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Post by profstadt on May 22, 2013 15:13:50 GMT -5
Doin' some surfing and ran across this commentary, abstracted from Wilson & Alroy's Record Reviews.
Ouch!
"... features all four of the original Eagles....Ronstadt has ... phenomenal voice, but ... doesn't write anything, and...technique is so overwhelming that she never sounds sincere... a triumph of skill over talent...nothing here is truly memorable... an album that certainly wasn't worth the effort put into tracking it down."
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Post by Deleted on May 22, 2013 15:45:13 GMT -5
One of those wrong headed critiques which haunts the writer as time goes by... For example, Hitchcock's 'Psycho' was almost universally panned critically upon its release..
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Post by sliderocker on May 22, 2013 15:58:06 GMT -5
Doin' some surfing and ran across this commentary, abstracted from Wilson & Alroy's Record Reviews. Ouch!"... features all four of the original Eagles....Ronstadt has ... phenomenal voice, but ... doesn't write anything, and...technique is so overwhelming that she never sounds sincere... a triumph of skill over talent...nothing here is truly memorable... an album that certainly wasn't worth the effort put into tracking it down." Who are Wilson & Alroy? Did they write the review or is their website just a repository for assclowns masquerading as amateur critics? There's a few websites where someone gives the world his or her unwanted opinion of an album. Some have "reviewed" so many albums, including all albums released by certain artists, that you have to wonder and have to think that either they have too much time on their hands to critique every album there seemingly is, or they have not listened to the albums at all and counting on not getting caught at being deceptive. With regard to the former, one would have to have a lot of money to have acquired all of the albums to review as I don't think these so called critics are professional critics. In some instances, there's far too many albums, some dating back to the 1950s and I couldn't see a record company handing a critic an album from the 1950s and saying, "Here, review this!" So, I think they're assclowns writing phony reviews. Some avoid mentioning specific information about the songs, which can be another bell ringer suggesting the person hasn't listened to an album at all. |
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Post by erik on May 22, 2013 17:32:10 GMT -5
And they also get one big thing wrong: None of the original Eagles were on Silk Purse, since most of that album was recorded in Nashville, unless you count Bernie Leadon on some of the tracks. It wasn't until the next album, her self-titled one, that they appeared--and even then, not all four of them at the same time.  |
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Post by the Scribe on May 22, 2013 17:53:17 GMT -5
And they also get one big thing wrong: None of the original Eagles were on Silk Purse, since most of that album was recorded in Nashville, unless you count Bernie Leadon on some of the tracks. It wasn't until the next album, her self-titled one, that they appeared--and even then, not all four of them at the same time. Exactly, right out of the gate they have no idea what they are talking about. Sounds like they are going back into time and doing hit pieces. I think it is important to review an album in the context of the time it came out as the world was a different place, tastes were different and singers like Linda were innovative and trailblazing. Assclowns is right! |
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Post by Partridge on May 22, 2013 21:36:48 GMT -5
I can't trust the "opinion" part of their review when they can't
even get the "information/facts" part of the review correct.
To me, that album is a ragged affair, but Long Long Time
and Louise certainly have the sincerity these guys were looking for.
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Post by eddiejinnj on May 23, 2013 13:31:18 GMT -5
wouldn't quite say ragged imo. if by ragged you mean the quality of the recording then I agree 100%. the sound quality is not good. I know they wanted an earthy feel for "Louise" and "Life is Like a Mountain Railway" but the recording and arrangement especially of the latter I believe could have been improved. eddiejinnj
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Post by musicaamator on May 23, 2013 13:40:47 GMT -5
Is this Dave Marsh's pseudonym now?
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Post by Richard W on May 23, 2013 14:51:06 GMT -5
I agree with Tony about SP being ragged.
Some fine moments from (a very green) Linda that underscore her potential more than they establish her brilliance.
It's an album I rarely play anything from, defeated as it seems to be by comparatively weak songs and slipshod production.
All you have to do is compare her singing and phrasing on this album to her next, LR, to experience her growth and confidence as a vocalist.
(Simply play the song LLT from SP and follow it with LLT from the bonus cut on the Capitol Years recorded live during the LR sessions and you can hear her master her art.)
Even more astonishing is her growth from LR to DCN.
And if you jump over LR from SP straight to DCN -- holy crap!
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Post by erik on May 23, 2013 17:30:00 GMT -5
Quote by Richard W:
Linda herself admitted as early as 1975 that she hated the album, and that she was also sure that Elliot Mazer, who produced it, didn't think it was very good either. The problem may have been that Linda was working well outside her comfort zone by having much of it recorded in Nashville. By all accounts, she worked well with the city's session mafia, but something was just a touch off-kilter. And it's sometimes evident that Linda is trying a bit too hard to sound hillbilly-ish on it.
The interesting thing on "Long Long Time" is that the take that ended up on the album, and subsequently on the radio, was the second take, according to Mazer; and that Linda was so exhausted after doing that take that she fell asleep in the control room.
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Post by Dianna on May 23, 2013 17:36:28 GMT -5
Yeah, IMO..looking back at all of her work as a whole, she grew a lot, even changing genres, her singing just got better.. Canciones really blew me away. It was perfection!
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Post by jhar26 on Jun 2, 2013 2:27:46 GMT -5
One of those wrong headed critiques which haunts the writer as time goes by... For example, Hitchcock's 'Psycho' was almost universally panned critically upon its release.. Leaving aside the fact that the Eagles didn't play on the album I don't think they were too far of the mark when it comes to this one though. Despite a few good tracks it's one of the worst albums of Linda's career. |
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Post by erik on Jun 2, 2013 12:23:41 GMT -5
Quote by jhar26:
At the very least, I think it shows how hard it would have been to gain traction as a conventional country singer in Nashville at the time, and still be her own woman. She is probably right in disliking the album, but she did kind of make it her business (much to the embarrassment of Capitol Records) to get "Long Long Time" out as a single, get it to #25 on the Hot 100, and nearly snag her a Grammy.
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Post by sliderocker on Jun 2, 2013 15:01:03 GMT -5
At the very least, I think it shows how hard it would have been to gain traction as a conventional country singer in Nashville at the time, and still be her own woman. She is probably right in disliking the album, but she did kind of make it her business (much to the embarrassment of Capitol Records) to get "Long Long Time" out as a single, get it to #25 on the Hot 100, and nearly snag her a Grammy. Part of the problem Linda may have had with "Silk Purse" was on who the musicians were who were playing on the album. As mentioned, Nashville has always been a paint-by-the-numbers town when it came to country music. The establishment there wants the same musicians playing and same backing vocalists singing on all of the songs. No deviations. Musician credits weren't given for the album although the musician credits are known for "Long, Long Time," and I think two of the three musicians heard on the song (Weldon Myrick, Norbert Putnam) were Nashville session players but the guitarist was not a Nashville session player. The rest of the songs? If it was a mix of Nashville session players and Linda's handpicked musicians, Capitol's Nashville branch may not have been a happy camper if they were in charge of promoting the album. On the other hand, one does have to scratch one's head in wonder as to what Capitol in Los Angeles or New York didn't see in the hit potential for "Long, Long Time?" I can't believe they didn't realize the hit they had on their corporate hands. And what was the logic in releasing "Will You Love Me Tomorrow" as a single? I don't think any other artist has ever had a Top 40 hit with that song, although it's been covered and released as a single by quite a few artists. Then again, maybe the problem there was that since "Silk Purse" was considered a country album, maybe Capitol L.A. (or New York) felt Capitol's Nashville branch should've been the one promoting it. But, if Linda didn't use all Nashville session players and backing vocalists on all of the songs, they didn't want it either. Still, the fact they made minimal efforts on "Long, Long Time" is criminal. A greater effort for the song could've resulted in the song being in the top 5 as opposed to the top 25. |
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Post by Partridge on Jun 2, 2013 15:11:16 GMT -5
Long Long Time, even though having the sound of a country ballad even by the standards of that era, did not enter the Billboard Country charts. Only the Hot 100.
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Post by sliderocker on Jun 2, 2013 16:56:24 GMT -5
Long Long Time, even though having the sound of a country ballad even by the standards of that era, did not enter the Billboard Country charts. Only the Hot 100. The pop chart action is what I was referring to, and I've always assumed that Linda was referring to the pop music division in L.A. at Capitol as far as that label's resistance to "Long Long Time." Because it was recorded in Nashville, did the pop music A&R executives not even listen to the song before passing judgment on it as to its worthiness? But, what if the rejection was out of Nashville, because Linda was not a Nashville based singer with the song not considered a true country song? Everything considered, "Long, Long Time" was not really a country song, even though Linda in those days could've been considered a country singer. But, I suppose the question would be what did Capitol consider Linda to be: pop-rock singer or country singer? If Linda was championing "Long, Long Time" as a single to the pop music division of Capitol and there was resistance because they saw her recordings as country, it suggests Linda regarded herself more as a pop-rock singer with country leanings than a straight out country singer. But, if that's the case, it also suggests that maybe Capitol's pop music division perhaps saw her as only a country singer and not a pop singer. And that may be why her singles and albums didn't always do so well on the pop charts. Capitol's country music division probably could've done more with her recordings but here again, she wasn't a Nashville based singer and didn't record there on a regular basis and likely didn't have the support of the Capitol executives there. Regardless, Linda didn't get the hits she should have while she was at Capitol originally. Some of that can be blamed on the songs she recorded or more likely and especially the arrangements. But, the blame also belongs with Capitol, and what they did or did not do in promoting Linda's recordings. Most of the blame may belong to Capitol than to anyone or anything else associated with Linda. Linda's days at Capitol pre-Asylum is a classic case of someone at the label not doing their job in getting her a lot of hits between "Different Drum" and "Long, Long Time," and after LLT. |
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Post by the Scribe on Jun 3, 2013 16:18:04 GMT -5
While Linda herself may not have like this album or much of her own music Silk Purse was fantastic and loaded with gems. Here is an amazon review I agree with:
5.0 out of 5 stars Remarkable Early Linda Ronstadt Album January 26, 2004
By Matt Coker
Format:Audio CDI draw the dividing line between Linda Ronstadt's early work at around 1971. While the LINDA RONSTADT album (1972) features a solid blueprint on the sound and style she would build her 1970s classics on, SILK PURSE is much closer to the later Stone Poneys and her first solo album. It also happens to be one of my favorite Linda Ronstadt albums.
SILK PURSE displays a heavy country sound in the arrangements and vocals, but the character is definitely unique, reflecting neither the Nashville Sound of late-1960s country nor the rock influence in much of the country-rock movement. Two of the album's best defining features are Linda Ronstadt's confident, powerful, and beautiful vocals, and the incredible arrangments that surround each of the songs. "Lovesick Blues" leaps out of the speaker with a stunning vocals start. The song has been recast as an uptempo rocker, though the fiddles are especially prominent. Her vocals also start "Are My Thoughts With You," which continually builds both musically and emotionally during the song. "Will You Love Me Tomorrow" is one of the best songs on the album, and one of my favorites. The arrangement is superb, opening with a ringing guitar sound, and featuring a brilliant vocal performance. The track melds both girl group, country, and great pop, and the result is a remarkable success that is above describtion. I've never understood why this song hasn't been featured on a Linda Ronstadt CD compilation (last was RETROSPECTIVE (I really miss that collection) in 1977, unless you count the small Capitol compilations from the 1980s (which aren't listed in her discography). Linda Ronstadt's vocal performance is the best feature of many of these songs, especially "Nobody's" written by Gary White. Gary White duets on "Louise," which features only an acoustic guitar, but delivers a powerful performance. One of Linda Ronstadt's greatest recordings is "Long Long Time," which resulted in her first solo hit ("Different Drum" was credited to the Stone Poneys) and her first Grammy nomination. The song is perfect, the arrangement of pedal steel, fiddle, harpsicord, and bass create a sound the is unbelievably emotional. Linda Ronstadt's vocal is powerful beyond the use of words, and the devastating lyrics bring new meaning to the term "sad song". The song has been recorded a few times since, but no version comes close to this gorgeous classic. "Mental Revenge" is considerably lighter, and the song is very entertaining, with her vocal delivery, arrangement, and lyrics that aim ill-wishes at the unfaithful partner from a former relationship. "I'm Leaving It All Up To You" was a pop hit in the early 1960s, but Linda Ronstadt ups the emotional quotient significantly, turning in a spectacular country recording. "He Dark The Sun" ranks with "Will You Love Me Tomorrow" and "Long Long Time" as my favorite recordings from this album. It was originally "She Darked The Sun" in bluegrass form on the first Dillard & Clark album (written by Gene Clark and Bernie Leadon). This recording rests largely on the soulful power of Linda Ronstadt's voice, Bernie Leadon contributes the harmony vocal, and the arrangement frames the vocal performance. Its worth a second listen everytime I play the disc. "Life Is Like A Mountain Railway" is reminiscent of an Appalachian spiritual, sung in harmony with the Beechwood Rangers. Its a unique way to conclude this immensely satisfying album. SILK PURSE is filled with spectacular performances, great arrangments, and unique songs. The critiques on the quality of all the songs really isn't that big a problem; I like those songs on the early albums which made up in emotional power whatever was missing on paper. SILK PURSE is an amazing album, probably the one I play most often, which is a very different experience from HEART LIKE A WHEEL, LIVING IN THE U.S.A. or, SIMPLE DREAMS. Highly recommended.
I particularly love Are My Thoughts With You and Nobodys. Fantastic!
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Post by sliderocker on Jun 3, 2013 16:42:02 GMT -5
I particularly love Are My Thoughts With You and Nobodys. Fantastic! I like most of the album, though for me, the weakest link on the album is "Lovesick Blues." Not for Linda's vocal but for the backing musical arrangement. I thought the musicians should've been sacreligious and played it in a rock or jazz-rock setting rather than in an arrangement that sounded old. But, Linda did sound like a down home hillbilly on the gospel number "Life's Railway to Heaven," down home as in maybe someone from Alabama or Mississippi singing the song and not someone from Arizona. I rarely played it when I bought the album originally. Play it more now although still not as much as other songs. |
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Post by erik on Jun 3, 2013 18:53:54 GMT -5
In all honesty, "Life Is Like A Mountain Railway" is a traditional bluegrass gospel spiritual, so I suppose it's right for her to sound "down home." I do like the minimalist guitars/bass/drums set-up of her take on "He Darked The Sun."
As for "Long Long Time", I think the credit for the its success goes, at least in part, to KRLA AM 1110 here in Los Angeles, which was inundated for requests for the song and had pushed for the song's release as a single, even though it was a country-inflected ballad that, as Linda recalled Capitol execs saying, was going to put people to sleep. It got a good review in Billboard Magazine's June 20, 1970 edition, but it took almost another two months to break onto the Hot 100, which happened on August 15th, where it debuted at #82. It entered the Top 40 on September 12th at #31, and peaked at #25 for two weeks (October 10th and 17th).
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Post by eddiejinnj on Jun 3, 2013 19:32:15 GMT -5
imo, lovesick blues, long long time and nobody's are the cream of silk purse. was going to just say the first 2 but nobody's is such a cool funky interesting song done well by linda. true country is best expressed in a Hank Williams song by linda. lovesick blues just channels the Williams attitude and emotion. she always seems to nail his songs. linda and emmy's honky tonk blues is kick butt country also. eddiejiinnj
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Post by sliderocker on Jun 4, 2013 3:29:49 GMT -5
In all honesty, "Life Is Like A Mountain Railway" is a traditional bluegrass gospel spiritual, so I suppose it's right for her to sound "down home." I do like the minimalist guitars/bass/drums set-up of her take on "He Darked The Sun." As for "Long Long Time", I think the credit for the its success goes, at least in part, to KRLA AM 1110 here in Los Angeles, which was inundated for requests for the song and had pushed for the song's release as a single, even though it was a country-inflected ballad that, as Linda recalled Capitol execs saying, was going to put people to sleep. It got a good review in Billboard Magazine's June 20, 1970 edition, but it took almost another two months to break onto the Hot 100, which happened on August 15th, where it debuted at #82. It entered the Top 40 on September 12th at #31, and peaked at #25 for two weeks (October 10th and 17th). Likewise, I liked the minimalist guitars/bass/drums on "He Darked the Sun," didn't much care for the alternate "countryfried" take of the song that was on the two-cd reissue of Linda's Capitol albums. Sometimes, less is better and on this song, that definitely was the case. I'd second KRLA on receiving the credit for breaking "Long, Long Time" as a hit. Capitol execs obviously didn't know what they had. Some of those same execs must still have been around when Heart's "These Dreams" became a number one hit. I recall a story of DJs pleading with Capitol, telling them they had a huge hit on their hands but for some reason, Capitol didn't want to release it as a single. Maybe because it was sung by Nancy Wilson rather than Ann Wilson. But, they eventually relented and Heart got their first number one and also opened the door for Nancy Wilson's leads to be considered as possible A-sides. Still wish Capitol had given LLT more push. It should've been a number one or in the top three at least as it was that good of a song. |
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Post by sliderocker on Jun 4, 2013 3:44:57 GMT -5
imo, lovesick blues, long long time and nobody's are the cream of silk purse. was going to just say the first 2 but nobody's is such a cool funky interesting song done well by linda. true country is best expressed in a Hank Williams song by linda. lovesick blues just channels the Williams attitude and emotion. she always seems to nail his songs. linda and emmy's honky tonk blues is kick butt country also. eddiejiinnj Strictly speaking, "Lovesick Blues" isn't a Hank Williams song; it was written for a stage musical in 1922, one year before Williams was born into his very brief life. It had been covered a few times before Hank got around to it in 1948. Linda had the attitude and emotion on the song but the song sounds more jazzy than country in nature but because people who are aware if the song who don't know of the song's origins, they assume Williams did it first and that it's a country song rather than a Broadway song. And that thought probably would've horrified the songwriters of Tin Pan Alley who wrote songs for Broadway. |
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Post by MokyWI on Jun 4, 2013 7:00:42 GMT -5
I think creating threads like this where we discuss and post things about each album. A thread for each. I should just start another one with the title of another album, I don't have the time right now as I must get to work. I still don't know how to post clippings and photos. I have not tried in a very long but once II sit down and attempt again I bet I could figure it out.
Erik did something similar with his chart progress of the albums/singles. We have some new members and they are younger than most of us old timers on this board. It might be of interest to these new fans. We became fans while she was active in her career, these newer fans are seeing her for the first time from a different angle.
MK
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Post by MokyWI on Jun 4, 2013 7:09:03 GMT -5
did we get a new board? It looks different than before.
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Post by eddiejinnj on Jun 4, 2013 7:12:57 GMT -5
I think I remember that re: lovesick blues not being written by hank but it is so closely linked to him and a song linda would have heard as a kid since her sister loved Hank Williams. she would have studied his licks and chops. thanks for the reminder. eddiejinnj
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Post by erik on Jun 4, 2013 8:53:47 GMT -5
Quote by eddieinnj:
I don't know that Linda was ever aware of the song's actual origins until sometime after she recorded her version; she may have always assumed it was a classic C&W song. But it's true: it started as a Tin Pan Alley song before it somehow worked its way onto Music Row.
Quote by mikekoecher:
Yes, it appears we have a new look to the board now.
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Post by kgreen on Jun 8, 2013 10:27:56 GMT -5
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Post by MokyWI on Jun 8, 2013 10:41:50 GMT -5
I think Silk Purse was not that bad. I actually went back it more than I did Handsown...Homegrown. There are some tracks on both those albums that are weak but the good far outway the bad on both IMO.
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Post by Richard W on Jun 20, 2013 14:57:03 GMT -5
"10 prime cuts from the loin that gave us 'Long, Long Time'"
The "loin"?
Good grief...
Great album cover, though, one no one else has managed to duplicate!
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Post by sliderocker on Jun 20, 2013 15:57:58 GMT -5
"10 prime cuts from the loin that gave us 'Long, Long Time'" The "loin"? Good grief... Great album cover, though, one no one else has managed to duplicate! That entire phrase just makes one cringe and groan, and one can only imagine what Linda must have felt on being referred to as the "loin." Someone should've been shot - er, fired for that one! The phrase is also not exactly accurate as it seems to suggest the album had ten songs not including "Long, Long Time." I'm also not too crazy about the phrase "Music from Big Pork" either, but one does wonder did the promotional department not understand the reference between a silk purse and a pig or sow? I also kind of wonder how many magazines Capitol's promotional department ran all these ads in? The front album cover was pretty cool, though any of the photo outtakes used for the magazine ads could've been used for an alternate front cover or included on the inner sleeve. By the way, as to the album jacket, I've read it was available as a gatefold jacket, like the "Linda Ronstadt" album. But, I've never seen a gatefold jacket of the album, just the single album jacket with the standard white paper inner sleeve. I've always wondered if it did exist, was its availability limited for a certain time (much like Elvis's albums coming with limited edition bonus photos inside the jacket were limited to the first runs of the albums) or in a certain part of the country? I'd like to have a copy if it does exist but I've never run across a copy, and think the person who said the album was released with a gatefold jacket made an error. |
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