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Post by sliderocker on Dec 9, 2018 14:46:25 GMT -5
I asked John Boylan why the complete concert was not being released. His response: There were time constraints, since a CD doesn’t have enough space for the whole concert and neither does vinyl. A 2 CD set was not cost effective. The rest might show up later as bonus tracks. If there isn't space to put them in now why would they show up later as bonus tracks? If some do show up as bonus tracks later, which ones (in favorite order) should be included? Also could it be that the ones chosen might have had better sound quality as live performances get intermittent glitches? I think they could've released the entire concert on one CD, as I was just saying the HBO concert was only about 80 minutes, I believe. And I know there have been CDs that had total play time of around 80 minutes. The Bee Gees' "One Night Only" CD was roughly 80 minutes, although some songs had to be excised for time constraints. It said Linda chose the tracks on the album, so it follows if a song is not on the album, she likely had a problem with the song in some way. Maybe she didn't like the song anymore or the performance?
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Post by Anonymouse Comment on Dec 9, 2018 15:16:47 GMT -5
Elvis Costello spent many years bitching about Linda Ronstadt's versions of his songs ("waste of vinyl") not because her versions were bad but because he wanted to display a punk-ass attitude to the world. He quietly apologized years later but his remarks hurt her career and probably hurt the sales of her otherwise platinum album Mad Love.
Why should she reward him with extra royalties by including his song? If songs must be cut, a**h***s get cut first.
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Post by sliderocker on Dec 9, 2018 17:14:58 GMT -5
Elvis Costello spent many years bitching about Linda Ronstadt's versions of his songs ("waste of vinyl") not because her versions were bad but because he wanted to display a punk-ass attitude to the world. He quietly apologized years later but his remarks hurt her career and probably hurt the sales of her otherwise platinum album Mad Love. Why should she reward him with extra royalties by including his song? If songs must be cut, a**h***s get cut first. Costello's remarks hurt no one's career but his own. Certainly didn't hurt Linda's career as Mad Love was platinum for her. Maybe the album didn't sell as well as her previous albums, but that could've had just as much to do with the musical tastes of the public. Linda, like all very successful artists, had a core group of fans who bought every album, no matter how good or bad it was. The rest of her sales were made up of people who liked the music of the previous albums, but perhaps they didn't hear anything they liked on Mad Love. Linda was still able to sell in the platinum range because there were still many fans with her. They weren't there for Get Closer, Linda's only album which wasn't a platinum seller. The rest of Linda's 80s output was all in the platinum range. Her running streak as a hitmaker seemed to have ended with the 80s as none of the albums that were released in the 90s and later had strong chart showings and sales. I still contend Linda did more harm to herself than what any critic did, and certainly not what Elvis Costello did. Her constant self-depreciation that she was not a good singer and that she didn't really know how to sing was irritating as hell to me as a fan. And her remarks were never qualified. You never knew why she thought she wasn't a great singer, other than she thought singing the standards of the 1930s and 40s made her a better singer (they didn't) or singing Broadway tunes or Mexican tunes made her a better singer (they didn't). There isn't that much difference in music between the genres. They use the same notes, same sharps and flats and time signatures in various configurations, but the difference between genres is simply a matter of arrangement. The old 1930s and 40s standards (which I happen to love, by the way) could easily be reworked as rock songs. And rock songs could be reworked in arrangements suggesting the old standards. It was likely Linda's disdain of her own singing and of rock that sunk her as a hitmaker.
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Post by Tony on Dec 9, 2018 17:32:02 GMT -5
I know for a fact that Costello’s remarks had an effect on Linda’s sales.
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Post by sliderocker on Dec 9, 2018 19:39:40 GMT -5
I know for a fact that Costello’s remarks had an effect on Linda’s sales. I'm not sure how his remarks could've affected her sales. The album was still a platinum seller, and as I mentioned earlier, maybe it didn't sell in the numbers her preceding albums sold. And Costello wasn't that big of a seller or an influence when Mad Love was released. Additionally, Costello was part of the punk rock market, which wasn't exactly Linda's market. Linda was more mainstream and by being more mainstream, she sold far more than what Costello ever sold in the US there wasn't that many certifications. Up to that time, Costello only had one album which was certified gold. His other certifications didn't come until the end of the 80s, and even then, there wasn't that many. Punk rock was never that big in the US, and I thought a lot of talented bands got unfairly tagged with the punk rock label. The label was more of a turn off in the US than a help. And again, you have to look at the numbers. Mad Love was a million seller. Costello had no impact on sales of that album. Maybe on Get Closer, as that was only a gold album for Linda, but it didn't have any Costello songs. Course, I thought both Mad Love and Get Closer suffered from crappy album covers, and there are or were people who bought albums as much for the covers as for the music. CDs sort of killed the enthusiasm as it wasn't the same.
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Post by eddiejinnj on Dec 10, 2018 7:54:07 GMT -5
Mad Love was Number 3 on Billboard for like forever it seemed (not a problem with me lol) The Wall then Glass Houses then Mad Love I think it did just fine eddiejinnj
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Post by MokyWI on Dec 10, 2018 8:08:57 GMT -5
1979 is the year the music business crashed. Everyone sold less that year and 1980 was off to a slow start. Mad Love sold very well and it was the quickest rising album on the Billboard Chart of her career up to that point as well as the hit singles from the album. It was one of the best selling albums from 1980. It holds up well and sounds as good today as it did when released.
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Post by MokyWI on Dec 10, 2018 8:12:02 GMT -5
I too was suspicious that this might be another bootleg, but this is indeed an official release.
This is great news then. I wish there was going to be more from that concert in the release but she NEEDS a live album regardless. This is a good start.
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Post by the Scribe on Dec 10, 2018 16:51:28 GMT -5
I thought Mad Love "shipped" at number 3 (or close to it) and it stayed there before falling. Music critics who were kind to Linda got on the Costello bandwagon. That must have had some effect and even Linda seemed touchy about the subject just a few years ago and rightly so. Other purists who have taken a close look at that album (years later) and how true she was to that genre have had to admit her performance was right on the mark. Taken simply as "musical performance" it is probably one of the best albums Linda or anyone else has ever done. I was living on campus in a residence hall at the time and kids who were lukewarm to Linda before were saying how every song on the album was a great song. Seemed to be a popular opinion on campus. Even so we all know how a bad review can kill a movie or a broadway show. Imagine if it were panned by its writers. Costello had to have had some effect. The album did well but it might have done better. We will never know. I am just happy for a quality live album.
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Post by Tony on Dec 10, 2018 18:06:50 GMT -5
I'm not saying that Costello tanked Linda's career, only that his remarks had an effect.
I found it odd that Mad Love entered the charts at #5, possibly a record for that time, but never attained #1. Of course, Billboard charts in that era were open to manipulation. Chart position for albums was based on what record stores reported.
As for the Costello effect, I only have anecdotal evidence.
I had a friend who was a diehard Elvis Costello fan from the get-go. He was also something of a Linda Ronstadt fan, starting with Don't Cry Now through Living in the USA. He liked Linda's take on "Alison." But after Costello started badmouthing Linda's versions, his opinion changed. He became critical of Linda... did not buy Mad Love, or anything since. He existed, so there must have been many more like them.
Lots of things affected Linda's career... I think the biggest was lack of airplay support... Her comments certainly did not help... People in power who loathed her (Dave Marsh) have had a big impact. I think he is one of the main reasons Sirius/XM never plays any Ronstadt album cuts. (But groundbreaking artists like Maria Muldaur get album cuts.)
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Post by Tony on Dec 10, 2018 18:28:16 GMT -5
let me clarify... a record at that time for female artists. Elton John had already had a couple of albums enter at #1, also possibly Stevie Wonder.
I like a lot of Costello's records.... I think most of them are highly over-rated. I bought the first few, up until Get Happy.
The new Rosanne Cash album I have not bought because she sings with Elvis Costello. I know I am being prickly. I have all her other ones, even the hard-to-find first album from Germany.
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Post by erik on Dec 10, 2018 20:37:11 GMT -5
Just to get the picture hung straight here:
Mad Love, when it entered the Billboard Top 200 Album Chart, did so right out of the chute at #5, which I believe was higher than any of her other albums in their respective first weeks on the chart, even those three albums that went to #1; and it was practically a million-seller within a month or two of its release. This meant that she had six consecutive studio albums of hers sell at least one million copies (plus the first Greatest Hits album). And during the two weeks ending, respectively, April 19 and 26, 1980, two songs from the album, "How Do I Make You?" and "Hurt So Bad", were in the Top 40 on the singles chart. "How Do I Make You?" had already peaked at #10; and "Hurt So Bad" would hit #8.
As for the scurrilous things that Elvis Costello said about Linda: I agree that that was him trying to maintain his so-called "street cred" by having a punk attitude and being a first-rate prick to boot, which he certainly did with Jann Wenner and Rolling Stone. Overall, however, where did it get him when trying to win over the hearts and minds of American rock fans? Not much, at least not at that time. Costello's slams caused Linda to remark something to the effect that he evidently didn't hate her covers of his songs enough to refuse those pesky royalty checks, but it took him seemingly forever even to acknowledge that fact and apologize for what he said. I would guess Linda either forgave him or forgot about the whole damned thing after a time, but I'm not sure I, as a fan, ever could do either one.
Quote by Tony re. Dave Marsh:
F**k Dave Marsh.
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Post by germancanadian on Dec 10, 2018 22:17:35 GMT -5
I was wondering why Sirius/XM rarely, if ever play any of Linda's songs, it sucks. I listen to the 70s, 80s, classic vinyl and bridge stations all the time, her songs would fit in perfectly there. Country, easy listening/adult contemporary, Latin and jazz/classical stations should play her too. It's good that many movies and tv shows have used her music, that will help younger fans discover her, like her famous appearance on The Simpsons in 1992.
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Post by sliderocker on Dec 10, 2018 22:34:02 GMT -5
I found it odd that Mad Love entered the charts at #5, possibly a record for that time, but never attained #1. Of course, Billboard charts in that era were open to manipulation. Chart position for albums was based on what record stores reported.
When Mad Love entered the Billboard charts at number 5, that was based on how many copies the stores had ordered prior to the record being released. It wasn't based on actual sales or things like pre-orders by customers. How many copies sold after its released reflected copies being purchased by the customers. There were two strong singles from the album - How Do I Make You and Hurt So Bad, which helped with the album sales, plus another Top 40 single, I Can't Let Go.
But, it was being suggested in magazines and criticisms were being made about the record companies releasing so many tracks from the albums as singles that, that hurt the sales of the albums. Many record companies in the 70s did not release singles with non-album B-sides, so fans had a choice: buy the albums and forego the singles, or forego the albums and buy the singles. When people bought singles, they didn't want to pay six to seven dollars for an album that only had ten songs. The price of albums and singles were going up. The suggested retail price for a new album in 1980 was $7.98 and $1.49 for a single. Before CDs came along, new albums on vinyl had jumped to $8.98 and $9.98, depending on the artists.
Singles pushed to $1.79 and then to $1.99. And that had an affect on sales. Record companies responded to the complaints by releasing mini-albums, not full fledged albums, but 12" LPs that featured five to six songs with a suggested retail price of $5.98. It wasn't totally successful, but it did help break in some artists like Scandal with Patti Smith.
And as for chart manipulation, record companies did engage in that shady practice, but so di Billboard itself, despite their denials. Billboard manipulated their album charts so that the Eagles' album Long Road Out of Eden entered the Billboard charts at number one. How did they manipulate that? By making an exception. The Eagles had entered into an agreement with Wal Mart that Wal Mart would be the sole retailer to sell albums by the Eagles. Wal Mart did not report to Billboard because they did not allow Billboard to install their Soundscan system in their stores to record music sales. Billboard's charts only reflected stores using their Soundscan system. Any store not using their system, the sales were not counted in Billboard tabulations.
So, Linda could've sold a million albums off the Billboard grid and no one would've known she had done it. Making an exception for the Eagles was discrimination against other artists who also had exclusive deals or whose albums were sold in stores not using Soundscan, but did the chart positions affect sales? Hard to tell. The Bee Gees' One Night Only live album charted no higher than # 16, according to the Billboard Soundscan. The album was certified double platinum. The DVD of their concert was also certified by the RIAA as having sold quintuple platinum. Just going by the Billboard charts, you would've thought the Bee Gees were having a bad year when the CD and DVD were released, instead of an amazing year.
Any time an album or single entered the charts at a high number, it was actually based on orders from the stores, not actual sales. When a record on whatever medium, 45, LP, CD, DVD, et al, is submitted to the RIAA for gold, platinum and diamond certifications, it is not for sales in the stores, but the record companies' order books. Sales have usually followed but the certifications are for orders only, not sales. The artists didn't see their royalties until the next year, if they had royalties to receive. Record companies cheated their artists time and time again. I would hope Warner/Asylum/Elektra has paid whatever royalties Linda is owed, but it wouldn't surprise me if she was still owed.
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Post by fabtastique on Dec 11, 2018 1:01:41 GMT -5
I love Mad Love - it’s a great album and shows the hardier / rockier side of Linda’s voice wonderfully. I think Elvis Costello came off as a sulking child by talking negatively about Linda - she was one of the most successful recording artists at that time and she produced a great sounding, million+ selling album .... and the songs sounded a hell of a lot better by Linda than him - maybe that’s what he didn’t like Also The Rolling Stones didn’t criticise her for Tumbling Dice. did he return his royalties??? I bet he didn’t ! I’m still buying this new vinyl even though my favourite tune is missing.
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Post by erik on Dec 11, 2018 10:05:46 GMT -5
Quote by fabtastique re. Rolling Stones:
That's largely because she had already known Mick and Keith since at least 1969, and because Mick had suggested "Tumbling Dice" to her in the first place, saying she could do more rock and roll in her concerts. It is, in my opinion, a fair statement to say that the Glimmer Twins had a far better appreciation of Linda's abilities than Mr. Costello was willing to acknowledge for the longest time.
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Post by the Scribe on Dec 12, 2018 0:38:57 GMT -5
Elvis clearly is making amends so he should be forgiven and given credit. He even has a Ronstadt photo for background. Elvis Costello covers Linda Ronstadt’s Willin’us.napster.com/artist/elvis-costello/album/elvis-costello-the-rhapsody-interview/track/on-linda-ronstadts-rendition-of-alisonBackground Linda Ronstadt recorded a cover version of "Alison" for her studio album Living in the USA, in 1978, which sold over 2 million copies. Released as the disc's fourth single in the spring of 1979 on Asylum Records, it was produced by her longtime producer Peter Asher. Ronstadt's B-side to "Alison" was "Mohammed's Radio", also produced by Asher. Reception Ronstadt's version of "Alison" was a moderate hit, reaching number 30 in the U.S. on the Billboard adult contemporary chart. Her single also reached number 66 in the UK Singles chart.[8] Years later, Costello joked that he might have been publicly derisive of Ronstadt's version, "but I didn't mind spending the money that she earned me".[9] Costello donated royalties from Ronstadt's version to the African National Congress after she played at Sun City in South Africa.[10] en.wikipedia.org/wiki/Alison_(song)Water under the bridge. Another example of how critics struggle to come up with ways to write clever reviews: Linda Ronstadt , ElvisPost Reply Search this topic… SearchAdvanced search 2 posts • Page 1 of 1 johnfoyle Posts: 14463 Joined: Wed Jun 04, 2003 4:37 pm Location: Dublin , Ireland Linda Ronstadt , Elvis Postby johnfoyle » Fri Nov 18, 2005 7:21 pm Elvis has always been rather dismissive of the 1970's covers of his songs by Linda Ronstadt ; this interview extract seems to indicate a level of co-operation at the time. Playboy Interview: Linda Ronstadt a candid conversation with the first lady of rock about her music, her colorful past, her new image and her "boyfriend," jerry brown Interview by Jean Vallely April, 1980 ( extract) PLAYBOY: How did you get the new tunes? RONSTADT: Elvis Costello, who I think is writing the best new stuff around, wrote three of the songs. PLAYBOY: What did Costello think of your cover of his song Alison? RONSTADT: I've never communicated with him directly, but I heard that someone asked him what he thought and he said he'd never heard it but that he'd be glad to get the money. So I sent him a message. "Send me some more songs, just keep thinking about the money." And he sent me the song Talking in the Dark, which has not been released here, and I love it. I also recorded Party Girl and Girl Talk. PLAYBOY: You also have three songs from Mark Goldenberg. Who's he? RONSTADT: Next to Elvis Costello, he's writing my favorite new rock 'n' roll. He's part of a group called the Cretones. He's great. I don't know how this album will sell. I'm sure I'll be attacked: "Linda's sold out, trying to be trendy, gotten away from her roots." But, well, can't worry about what the critics say. ...........later PLAYBOY: Before we get to the year 2000, what about the music just ahead - in the Eighties? RONSTADT: The Eighties is a season of change, kind of like the Sixties just before rock 'n' roll exploded. A lot of us are kind of walking around wringing our hands and wondering what the music will be like. The most interesting things seem to be coming out of England again. At least my favorite things: Elvis Costello, Joe Jackson, Rockpile. L.A. looks like it has dried up as far as ideas are concerned. Right now there is a real vacuum. I keep turning the radio dial a lot. ----------------------------------------------------------------------------------- A review from the time is detailed in it's analysis - www.ronstadt-linda.com/revmad1.htmAlbum Review / Mad Love Rolling Stone #314, April 3, 1980 Review by Stephen Holden ( extract) The arrangements strike the same attitude as the singing. Utilizing one or two guitars with lots of fuzz tone, organ-dominated keyboards, bass, drums, very few backup vocals and no sweetening, the settings are bleak, spare and downright hermetic. What little drive Mad Love has is muted and mechanistic: every take sounds like the 200th. Such studio meticulousness lends the music a desolate ethereality that's as unreal as Ronstadt's vocal punkiness. It's hard to imagine these performances live because the "crudeness" here is so high-tech chic. Elvis Costello's compositions are probably the worst casualties of this salon approach. Costello's songs boast some of the snappiest melodies in all of rock & roll, but as Ronstadt demonstrates, their lyrics aren't easily penetrable. Battlegrounds of rage, frustration and fearful longing, they demand an unpretty voice like Costello's and fierce, clanging settings. By treating Costello's work as pop lieder, Linda Ronstadt and Peter Asher simply undermine its neurotic urgency. Ronstadt sings "Party Girl" in the first-person singular, thereby becoming the girl to whom Costello originally addressed the tune. This silly idea changes the song from a desperate declaration of love into a murky tear-jerker whose pathos is underscored by the most lethargic of tempos. "Girls Talk" comes off as a ringing high-school anthem to teenage gossip rather than a fiery expression of sexual paranoia. "Talking in the Dark," a number that vents the psychotic extremes of hostility and need, is sung with a jaunty macho swagger that barely acknowledges Costello's shrewd craziness.
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Post by fabtastique on Dec 12, 2018 1:06:15 GMT -5
Interesting interview .... adding more fuel to the fire on the ridiculous dissing EC did of the songs on this album.
Similarly a silly review from Rolling Stone ..... all singers / bands rehearse, retake, overdub to get the best version of the song - however the tour that preceded the album, it’s sales success and the fact that Linda performed these songs for years afterwards shows she sang them well (and yes a little better live sometimes!)
I really never understood the backlash to this album - I played it to some (much) younger friends who were familiar with Somewhere Out There, Don’t Know Much etc and they loved the rockin’ Linda .... and the trademark growl!
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Post by the Scribe on Dec 12, 2018 1:07:31 GMT -5
Evidently Elvis hated Stevie Nicks as well: THE SECRET LIVES OF THE NOT QUITE YET RICH AND FAMOUS (Segue of the Day: 1/31/18) Posted on January 31, 2018
I was resetting my radio channels after I had an airbag recall replacement in my car and left the new setting on a local channel that plays semi-offbeat music from yesteryear. Most of the stuff is by famous artists, but not necessarily the familiar hits. My internet being out a day or two later, I found myself cruising to the local college theater one evening on a work night to catch When Harry Met Sally, which I had never seen on the big screen (it was worth it…I almost posted about that).
And, in the new dark, I heard this…and I kept thinking, if it’s her, it can’t be from her solo career or her post-Tusk Fleetwood Mac career. Leaving what? An outtake? Thought I’d heard all those too.
Well, I couldn’t find a parking space in time to make the 7:00 show, which meant I had a chance to stop and write down a piece of the lyrics, making it easy enough to find on the net when I got home. Ah, yes, Buckingham Nicks. How could I have forgotten!
I might not have considered it more than a nice find–another fine piece of Stevie’s secret career (a subject that’s probably worth its own post some day) to be tucked away for a rainy day.
Except when 9:00 rolled around, my internet still wasn’t working, so I headed back to the college to catch the 10:00 showing (there’s always plenty of parking that late, after class lets out), and on the way, on the same station, I ran into this….which I’ve never heard on the radio anywhere….
…which, in addition to reminding me of how much Elvis Costello used to hate Stevie Nicks (maybe not as much as he hated Linda Ronstadt, but there was definitely a theme there…if Stevie had dared to cover a few his songs, the gap would have closed in an eye-blink, though of course he would not have failed to cash the royalty check), and how great he was once upon a time, also set me to wondering how different either career might have been if these records had been the hits they deserved to be.
I kept the station tuned all week, waiting for another revelation.
No such luck.
This evening, on the way to the grocery store, I switched back to Classic Rock. Nothing revelatory there, either, but at least I could sing along. I even got to use my Freddie Mercury voice (don’t worry folks, unless the Security State has my car bugged, no one will ever hear my Freddie Mercury voice).
Which made me think about when Dave Marsh, expecting to be taken seriously, called Queen “fascist rock.” I think that meant he either didn’t like them or just couldn’t keep Pauline Kael and Greil Marcus out of his head, kind of a crit-illuminati version of the way Norman Bates couldn’t keep his mother out of his head.
Calling anyone you didn’t like a fascist was very big back then.
The lesson as always: The seventies drove people crazy.
I’m just thankful such things never, ever happen now. theroundplaceinthemiddle.com/?tag=linda-ronstadt
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Post by the Scribe on Dec 12, 2018 2:12:49 GMT -5
Interesting interview .... adding more fuel to the fire on the ridiculous dissing EC did of the songs on this album. Similarly a silly review from Rolling Stone ..... all singers / bands rehearse, retake, overdub to get the best version of the song - however the tour that preceded the album, it’s sales success and the fact that Linda performed these songs for years afterwards shows she sang them well (and yes a little better live sometimes!) I really never understood the backlash to this album - I played it to some (much) younger friends who were familiar with Somewhere Out There, Don’t Know Much etc and they loved the rockin’ Linda .... and the trademark growl! Yes. What the critics say (including Elvis) about Mad Love and what the fans hear them saying are two different things. Obviously the fans loved it. It was the same great reaction on what is now the largest university in the USA.
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Post by DTM on Dec 13, 2018 12:50:22 GMT -5
There will be a podcast including a conversation with Linda that will be available upon release. I know because I am producing it and talking to her about it Subscribe to the Rhino podcast on any of these platforms to make sure you don't miss it! Cheers, DTMhttps://www.rhino.com/podcast
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Post by Guest of a guest on Dec 13, 2018 13:52:38 GMT -5
Delighted that there will be a legit live release ( however limited) and whatever a podcast is I will be listening.
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Post by ausfan2 on Dec 14, 2018 1:23:46 GMT -5
Just One Look already is out on Youtube:
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Post by ausfan2 on Dec 14, 2018 1:56:08 GMT -5
For comparison purposes, here is a video of Just One Look from the concert:
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Post by rick on Dec 14, 2018 2:54:11 GMT -5
If there isn't space to put them in now why would they show up later as bonus tracks? If some do show up as bonus tracks later, which ones (in favorite order) should be included? Also could it be that the ones chosen might have had better sound quality as live performances get intermittent glitches? I think they could've released the entire concert on one CD, as I was just saying the HBO concert was only about 80 minutes, I believe. And I know there have been CDs that had total play time of around 80 minutes. The Bee Gees' "One Night Only" CD was roughly 80 minutes, although some songs had to be excised for time constraints. It said Linda chose the tracks on the album, so it follows if a song is not on the album, she likely had a problem with the song in some way. Maybe she didn't like the song anymore or the performance? I have a Yo-Yo Ma CD that is more than 80 minutes on one disc. It is possible. Personally, I think they could have made it fit on one disc. I think it has more to do with Linda not particularly caring for the “Mad Live” album. I agree with Erik’s assessment re: “Heatwave.” I remember being disappointed in the mid-‘90s when she took “Heatwave” off of her set list. This is a missed, bungled opportunity. So, don’t include all 20 songs — include 17. Twelve seems arbitrary and a cheat.
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Post by rick on Dec 14, 2018 2:58:33 GMT -5
There will be a podcast including a conversation with Linda that will be available upon release. I know because I am producing it and talking to her about it Subscribe to the Rhino podcast on any of these platforms to make sure you don't miss it! Cheers, DTMhttps://www.rhino.com/podcast DTM, thanks for popping in to promote your podcast. I fear if you were to ask Linda why more material is not included on this release that there will be a pat answer of “These are my favorites.” It’s too bad there isn’t enough oomph from Rhino for a Target Exclusive Edition with four bonus tracks from this performance.
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Post by MokyWI on Dec 14, 2018 8:25:29 GMT -5
Maybe if this CD sells decently Rhino or HBO will release the DVD of the whole concert remastered and cleaned up. Wouldn't that be great?!
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Post by Deleted on Dec 14, 2018 10:22:04 GMT -5
Maybe if this CD sells decently Rhino or HBO will release the DVD of the whole concert remastered and cleaned up. Wouldn't that be great?! Since this looks legit, I may go for it... A DVD would be a 100 percenter for me....
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Post by germancanadian on Dec 14, 2018 10:47:16 GMT -5
I hope this album will be on Itunes, Google Play and Spotify because the cd may not be available in Canada, according to Amazon.
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Post by Robert Morse on Dec 14, 2018 11:23:57 GMT -5
Autographed red vinyl copy of new live release. If you go to rhino you have an opportunity to order a signed red vinyl copy of the release. There are only 100 available.
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