![]() In fact, we used to play ‘Treat Her Right’ as part of the ZZ Top repertoire. Then Dusty leaned over, and he said, ‘What are we going to call this thing?’ So I remember, the three of us were all big fans of Roy Head. “So we ran through a 12-bar blues using that headline figure. He said, “Don’t lose it.” I looked over at Dusty and I said, “Man, we’ve got about four, five minutes before we collapse from this heat.” So I recall the lighting director: He pulled the headphones off and he put his finger in the air. “Tush” was written in only 5 minutes in a rehearsal in Florence, Alabama playing in a dirt-floor rodeo arena without air conditioning as Gibbons told in an interview with Guitar Player magazine in 2021. You think you understand what’s being said. About the unusual intro of the song, Gibbons explained that: “in truth, it’s a blues-infused take on talking in tongues. In the same conversation Gibbons credited the success of the track due to his simplicity: just two chords and a Robert Johnson-inspired guitar solo. So making the journey to the famed Chicken Ranch was something of a genuine rite of passage for successive generations of young Texans.” “La Grange”īilly Gibbons explained in an interview with USA Today back in 2017 that “La Grange” was inspired by a famous brothel in Texas called The Chicken Ranch: “Well, one could call it true inspiration. Not to be left out ‘Tush’, we are still doing it and ‘Just Got Paid’. In the interview with Speakeasy back in 2018, Gibbons listed his 3 favorite ZZ Top guitar riffs saying: “Can we hear it for ‘La Grange’? Come on… (audience cheers). I know a lot of you ’Reverend’ fans will already have scored the El Hombre - while I feel you should really give the Eliminator a chance too.The 3 ZZ Top guitar riffs that Billy Gibbons listed as his favorites The Eliminator is available right now for $189 from the Missing Link Audio Webstore. I’m a huge Billy Gibbons fan and have several and various ’Reverend’ style overdrive pedals - Expandoras and otherwise - and am very much looking forward to owning an Eliminator too - where I will then be able to share more intricate details. While I can imagine the El Hombre would find favour with those seeking slightly more subtle output. At least from the demos it sounds like the Eliminator has a little more range on tap. The Gain is fairly potent here too - taking you from Sweet and Sassy through to really Gnarly extremes. The Volume control takes you from Unity output up to a very significant Boost - where the pedal’s High Input Impedance makes for quite superb guitar volume cleanup - where you can set your full-fat tone, and then just Ride the Volume and dynamically dial back the gain with a flick of your wrist / pinky finger! The newer pedal sounds slightly more visceral to my ears - at least from the demos - which are entirely to my liking! I think Shane Diiorio does a particularly great job at showcasing the pedal’s capabilities - he’s very much turning out to be a sort of Muse for Missing Link Audio! And his Eliminator demo views are already at record levels for his channel! ![]() I have the El Hombre already - and really like it, while I’ve yet to get my hands on my Eliminator. ![]() Overall the Eliminator sounds slightly juicier to me and with more sizzle, and the El Hombre a touch more subtle and with a little less saturation. For the J Rockett El Hombre, the third control ’Bite’ is pretty much a Presence / top-end control, while the Eliminator’s ’Tone’ control is far more expansive and starts you off in Fat, Thick and Chewy territory where cranking said dial produces brighter and sharper tones with a little less low-end. While both pedals are 3-Knob Overdrives, there are some significant differences in output and control parameters. We all know that pedal / circuit creation cycles can often take a year or two to develop - so it’s typically entirely serendipitous when two relatively similar pedals appear almost simultaneously - as is the case with the very recent J Rockett El Hombre, and this MLA Eliminator Overdrive.īoth are firmly aimed at recreating Billy Gibbons’ iconic and legendary ZZ Top Tones - from the Tres Hombres album, through peak-time Eliminator and Afterburner releases and beyond - touching on the key saturated and typically Marshall infused overdriven fuzzy-drive tones. Pedals are very much like buses at times - when you get a number of certain types appearing at around the same time.
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