a story on Billy G. I was sitting around Frank's house having coffee (in Houston) one morning, ZZ Top was out on the road at the beginning of a tour, and I got a phone call from Billy Gibbons. "We've got a problem with a piece of electronic gear and we're in a little town in Kentucky and my guys can't find anyone who can fix it, can you hop a plane and come try to fix this quick before the show tonight?" I said "I'll give it a try" and I hustled off to the Houston airport (note: I repeat, I wasn't an employee of ZZ Top or management, I just did freelance odd jobs for them occasionally).
A roadie picked me up at the airport in Kentucky and I got to the auditorium a couple of hours before the show, and Gibbons was there to show me the electronic problem with a piece of gear. I re-seated the IC chips in the device as a start, and bingo, the thing was fixed in ten minutes. "Jeez" I said "I flew here to do that?" Gibbons smiled and said "cool, hey stick around, the pyro guy is about to test a pyro effect I want for the start of the show". So we stepped up on the stage and Billy looked back at the pyro guy and said "ok, go ahead". Suddenly there was a huge explosion up in the lighting grid, and it blew my mind and my ears were ringing and I had spots in my eyes from the bright flash. It even blew a couple of paper cups off the stage, really, it was like a stick of dynamite going off. The pyro guy came rapidly walking up to the stage saying "Jesus, sorry, that was a little stout". Billy grinned and said "no, that's perfect." I started laughing, it's all I could do. (A roadie took me back to the airport, and I was back in Houston having a beer before midnight).
DUSTY WAS THIRSTY: Or there was the time we were at Frank's rehearsal studio (front of his house) and all three of the ZZ boys were there working on a song composition. I was at the mix board (starting and stopping tape, adjusting headphones, making comments, cracking jokes). After a couple of hours Dusty said "shit, I could use a drink". I knew Dusty liked bourbon (although I didn't know just how much) so I said "well, I've got a brand new, un-opened bottle of Jim Beam in my bedroom." Dusty's face lit up "well shit, go get it" he said with a big smile. I went down the hall to my room and grabbed a paper cup and the new bottle of Beam (thinking maybe he'd just want a sip or two).
When I came back into the rehearsal studio with the bottle in my hand, Frank (ZZ's drummer) was making a really weird face in my direction, like he was trying to tell me something. But, Dusty was reaching for the bottle as I walked in "you're the man" he said. And, make a note, this bottle of bourbon was not a small pocket bottle. Anyway, long story short, Dusty drank the entire fucking bottle of bourbon in a short amount of time. I couldn't believe it (unreal). Then he said "I gotta go". He got up, put his bass down (his amplifier still on, and volume knob still up), he went outside and we heard him burn rubber in every gear all the way down the street in his Delorean (as his bass strings started feeding back into the speakers). It was the weirdest thing, like a scene from some really crazy movie. Frank looked at me and said "don't ever give whiskey to Dusty". I looked at Billy, as he sat on his stool and diddled on the strings of his guitar, and he just shrugged and said "uh huh".
FUNNY AS HELL: One afternoon Frank Beard (ZZ's drummer) said to me "hey Linden, I wanna put a ceiling fan in me and Deb's bedroom, can we do it ourselves, do you know how?" "Sure" I said "but you've gotta help me". "Ok" said Frank. So, after dinner we got a couple of chairs and stood on them and opened the box and started putting in the ceiling fan. Deb (Frank Beard's wife) sat on the floor with a glass of wine and watched. When we got through we stepped off the chairs and Frank said "let's try her out" and he flipped the switch and the fan started spinning. "Cool" said Frank smiling. He then got a light bulb to put in the bulb fittings and stood up on the chair and stuck his head right in the spinning fan "blang" and it knocked him to the floor. Deb and myself laughed so hard we had tears in our eyes. When he got up off the floor he started laughing too (and rubbing his head). "Sheee-it" he said. I grinned at him and said "that's gonna leave a lump, I guess you'll need to wear a hat onstage tomorrow night". "Right" he said. I laugh every time I think of that.
A JOKE ON ME: Frank Beard and I (Linden) laughed at each other equally when the occasions arose. A story on me: one evening me, Frank and Deb (his wife) were standing and talking (hanging out) in Frank's kitchen. I was leaning on the kitchen cabinet and looked over and noticed a new, see through package of beef jerky, so I opened it and started eating some. It was really good. Frank got quiet and was watching me. Finally I said "wow, this is good, what is it" and I turned the package over and there was a picture of a dog on the front. Frank started laughing out loud. "Oh" I said "ok, uh, ok dog jerky is good... I guess". That explains why the dog was watching me too.
LASER BURN: An industrial laser specialist by the name of Steve Jander had been operating a big laser show for Led Zeppelin's road show, and then suddenly John Bonham (Led Zeppelin's drummer) died. So, ZZ Top lured Steve Jander away to work the laser show behind the ZZ Top road show. Billy Gibbons (ZZ Top guitarist) decided he wanted me (Linden) to be trained by Steve Jander so I could be a back up laser operator in case Jander was ever unable to do the show. So, I (Linden) actually had a training session with Steve Jander during a ZZ Top show one night. The heart of the show was a monster three foot long argon laser (the main laser). That laser actually spooked me and I kept my face away from it as it zapped and glowed like a sci-fi death ray. I knew it was dangerous. As it turned out, I was never called upon to operate the laser show and only one training session had occurred. But, Frank Beard (ZZ Top drummer) told me a funny story about Steve Jander. Frank Beard had been asking Jander to put a mirror on Billy Gibbon's (ZZ guitarist) hat so the big green argon laser could be reflected off the hat. Steve Jander scolded Beard saying it's "really super dangerous". The funny part of the story is that one evening Frank Beard stepped up on the concert stage to play drums for the show and there on his snare was a drumstick with his name burned into the drumstick (burned in by the green laser). It was a message for Frank from Steve. Frank got the point and never asked dumb laser questions again. Moral of the story? Big-Ass lasers are fucking dangerous as hell. Listen to the laser guy when he says "no".
STUCK WITH THE CHECK: Sometimes Billy Gibbons and myself (Linden Hudson) would be working long hours in Frank's studio on song ideas (just me an Billy most of the time) and Billy would say "hey man, let's go get something to eat". We'd drive to a cafe or whatever and I would often get stuck with the check. Billy would usually say "oh, hey man, I forgot my wallet, can you cover me?" I'd mention it to Frank later and he would say "so what's new?". Frank and I would say (in unison) "wut wrong wit dat boy?" Billy would never pay me back either (and, I was broke and he wasn't). Of course, these incidents were a warning of things to come.
A JOKE ON DUSTY: A random, humorous recollection: Frank Beard (ZZ Top drummer) often fondly referred to Dusty as "Yosemite Sam". It always drew a laugh from me. Frank never said it in front of Dusty as he and Dusty had a peaceful relationship and respected each other. After all, they had already been working together for many years by the early 80s. Actually, they had been working together for years before they even met Billy Gibbons. But anyway, hey Dusty, don't get mad bud about this little story, it's all in fun.
THE BEARDS: Another thing about Frank Beard (ZZ Top drummer), at least at the time that I (Linden Hudson) lived at his house in the early eighties, he hated Billy and Dusty's beards. He commented on a pretty regular basis about the beards (even though his name was Beard). Frank wanted the band to look sexy and he thought the beards made the guys look like homeless hillbillys. However, the beards turned out to be something that set the band apart and made them hard to forget.
CAN'T DANCE: The way I (Linden) became aware that people could not dance to ZZ Top music (in 1982) was: Frank Beard (ZZ Top drummer) and myself had been volunteering to DJ and Emcee dances for Palmer Drug Abuse Program (Frank was working the program to stay off drugs, I was doing volunteer work for the program at Frank's request). So, Frank and myself would emcee these dances as a team. Frank was a star and we could get big crowds when we did these dances (sometimes a hundred folks in the audience, but usually several hundred). Frank and I would act silly on the PA system up on a stage and people would dance to records that we played (folks loved it).
One night Frank and I were doing a dance and I said "hey Frank, let's put a ZZ Top song on next". He said "aw, ok, I don't care, go ahead." So I played a ZZ Top song next. Everyone sat down and stopped dancing. I whispered to Frank "did you see that?" He looked a little puzzled. About an hour later I slipped another ZZ Top song on the turntable. Everyone sat down again. I had a gut feeling that this stuff wasn't dance-able already, but this proved it.
I told Billy Gibbons about this experience a few days later and I was surprised when Billy said "what? you're shitting me". It's amazing that the realization was never made in the previous ten years of ZZ's existence. Why did no one notice? Who knows, life is strange. Anyway, the thought process to make the next album dance-able started from there.
We began working on the ELIMINATOR album roughly at that point in time (although I didn't know what the name of the album was going to be until later). So, everyone, please notice one thing, you CAN dance to the ELIMINATOR album (almost every cut, I think). Well shucks, what do you know. Adding a new dimension, such as dance-ability, expands the audience (by a large margin).
As a footnote, please make note of one thing: adding a new dimension to a bands signature sound just to boost sales will piss off the original core fan base. The original core fan base of a niche band is positive that it owns the soul of that band, and will angrily acuse the band of "selling out". Those folks are deeply possessive and reactive, and they hate change. It's kind of like what happened when Dylan went electric. His original core fan base (folk music snobs) was hugely pissed off, but Dylan was his own master (of course) and his change greatly expanded his audience forever.
A SENSITIVE SUBJECT: It's true that Frank Beard did NOT play drums on the ELIMINATOR album. It ended up being sequenced digital drums (a machine) on the album. I'm not guessing at this, I know all this for a fact. Frank didn't know about that until the entire album was totally finished and finalized. Frank had actually flown to Memphis early in the final phase of ELIMINATOR to lay drums to a click track, which would later have more overdubs applied. But, a digital drum machine won in the end.
In the end, I (Linden Hudson) was actually sitting in the living room with Frank (at his house in Houston, where I lived as well) when Billy Gibbons arrived back in Houston from Memphis with a proof cassette of the finished ELIMINATOR album. Billy didn't offer to play it, was trying to leave the tape, he just said "it's done, the records are being pressed, done deal." Then Billy quickly turned to walk back to the front door to leave. Frank said "wait, put the tape on, I wanna hear it" (something funny was going on, he was suspicious). Billy stuttered, stammered and tried to get past it. Frank took the tape from Billy's hand and popped it in the machine of his really, super nice, custom made home stereo system (that I designed, 500 watts per channel, and huge Urei studio speakers that I hung from the ceiling using block and tackle). The first song started and it was obviously not Frank playing drums. I already knew all about this, but I didn't really want to be here for this confrontation. Frank jumped up from his chair with his fists clenched and got right in Billy's face "who's that fucking drummer?" he yelled. Billy stuttered, tried to explain. I left the house and took a drive. I didn't want to be there. The only part of Frank's drums that made it to the final record were his tom tom overdubs.
Later that evening I was sitting in the living room with Frank and his wife. Frank was bitching at me saying that "it's mostly your fault Linden" (even though this album, and the strategy, ultimately made Frank a rich man. You're welcome Frank, you never said thanks). (still pouting?) But hey, Frank was playing golf most of the time when Billy and I were trying to come up with an album. Plus, he had stopped practicing between tours and his licks were sloppy. What are you gonna do? Frank was still my best friend, we were family, I lived at his house. He just liked playing golf more than working on record albums. Deep down, he knew that. The best thing Frank did for ELIMINATOR was to build that recording studio in the front room of his house. That's where ELIMINATOR was born.
The bottom line for this new ELIMINATOR album, as realized by Billy (and me, Linden) was to make it dance-able and tight in order to get a bigger audience. That sloppy, slushy, blues shuffle drum stuff that had been on the past recent albums wasn't the target this time. Oh well. Frank, at least you still had a job and the band acknowledged your existence. In fact, hey Frank, everyone thought the drums on ELIMINATOR were played by you, even Rolling Stone Magazine was fooled (or didn't really care, or they weren't smart enough to know). So Frank, no need to piss and moan, you GOT credit for not even being on the album (and I did NOT get credit for spending a year working on the album).
BUILDING A STAGE PROP: Billy Gibbons once asked me to build a prop for a tour (around 1980 I think) and I gave him an estimate of the cost and my labor. He kept talking me down on the price, and finally I wasn't going to make much on it but I said I'd make it. He wanted a tall, electronic looking unit with blinking LED's and a computer screen with stuff moving around on it. Just a prop, but it had hundreds of LED's on it and pixie tubes with changing numbers. Billy wanted it to look real. I built the deal, and even cut a hole in the front and installed a computer screen and used a radio shack computer to drive the screen display. I wrote some computer programs (in "basic") to generate random numbers and words. It took weeks but the deal looked cool and they started using it on stage for the tour in progress.
So, one weekend Billy invited me to see some of the shows when they were in the vicinity (I don't remember where). After one of the shows I was in the dressing room with the band, and a journalist was there (I think he was from Circus Magazine, a rock and roll mag). The journalist asked Billy what the big electronic device was and Billy said "it's a custom designed and custom built auto-synthesizer and there's the guy who engineered and built it (he pointed at me)." The reporter started asking me questions about the design of the so-called synthesizer and Billy dissappeared. I stuttered. I didn't want to say that it was just a prop and that Billy made up the story, so I said "oh hey, I gotta go to the bathroom", so I disappeared. What can you do? (what would you do?)
A further comment: Journalists, even rock and roll journalists, are often serious when they're interviewing rock stars. They've been hired, and expenses paid, to seek and go there, to get serious interviews with these rock stars (their job is on the line, they are under pressure to get real interviews). The journalist is likely to, and probably will, take most things said to be truth. This point of view was once expressed to me by the famous Rolling Stone Magazine writer Deborah Frost. So, I'm not just saying this without knowledge.
THE BEARDS AND RODNEY: One week I went out with ZZ to hang with them while they did several shows in Las Vegas (Gibbons had invited me along). On the night off I went with Frank, Dusty and Billy to see Rodney Dangerfield at the Riviera and sat on the front row with them. Dangerfield constantly flipped sweat on us because we were so close. Occasionally, during the show, he would glance down at the ZZ boys. He didn't know who they were but they caught his eye. Finally he gestured toward the bearded boys and said "what is this a cult?"
A quick story: We had just hooked up the new multi-track recorder in Frank's house (not a great recorder, but fine for writing and developing songs), and we were working a little bit on a song Billy called "Hippie Pad". During a break Frank was casually singing "I'm gonna buy me... a groovy little hippie pad". Billy sternly corrected Frank "it's not I'm gonna BUY me... it's I'm gonna FIND me a groovy little hippie pad, hippies don't BUY hippie pads... they just FIND 'em !!!" Frank looked comically surprised "jeez... ok" he said, as he glanced at me with a mischievous grin. This, of course, caused me to break out laughing. And, for some reason, the recording we made of Hippie Pad in that room (I engineered it and played most of the percussion parts) ended up on El Loco. And, of course, I received no engineering credit or percussion overdub credit whatsoever. I disappeared into the Bermuda Triangle.
Some of the other fun I (Linden) had while living at Frank's house (Frank Beard, ZZ Top drummer): There was the time the famous rock star Fabian (from the late 50's) came to stay with us (at Frank's house) for a week (from California). He was a nice fellow, but he seemed a little uneasy at first (Texas scares some folks from LA, I guess they're afraid there might be Republicans around, or that we carry guns and spit tobacco or something). We made bar-bq in the back yard several evenings by the pool, a great visit and interesting.
One day Fabian jammed on vocals with ZZ Top for about an hour in Frank's rehearsal studio with me at the sound console. I recorded it all on cassette tape. I still have those recordings. ZZ Top meets Fabian. It was all in fun.
Another famous visitor we had at Frank's house was Carol Burnett's daughter. Carrie came from LA to live with us at Frank's house for several months (when she was 15). She was a sweet kid and always nice to me. I was very saddened to hear that Carrie passed away in her mid thirties of lung cancer.

MORE: Personal and Professional Info About Linden Hudson:
Linden has traveled in work and play. He's traveled business-style for jobs staying in hotels, and he's backpacked several times in Europe staying in hostels and teeny hotels. He's been to: Scotland, UK, Norway, Netherlands, Finland, France, Italy, Belgium, Spain (Madrid, Barcelona, Valencia), Germany (Berlin, Munich, Hamburg), Czech Republic (Prague), Singapore, Borneo (Malaysia), Mexico (all over many times, including Mexico City, &Yucatan), Canada (Calgary, French Quebec), USA (West Coast, East Coast, Almost every state).
CLIENTS & SHOWS: ABC, NBC, CBS, PBS, CNN, FOX, MTV, BBC, BLOOMBERG TV, VH1, MSNBC, CNBC, SHOWTIME, HBO, GOOD MORNING AMERICA (SUPERBOWL 2017), SUPER BOWL 2004 for Inside Edition, NASA (6 shuttle missions, from Mission Control Houston, routing and recording audio from the shuttle), Dr Phil (several shows), Francis Ford Coppola, World Series Houston 2005, Peter Frampton, Simone Biles, President Bush Sr, President Clinton, President Bush Jr, President Ford, Ron Paul, Dr Stephen Hawking, Nightline, 48 Hours, 20/20, 60 Minutes, Morely Safer, Richard Schlesenger, Ellen Degeneres Show, Alice Cooper, ZZ Top, Paula Zahn Show, Court TV (40 murder trials), Inside Edition, American Journal, History Channel, Discovery Channel, Learning Channel, Weather Channel, Food Channel, Ricky Lake, Americas Most Wanted, BP Oil Spill, Oklahoma City Bombing, Enron Trials, Arthur Anderson Trials, Dan Rather (several times), Connie Chung, Chris Cuomo, Yao Ming, Michael Dell, Maroon 5, Michael Pena, Anna Faris, Lyle Lovett, Chris Farley, Charlie Sheen, Loretta Lynn, Crystal Gayle, Van Cliburn, George Stephanopoulos, Chris Wallace, T Boone Pickens, and so much more.

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Linden Hudson
July 2017