Chrome, Synth & Boogie
The Phenomenon of ZZ Top's *Eliminator*: An iconic album that redefined a band and captured the MTV generation.
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What is *Eliminator*?
A Landmark Release
*Eliminator* is the eighth studio album by the legendary American rock band ZZ Top, released on March 23, 1983. This album marked a pivotal moment in the band's career, propelling them to unprecedented global success and transforming their sound for a new era. It masterfully blended their signature boogie and blues rock roots with the burgeoning sounds of new wave and synth-rock, creating a "tighter" album characterized by a steady, driving beat.
Commercial Triumph
Commercially, *Eliminator* became ZZ Top's most successful release by a significant margin, achieving diamond certification in the United States with sales exceeding 11 million copies. It soared high on charts across numerous countries, establishing the band as "bona fide pop stars." The album's widespread appeal was further amplified by its hit singles, which garnered extensive airplay and introduced ZZ Top to a broader, younger audience.
Critical Acclaim & Accolades
Beyond its commercial success, *Eliminator* earned significant critical recognition. *Rolling Stone* included it on its list of the 500 Greatest Albums of All Time, and it was also featured in "The 100 Greatest Albums of the 80s" and Robert Dimery's influential book, *1001 Albums You Must Hear Before You Die*. This album is celebrated for its innovative fusion of traditional rock with electronic elements, proving ZZ Top's adaptability and enduring relevance.
Album Origin
Post-Hiatus Evolution
Following a hiatus in 1978, during which band members pursued personal endeavors—Billy Gibbons traveled Europe, Dusty Hill vacationed in Mexico, and Frank Beard addressed addiction—ZZ Top returned with *Degüello* in 1979. This period of reflection and personal growth set the stage for a significant musical evolution. Beard's recovery journey even led to the establishment of a private rehearsal studio in his Quail Valley home, which would become instrumental in the creation of *Eliminator*.
The Quail Valley Studio
In 1979, Frank Beard acquired a spacious residence in Quail Valley, Houston, where he established a private recording studio. Engineer Linden Hudson was invited to design and oversee its construction, featuring an isolation booth for Beard's drum kit and additional booths for guitar and bass amplifiers. This semi-professional setup, centered around a 1-inch 16-track Tascam tape recorder, became the creative hub where ZZ Top began experimenting with new sounds, including the introduction of drum machines, a concept brought to Gibbons by Hudson.
The "Mystique" of Live Performance
The band's evolving sound, heavily incorporating synthesizers and drum machines, meant that some songs could not be fully reproduced live without pre-recorded tracks. To maintain an image of self-sufficiency and authenticity, manager Bill Ham carefully controlled the band's public perception. A technician would cue pre-recorded synthesizer parts, drum samples, and other elements via a small tape player, providing Frank Beard with a click track in his headphones. This behind-the-scenes practice remained undisclosed to the public for years.
Studio Production
Electronic Inspirations
Billy Gibbons, the bandleader, found inspiration in British electronic music acts such as Depeche Mode and Orchestral Manoeuvres in the Dark. This influence spurred his interest in integrating electronic music technology into ZZ Top's sound. Linden Hudson, a former radio DJ, further fueled this direction by presenting Gibbons with research indicating that many hit songs shared a tempo around 124 beats per minute. This insight led Gibbons to adopt a faster, more consistent pace for *Eliminator*, primarily driven by drum machines, resulting in a "timed and tuned very tight" album.
Early Collaborations
The initial songwriting sessions for *Eliminator* largely involved Gibbons and Hudson at Beard's home studio. Hudson programmed drum machines and played keyboard bass, laying down the electronic foundation. Gibbons then layered his electric guitar work over these sounds, creating demos like "Got Me Under Pressure." Gibbons noted that synthesizers provided a "nice platform" for his guitar and a "full bed of sound" by playing an octave lower than a traditional bass guitar. Producer Bill Ham was initially unaware of this new sonic direction being forged without the full band's direct involvement.
Meticulous Overdubs & Replacements
After recording basic tracks at Ardent Studios in Memphis with engineer Terry Manning, Gibbons, Manning, and Ham continued to refine the album without Hill and Beard. Most of Hill's bass parts were replaced by Gibbons or Manning playing bass guitar or a Moog Source keyboard synthesizer, with a Memorymoog adding supporting synth sounds. Similarly, much of Beard's drumming was substituted with drum machine programming or Simmons SDS-V electronic drums, though his acoustic tom-tom fills and cymbal accents were retained. Manning notably reworked "Legs" at his home studio, creating its iconic dance mix and programming the Oberheim DMX drum machine, augmented by AMS DMX delay unit samples. Gibbons later acknowledged using early Ministry drum samples to polish the album.
Guitar Craft
For the majority of songs, Gibbons utilized Dean guitars equipped with DiMarzio super distortion pickups, routed through a Legend hybrid amplifier, and captured with an AKG 414B-ULS large-diaphragm condenser microphone. Achieving Gibbons' desired high sound pressure level for rhythm guitar parts presented a unique challenge: it prevented him from lifting his fingers to change chords without feedback. To overcome this, each chord was played once and then double-tracked on a pair of tracks. Manning meticulously blended these alternating pairs by punching tracks in and out, a laborious process that also eliminated the typical squeaks from finger shifts, contributing to the album's polished sound.
The Eliminator Car
A Name from the Track
The album's title, *Eliminator*, was inspired by a drag racing term, a suggestion from manager Bill Ham, who believed the band should feature Billy Gibbons' newly customized 1933 Ford coupe. "Eliminator" refers to any category of race cars competing against each other, perfectly encapsulating the album's high-octane, driving sound and aesthetic.
Crafting an Icon
The iconic car itself was a collaborative effort, built between 1976 and 1983 by Don Thelen of Buffalo Motor Cars and Ronnie Jones of Hand Crafted Metal, with assistance from Sid Blackard. It was engineered with a powerful Corvette-style engine, reflecting its performance-oriented name. The car's distinctive red finish and bold graphics made it instantly recognizable, becoming a central visual element for the band.
Cultural Presence
Dubbed "The Eliminator" after the album, the coupe became a star in its own right, appearing prominently in several of ZZ Top's groundbreaking music videos. Its presence extended beyond music, with appearances in television, movies, auto shows, and charity events, cementing its status as a cultural icon. Reportedly costing Gibbons $50,000 to build, the car is now a prized exhibit at the Rock and Roll Hall of Fame in Cleveland, though Gibbons is known to occasionally "crank it up and take it out for a spin" when in the area.
Album Legacy
Global Breakthrough
*Eliminator* marked ZZ Top's first album to achieve widespread international success, transforming them into "bona fide pop stars," as noted by the *Financial Times*. Its release on March 23, 1983, initiated a period of unprecedented commercial triumph. By December 1996, the album had sold over 11 million copies in the US alone, a staggering ten times more than any of their previous albums, solidifying its place as a monumental achievement in their discography.
Chart-Topping Singles
The album spawned four highly successful singles that dominated radio waves and music television: "Gimme All Your Lovin'", "Sharp Dressed Man", "TV Dinners", and "Legs". "Gimme All Your Lovin'" quickly climbed to number two on *Billboard*'s Hot Mainstream Rock Tracks chart in April 1983, breaking into the Top 40 pop chart a month later. "Sharp Dressed Man" peaked at number eight, "TV Dinners" reached number 38, and "Legs" became their most successful single, topping out at number three in June 1984 after its iconic video release. Even "Got Me Under Pressure" received significant airplay, peaking at number 18.
Enduring Influence
The album's impact extended beyond its initial chart success, maintaining a strong presence on various international charts for extended periods, including an impressive 101 weeks on the Canadian album charts between 1983 and 1985. Its innovative sound and visual presentation left an indelible mark on music and pop culture, influencing subsequent artists and cementing ZZ Top's status as rock legends capable of evolving with the times while staying true to their blues-rock core.
Music Visuals
MTV's New Frontier
Recognizing the transformative power of MTV, record executive Jeff Ayeroff championed the creation of ZZ Top's first music video for "Gimme All Your Lovin'" in early 1983. This strategic move was pivotal in reshaping the band's public image and expanding their reach. Warner Bros. Records hired filmmaker Tim Newman, who would go on to direct the iconic videos for "Sharp Dressed Man" and "Legs," establishing a distinctive visual identity for the band.
The Trilogy & The Car
The music videos for "Gimme All Your Lovin'", "Sharp Dressed Man", and "Legs" formed a memorable trilogy, depicting a stylized vision of America as "a land of rock and roll, cars and girls." Central to this narrative was the customized 1933 Ford coupe, "The Eliminator," driven by three enigmatic female models. These videos were instrumental in making ZZ Top highly visible, attracting a new, younger demographic, including teenage girls and boys, who had previously perceived them as an "old-fogey band."
Iconic Imagery & Awards
The "Legs" video introduced another iconic visual: ZZ Top's spinning guitars, famously covered in white sheepskin. The widespread rotation of these videos on MTV garnered the band significant accolades, including awards for Best Band and Best Group Video at the 1984 MTV Awards. Tim Newman, the director, even negotiated a unique payment structure for "Legs," earning a substantial sum each time *Eliminator* achieved another 250,000 units in US sales. Additionally, a clay animation video for "TV Dinners," directed by Marius Penczner, showcased a different creative approach to the album's visual storytelling.
The Live Experience
The Eliminator Tour
Following the album's release, ZZ Top embarked on the ambitious Eliminator tour, a grand spectacle reminiscent of their earlier Worldwide Texas Tour (1976–1977). The tour spanned from May to October 1983 across the US, with additional dates in Ireland and the British Isles in August, including a notable performance at the Monsters of Rock concert in Castle Donington. A European leg followed in October–November 1983, taking the band to Sweden, Norway, Denmark, Germany, France, Belgium, and back to the UK, where an added date at Wembley Arena met overwhelming demand. The tour concluded with more US dates in early 1984.
Setlist & Stagecraft
During the Eliminator tour, the band performed all four hit singles from the album, alongside a selection of fan favorites from their earlier discography, consistently closing their shows with the classic "Tush." The stage design was a visual marvel, featuring an outsized replica of the iconic Eliminator car and a stage floor patterned after its dashboard. The production was enhanced with elaborate laser lighting displays, creating an immersive experience for concert-goers.
Dramatic Finale
Each concert on the Eliminator tour culminated in a dramatic and memorable finale. As the final song played, a smoke bomb was triggered, followed by a simulated rigging failure where parts of the lighting structure, along with a mannequin roadie, appeared to crash down from the overhead grid. This theatrical flourish added an element of surprise and excitement, leaving a lasting impression on the audience and reinforcing the band's larger-than-life stage presence.
Critical Reception
Initial Reactions
Initial critical responses to *Eliminator* were varied. Robert Christgau praised the album's "boogie in overdrive," noting that "The videos make you smile, the record runs you over. That's the pleasure of it." However, Samuel Graham of *Record* found it lacked variety compared to previous ZZ Top albums, though he highlighted the strength of singles like "Gimme All Your Lovin'," "Legs," "Thug," and "I Need You Tonight," suggesting it was a "lateral move" for the band.
Fan Divide
The album's prominent use of synthesizers and drum machines sparked a significant divide among ZZ Top's long-time fans. Many reacted negatively to the departure from their traditional blues-rock sound, leading to speculation that Dusty Hill and Frank Beard had minimal involvement in the album's instrumentation. Hill himself acknowledged the controversy, comparing the fan reaction to Bob Dylan's controversial shift to electric music. Despite this, *Eliminator* successfully attracted a vast new audience, including teenage girls and boys, who discovered the band through their innovative music videos.
Retrospective Acclaim
Retrospective opinions on *Eliminator* are largely positive, celebrating ZZ Top's foresight and ability to adapt to the musical landscape of the 1980s. *Guitar World* in 2002 lauded the album as "a brilliant merger of roadhouse blues and synthesizer swells and looped beats," defying expectations of failure in the MTV era. The *Houston Chronicle* in 2018 highlighted how the album seamlessly integrated Gibbons' classic rock foundation with his interest in new-wave synthesizers, all while retaining "a sense of the Delta blues under all the technology." Alan di Perna in 2012 praised the "potent combination" of "raunchy guitar sounds coupled with the pounding drive and unrelenting sex machine rhythmic precision of electronic dance music and synth pop," recognizing it as the key to their greatest commercial triumph.
Album Playlist
Track Listing Overview
The *Eliminator* album features a total of eleven tracks, showcasing the band's evolving sound. While official songwriting credits were attributed to Billy Gibbons, Dusty Hill, and Frank Beard, it is known that Linden Hudson co-wrote several songs with Gibbons and independently composed "Thug." Billy Gibbons handled lead vocals for most tracks, with Dusty Hill taking the lead on "I Got the Six."
Album Personnel
The Core Trio (Official)
The official album credits for *Eliminator* list the three core members of ZZ Top, reflecting their established roles within the band:
- Billy Gibbons: Guitar, Vocals
- Dusty Hill: Bass, Vocals
- Frank Beard: Drums
These credits represent the public face of the band's creative output, maintaining the mystique and identity that ZZ Top had cultivated over the years.
Expanded Musicianship (Actual)
However, the actual recording process involved a broader array of musicianship and technical contributions, particularly in the integration of electronic elements:
- Billy Gibbons: Guitar, Harmonica, Vocals, Bass Guitar, Keyboard Bass, Synthesizers, Production, Arrangements
- Dusty Hill: Bass Guitar, Vocals
- Frank Beard: Drums (specifically tom-tom drums and cymbals, with other parts often replaced)
- Linden Hudson: Synthesizer, Production, Arrangements, Songwriter
- Terry Manning: Drum Machines, Electronic Drums, Bass Guitar, Keyboard Bass, Synthesizers, Backing Vocals, Production, Arrangements
- Jimi Jamison: Backing Vocals
This expanded list highlights the significant behind-the-scenes efforts that shaped *Eliminator*'s distinctive sound.
Production Team
The album's polished sound and innovative production were the result of a dedicated team:
- Bill Ham: Producer
- Terry Manning: Engineer
- Linden Hudson: Pre-production Engineer, Songwriter
- Bob Ludwig: Mastering
- Bob Alford: Art Director
- Tom Hunnicutt: Cover Illustration
Each member of the production team played a crucial role in bringing *Eliminator* to life, from its initial conceptualization and recording to its final mastering and visual presentation.
Chart Rankings
Weekly Performance (1983–1985)
*Eliminator* achieved remarkable success on international charts immediately following its release. The album consistently ranked high, demonstrating its global appeal and the band's burgeoning popularity. Its peak positions across various countries underscore its status as a worldwide phenomenon.
Year-End Performance
The album's sustained popularity is further evidenced by its strong performance on year-end charts across multiple years. This longevity highlights *Eliminator*'s enduring appeal and its significant cultural footprint throughout the mid-1980s.
Recent Chart Activity
Even decades after its initial release, *Eliminator* occasionally reappears on international charts, a testament to its timeless appeal and enduring legacy. For instance, in 2023, the album once again found its way onto the Hungarian Albums chart, demonstrating its continued relevance and ability to captivate new generations of listeners.
Certifications & Sales
Diamond Status & Beyond
*Eliminator* achieved extraordinary commercial success, earning diamond certification in both the United States and Canada, signifying sales of over 10 million and 1 million units respectively. This level of achievement is a rare feat in the music industry, solidifying its place as one of the best-selling albums of all time.
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References
References
- "Dutchcharts.nl â ZZ Top â Eliminator" (in Dutch). Hung Medien. Retrieved July, 8 2023.
- "Charts.nz â ZZ Top â Eliminator". Hung Medien. Retrieved July, 8 2023.
- "Norwegiancharts.com â ZZ Top â Eliminator". Hung Medien. Retrieved July, 8 2023.
- "Swedishcharts.com â ZZ Top â Eliminator". Hung Medien. Retrieved July, 8 2023.
- "Swisscharts.com â ZZ Top â Eliminator". Hung Medien. Retrieved July, 8 2023.
- "Charts.nz â ZZ Top â Eliminator". Hung Medien. Retrieved July, 8 2023.
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