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Post by Porkpie on Sept 6, 2013 15:45:55 GMT -5
Thankd for all the feedbakc huys, trying to make a chronological plaulist of my favourite tracks and no idea where these came. Love Bordertown too, great vocal!
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Post by Garret on Sept 6, 2013 16:45:17 GMT -5
Mike, I too attended the Boston Commons concert in July of 1983. She was in fine vocal form and looked great! I remember the goose bumps and chills she gave me as she hit the high notes on her classic, so strong, so pure, so vibrant and emotional. It was such a fun outing and I remember the fans who were in high rises across the park, I thought how fun that they got to attend a free concert!
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Post by the Scribe on Sept 10, 2013 17:07:23 GMT -5
REMEMBER THE MUSICgreat starter lists:
www.songogs.com/linda_ronstadt/
www.ronstadt-linda.com/guestapp.html
ronstadt-linda.com/
In light of recent events it may do us all well to review and re-discover some great music from Linda that we don't often get to hear. It will also introduce newcomers to Linda's music and give them a sense of what they have been missing all these years.
I will start it off with Linda's favorite song. A duet with David Sanborn.
The song has a fascinating history:
www.justanothertune.com/html/wateriswide.html
Linda with Little Feat
Let It Roll is the eighth studio album by the American rock band Little Feat, released in 1988. (see 1988 in music).Eight of the ten songs on the album were co-written by new band member Craig Fuller,the founding member of Pure Prairie League. Fuller also dominates the lead vocals. The album attained R.I.A.A certified gold status February 14, 1989. It is the first Little Feat studio album without Lowell George, after his death in 1979 and is one of their most successful albums, sparking a comeback by the band. The first single, "Hate to Lose Your Lovin'", earned the band their first #1 hit on the Mainstream Rock Tracks chart.
Linda with the Dirt Band
"An American Dream" is the title of a song written by Rodney Crowell and recorded by American country music group Nitty Gritty Dirt Band. It was released in November 1979 as the only single and title track from the album An American Dream. The song reached #58 on the Billboard Hot Country Singles & Tracks chart but peaked at #13 on the U.S. Billboard Hot 100 and at #3 on the Canadian RPM Top Singles chart.
With J D Souther on Say You Will and If You Have Crying Eyes
and my favorite of their duets Hearts Against The Wind
The last is from Urban Cowboy which is a 1980 American western romantic drama film about the love-hate relationship between Buford Uan Davis 'Bud' (John Travolta) and Sissy (Debra Winger). The movie captured the late 1970s/early 1980s popularity of Country Music with John Travolta's starring after Grease and Saturday Night Fever. Diamond Rio later went on to make Hearts Against The Wind a hit.
With Andrew Gold singing "Can't Get Used To Losing You"
With The Chieftains and Los Lobos singing La Virgen de Guadalupewith Ann Savoy AND The Four TopsSTILL LOTS TO GO SO STAY TUNED
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Post by the Scribe on Sept 10, 2013 17:44:27 GMT -5
EVENT
Some of her duets and appearances were Events. Linda's invitation to join Paul Simon on his masterpiece GRACELAND is one such event. Together they sing Under African Skies, a song which was written in part by Paul about Linda herself.
Graceland is the seventh studio album by American musician Paul Simon, released in August 1986.
It was a hit, topping the UK Album Chart, and reaching number three on the US Billboard 200. The album won the 1987 Grammy Award for Album of the Year, while the title song won the 1988 Grammy Award for Record of the Year. In 2007, the album was added to the United States National Recording Registry, along with another 24 significant recordings that year. It is included in many "best of" and "greatest" album lists including both Rolling Stone's and Time's.
25 YEARS LATER
In 1986, Graceland sold 14 million copies worldwide and garnered both the Album and Song of the Year Grammy in 1987. Simon and the members of Ladysmith Black Mambazo performed on Saturday Night Live and appeared on the cover of Rolling Stone. Simon and Linda Ronstadt later appeared on SNL in a duet on Under African Skies, a tribute in song about singer Ronstadt herself. Graceland generated three hit singles and it kept Paul Simon and the Graceland tour on the road for five years. Its music was heard across the globe. Today, its music and its reputation still reach generations of music enthusiasts yet so many are unaware of how pivotal that one album was during the 1980s, how it helped birth the idea of World Music and revived the career of one of America s most important songwriters. How it influenced the political progress of South Africa a country divided by institutionalized racism, causing and then transcending years of controversy. How in fact the album came to be in the first place.
Under African Skies (Directed by Joe Berlinger, award-winning director) captures Paul Simon's return to South Africa in 2011 to explore the incredible journey of his historic Graceland album, including the political backlash he received for allegedly breaking the UN cultural boycott of South Africa designed to end the Apartheid regime. Features film bonus footage.
Joseph's face was black as night The pale yellow moon shone in his eyes His path was marked by the stars in the southern hemisphere And he walked his days under African skies
This is the story of how we begin to remember This is the powerful pulsing of love in the veins After the dream of falling and calling your name out These are the roots of rhythm and the roots of rhythm remain
In early memory, mission music was ringing around my nursery door I said, "Take this child, Lord, from Tucson, Arizona Give her the wings to fly from harm And she won't bother you no more"
This is the story of how we begin to remember This is the powerful pulsing of love in the veins After the dream of falling and calling your name out These are the roots of rhythm and the roots of rhythm remain
A-oom-ba-oom-ba-oom-ba-Oooooooooooooh A-oom-ba-oom-ba-oom-ba-Oooooooooooooh A-oom-ba-oom-ba-oom-ba-Oooooooooooooh A-oom-ba-oom-ba-oom-ba-Oooooooooooooh
Joseph's face was as black as the night And the pale yellow moon shone in his eyes His path was marked by the stars in the southern hemisphere And he walked the length of his days under African skies
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Post by the Scribe on Sept 10, 2013 18:21:40 GMT -5
Some of Linda's guest appearances were also on film to be enjoyed forever:
watch the broadcast here:
hidvl.nyu.edu/video/000539671.html
Run-time (hh:mm:ss): 00:58:38 Language: In English and Spanish. Synopsis: Corridos: Tales of Passion and Revolution, nationally broadcast on PBS and the winner of the George Peabody for excellence in Television in 1987, was the final result of the El Teatro Campesino's stage production of the same name. The piece began as a five week workshop in ETC's San Juan Bautista playhouse in the summer of 1982, exploring the stories and narrative lyrics of Mexican popular ballads or corridos. The workshop production was an instant popular success with audiences and critics. ETC decided to stage a new production of Corridos at the Marines Memorial Theater in San Francisco, where it ran for three months to great reviews and eleven Bay Area Critics Awards. Other stagings followed in 1984. Corridos finally evolved into a full-fledged video production in 1987, after several drafts of the script that not only reworked the selection of ballads, but also condensed the material to fit into the confines of a one-hour special. The production presents two full-length corridos: Delgadina (a haunting parable of incest in a wealthy Mexican family), and Soldadera (based on the dispatches of American journalist John Reed, in which the compelling story of Elizabeta is framed by three songs of women during the 1910 Mexican Revolution). Highlights from other traditional corridos are connected by engaging narrative sequences: Yo soy El Corrido (the story of the corrido itself), Rosita Alvirez (a comedic parable of a defiant young woman who meets an early death), and El Lavaplatos (the story of an immigrant who dreams of becoming a movie star and ends up a dishwasher). Joining members of the original cast, the production included popular songstress Linda Ronstadt, singer/actor Daniel Valdez, San Francisco Ballet artist Evelyn Cisneros, and actor Clancy Brown.
Copyright Information: "Materials of the Hemispheric Institute Digital Video Library are protected by copyright. They may not be copied, downloaded, or reproduced. The owner of this work has granted NYU Libraries non-exclusive rights to include this material in the Hemispheric Institute Digital Video Library and to make it accessible to the public for educational and research purposes. Requests to purchase or for permission to use the work should be directed to the owner." Copyright Holder: El Teatro Campesino Contact: Luis Valdez Address: Luis Valdez 705 4th Street P.O. Box 1240 San Juan Bautista, CA 95045 USA Phone(Business): +1-831-623-2444 Phone(Fax): +1-831-623-4127 Email: teatro@elteatrocampesino.com Website: www.elteatrocampesino.com
Collection Title: El Teatro Campesino collection Title: Corridos Alternate Title: Tales of passion and revolutionDate: 1987 Apr. 1 Location: Recorded at KQED studios, San Francisco, CA, on Apr. 1, 1987.Credits: Janis Blackschleger, producer ; Luis Valdez, director, writer ; José Delgado, associate producer ; Tony Curiel, assistant director ; Daniel Valdez, music production & adaptation ; George Riesenberger, lighting director ; Ken Short, art director ; Diane Rodriguez, costume designer ; Miguel Delgado, choreographer ; Stuart Chapman, scenic artist ; David Silva, assistant music director ; Greg Malley, Kate Connell, scenic properties ; Sunset Sound, music recording ; Tech'nique, Scenic Designs, set construction. Cast/Performers: Clancy Brown, Felipe Cantu, Evelyn Cisneros, Miguel Delgado, George Galvan, Lettie Ibarra, Linda Lopez, Rogelio Lopez, Sal Lopez, Alma Martinez, Irma Rangel, Linda Ronstadt, Daniel Valdez, Lakin Valdez, Luis Valdez, Robert Vega, Raul Flores, Larry Hernandez, Richard Montoya, Robert Ojeda, Felipe Rodriguez, Angel Uribe, J. 'Bea' Brown, José Burciaga, Carmen Carillo, Yvonne Cervantes, Barbara Curiel, José Delgado, Phil Esparza, Andres Gutierrez, Lino Ibarra, Barbara Jitner, Urbanie Lucero, Marisa Leal, Bob Morales, Henry Moreno, Luis Moreno, Rosa Moreno, Licha Muñoz, June Ouellette, Olga M. Perez, Rojelio Perez, Jaco Rodriguez, Anahuac Valdez, Kinan Valdez, Lupe Valdez.Keywords: Corridos, Folk songs, Spanish, Chicano theater, Dramatic music specialsPermanent URL: hdl.handle.net/2333.1/nzs7h4d7 ******************************************************************************************************************************************* October 7, 1987 'Corridos!,' an Adaptation of Mexican Folk Tales By JOHN J. O'CONNOR PUBLIC television goes bilingual this evening at 9 on Channel 13 with ''Corridos!
Tales of Passion and Revolution.'' Corridos are Mexican ballads, the musical equivalent of folk tales. This hourlong presentation was adapted from a stage play mounted by El Teatro Campesino, founded by Luis Valdez during California's ''Great Grape Strike'' of 1965. Perhaps more to the point as far as celebrity-conscious, prime-time television is concerned, Mr. Valdez is the director of the hit movie ''La Bamba,'' and has recruited the services of Linda Ronstadt for this television version of ''Corridos!''
Mr. Valdez has been a driving force in creating a kind of national folk theater with roots in the Hispanic community. El Teatro Campesino has toured the country with actos, or short plays, dramatizing the lives of working people, especially farmworkers and urban Chicanos. In the mid-1970's, he wrote the play ''Zoot Suit,'' which had a brief Broadway run. His new stage comedy, ''I Don't Have to Show You No Stinking Badges,'' will have a national tour this fall.
''Corridos!,'' written and directed by Mr. Valdez, provides a representative sampling of the basic Teatro Campesino style. The material is dramatized in the primary colors of social realism. The narratives are spelled out broadly so that even the most unsophisticated audiences will have no problem following the stories. The approach is exuberantly naive, derived in some respects from the work of Mexico's great muralists.
Produced by Janis Blackschleger, this television adaptation has added some refined touches. The dancing in ''Delgadina,'' for instance, has been choreographed by Michael Smuin, and archival film footage is blended with the dramatizations. But for the most part, the spirited earthiness of the occasion has been maintained. Serving as narrator and guitarist, Mr. Valdez appears at the beginning to explain that the corridos, the ''soul of the common people,'' encompass the voices of the streets, the cantinas and the dance halls. They can be about anything, he notes, from a power failure to a police raid on a gay bar.
Five corridos are offered, two in their entirety: ''Delgadina,'' about the specter of incest in a wealthy Mexican family, and ''Soldadera,'' focused on courageous women described in the dispatches of John Reed, the American journalist, who covered Pancho Villa's revolt of 1914.
The cast features Clancy Brown and Evelyn Cisneros, along with several Teatro Campesino vocalists, including George Galvan, Lettie Ibarra and Sal Lopez. The lyrics are in Spanish, with no subtitles, and the dialogue is in English, providing rather skimpy but helpful interpretations of the songs.
Ms. Ronstadt's participation is more than just another ''guest star'' stint. It seems that the popular singer is the granddaughter of a Mexican-American band leader from Tucson, Ariz. In any event, her sparklingly clear voice and impressive vocal range lend themselves beautifully to the corridos. Not so coincidentally, one of Ms. Ronstadt's professional projects this year is a new album made up entirely of Mexican-American songs.
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Post by 70smusicfan on Sept 10, 2013 18:52:20 GMT -5
The above list isn't all inclusive. Also, how about giving some loving to our administrator Mr. Partridge, who spent quite a bit of time earlier this year putting together a Guest Appearance list at: www.ronstadt-linda.com/guestapp.htmlTony's list includes some of the songs mentioned in the first post, like David Sanborn and Urban Cowboy Soundtrack, missing in SONGOGS. SONGOGS does give a more complete listing of Linda's "missing" music from her own discography (single B-sides, etc.).
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Post by the Scribe on Sept 10, 2013 19:06:56 GMT -5
The more cross-fertilization here the better. Just trying to give us all a music break and make it easy for newcomers to sample Linda's music. Lots of new people have been showing up here lately. Record numbers. Always kudos to Tony! www.ronstadt-linda.com/guestapp.html
ronstadt-linda.com/
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Post by uglyduck on Sept 11, 2013 6:16:33 GMT -5
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Post by eddiejinnj on Sept 11, 2013 8:39:00 GMT -5
love that duet. looks like paul can hardly contain himself lol!!!!!!she does look purrrfect!!!! eddiejinnj
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Post by charlotte on Sept 11, 2013 11:47:01 GMT -5
So love discovering Linda's collaborations and backing vocals. Would love someone to post "Scarlet Ribbons" recorded with Gene Vincent as I have only heard snipets. Her music with Neil Young is some of my favorite - especially Side 1 of American Stars and Bars where Nicolette and Linda let it wail. I understand that there are unreleased Neil and Linda collaborations as well as recordings from when they toured together and she joined him after her opening sets. Does anyone know of the "lost" Neil and Linda sessions. ? Just finished Neil's memoir Waging Heavy Peace. As mentioned elsewhere he adores Linda and praises her singing voice and love for peanut butter in the most heartfelt way. Maybe they can open the vaults ...
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Post by the Scribe on Sept 11, 2013 12:49:55 GMT -5
Was this particular comeback record something to be proud of? Not really. Recorded in 1969 for famed British DJ John Peel's Dandelion label and released the following year, it did feature some notables of the late-'60s Hollywood rock scene, including Skip Battin of the Byrds (on bass), Red Rhodes (on Dobro), Mars Bonfire (rhythm guitar), Jim Gordon (drums), and Linda Ronstadt (backing vocals), with Kim Fowley producing. But there was something of a rehash feel about the whole enterprise, which was short on new quality material, and heavy on reworkings of oldies like George Jones' "White Lightning," Dion/the Drifters' "Ruby Baby," and Bobby Day's "Rockin' Robin." There were also remakes of Vincent's own '50s hits "Be-Bop-a-Lula" and "Lotta Lovin'" that couldn't hope to displace the originals. The heavier late-'60s rock feel of the arrangements doesn't jibe well with Vincent's style, though some cuts boast a countrified touch (particularly the ones featuring Rhodes), and Vincent himself often sounds a little shaky and nervous on the vocals. The entire album has been reissued as the dominant part of the 2003 Hux CD White Lightning, which adds four tracks from a 1971 BBC session. ~ Richie Unterberger Remastered reissue of Gene's 1969 album & was produced by Kim Fowley, arranged and conducted by the Byrd's Skip Battin. Guest musicians include: Mars Bonfire (Steppenwolf), Skip Batti, Jim Gordon, John Sebastian, Linda Ronstadt and Johnny Meeks (original Blue Caps). 12 tracks Liner Note Author: Derek Henderson . Photographers: Ed Caraeff; Alain Marot. Arranger: Skip Battin. Mojo (Publisher) (p.19) - 3 stars out of 5 -- "[N]otable for the supporting cast -- Linda Ronstadt, Red Rhodes, Skip Battin etc...."
some better background for this recording: www.spentbrothers.com/archives/2011/03/16/im_back_and_im_proud/
Enjoy this wonderful song by Gene!!! Scarlet Ribbons 1969. Recorded with session musicians including the return of lead guitarist Johnny Meeks. A 23-year-old Linda Ronstadt featured as second voice in this duet.
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Post by Pete on Feb 10, 2015 9:31:01 GMT -5
First of all sorry if this has already been posted at some point earlier on. I just wondered if anyone knows where Linda stands on songs such as 'It Won't Be Easy' or 'Can It Be True' being included on her earlier albums on later releases - does she approve of this or happy they're from the albums sessions and kind of belong there. Also, does anyone know if the song 'Kate' from the Linda Ronstadt sessions (according to that Capitol release anyway) was also from the time the other three songs from that album were from? (That does make sense right?) Thanks as always in advance.
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Post by erik on Feb 10, 2015 10:36:40 GMT -5
In regards to "It Won't Be Easy" and "Can It Be True?"--I think it'd be safe to say that she's, at best, ambivalent about both of them.
As for "Kate" (or "Get Up Kate")--yes, it was recorded live (at the Troubadour), and might have been intended for her self-titled album, but why I don't know, since that's Glenn Frey singing the lead, and Linda is just a glorified (albeit glorious) harmony singer on that one.
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Post by Pete on Feb 10, 2015 12:36:45 GMT -5
Thanks Erik for the info. Sorry about the silly questions I keep asking
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Post by erik on Feb 10, 2015 15:18:48 GMT -5
Well, realistically the only silly questions are the ones that don't get asked (IMHO).
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Post by eddiejinnj on Feb 10, 2015 17:35:20 GMT -5
as far as Kate, linda has always been generous with others artistically and she probably allowed them to do their own thing in her show and, yes, her harmonies are great. a kick butt country rock blast; as they really seemed to be having fun!!!! eddiejinnj
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Post by Pete on Feb 11, 2015 11:28:10 GMT -5
Well, realistically the only silly questions are the ones that don't get asked (IMHO). Yeah I guess you're right there
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Post by Tony on Feb 11, 2015 22:55:49 GMT -5
The appearance of Kate makes me think that the entire set of Linda and band was recorded, and three songs were selected for the Linda Ronstadt album. But unless Linda only sang three solo songs in the set, I don't understand why Kate would appear as a bonus cut on a Linda Ronstadt release. It gives me hope that someday a deluxe issue of Linda Ronstadt will be released, with the entire Troubador set as a bonus.
I did buy the CD from Amazon UK that included Kate, because they listed some other songs as being on the CD. One was I Shall Be Released. The listing turned out to be a mistake, as the UK CD had the same tracks as the US CD.
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Post by sliderocker on Feb 12, 2015 0:38:42 GMT -5
The appearance of Kate makes me think that the entire set of Linda and band was recorded, and three songs were selected for the Linda Ronstadt album. But unless Linda only sang three solo songs in the set, I don't understand why Kate would appear as a bonus cut on a Linda Ronstadt release. It gives me hope that someday a deluxe issue of Linda Ronstadt will be released, with the entire Troubador set as a bonus.
I did buy the CD from Amazon UK that included Kate, because they listed some other songs as being on the CD. One was I Shall Be Released. The listing turned out to be a mistake, as the UK CD had the same tracks as the US CD.
I've kind of wondered if there had been another album that was planned between Silk Purse and Linda Ronstadt that ended up being rejected and scrapped by Capitol? Reason for that being the one-off 1971 single (She's a) Very Lovely Woman, which didn't so so well on the singles charts. Linda wasn't known for releasing songs independent of an album and it seemed odd that Very Lovely Woman would've been just a non-album A-side. Linda appeared to have recorded quite a few songs circa 1970-71 that remain unreleased, including early versions of Love Has No Pride and Down So Low. It seems possible and reasonable to me that another album was planned between SP and LR but ended up being canceled instead.
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Post by Goldie on Feb 12, 2015 2:42:47 GMT -5
If I remember correctly the reason for Very Lovely Woman was that the record company wanted something more hip than the country oriented material on Silk Purse and they didn't want to lose momentum from Long Long Time.
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Post by ausfan2 on Feb 12, 2015 6:30:26 GMT -5
Praguefrank’s Country Music Discographies lists details of Linda’s sessions in late July and early August 1970. These included American Sound Studio, 827 Thomas St., Memphis, TN and Muscle Shoals Sound Studio, 3614 Jackson Hwy, Muscle Shoals, Sheffield, AL countrydiscoghraphy2.blogspot.com.au/2014/03/linda-ronstadt.htmlIt is interesting the note that (She's A) Very Lovely Woman is the only song that has been released. Secondly an early version of Love Has No Pride was part of these sessions. The Muscle Shoals sessions produced the icon image of Linda: and this previously unseen image (at least by me):
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Post by ausfan2 on Feb 12, 2015 6:38:58 GMT -5
The iconic 1970 Muscle Shoals image was used recently:
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Post by ausfan2 on Feb 12, 2015 7:02:27 GMT -5
Let's not forget where it was used in 1973:
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Post by erik on Feb 12, 2015 9:41:07 GMT -5
If one scrolls down the list of this website: countrydiscoghraphy2.blogspot.com/2014/03/linda-ronstadt.html...one will find that Linda did record at Muscle Shoals in 1970 and '71 (as well as American Studios in Memphis, where Elvis did his absolute best latter-day work) in what looked like an effort to do something along the lines of a country/soul project. I think it was only "She's A Very Lovely Woman" and "I Won't Be Hangin' Round" (which appeared on her 1972 self-titled album) that ever saw the light of day; and even "She's A Very Lovely Woman" didn't appear on any album or CD officially until Raven put out their 2009 pairing of Hand Sown, Home Grown and Silk Purse and used it as a bonus track.
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Post by Richard W on Feb 12, 2015 9:48:06 GMT -5
Personally, I'd love to hear what Linda did with "Mother Earth," a bluesy belter recorded by Tracy Nelson.
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Post by erik on Feb 12, 2015 10:50:27 GMT -5
It would be interesting, in my opinion, to hear all of what she recorded during those sessions, in re-mastered form, of course. I don't know the vagaries of how this could ever get done; but given the fact that she's not going to be able to sing again, we can always hope (IMHO).
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Post by Pete on Feb 12, 2015 12:08:51 GMT -5
Does anyone know how Linda picked her album titles? I wondered if it was maybe whatever song was her favorite then became the album title? I know I ask these random questions but I only became a fan of Linda a couple of months ago (it's taken me those two months to purchase all of her albums too!) and I know these sort of questions regarding most of the artists I listen to. There doesn't seem to be any information on Wikipedia.
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Post by erik on Feb 12, 2015 18:22:51 GMT -5
As to how Linda picks the titles from her albums--aside from perhaps seeing one of the songs from those albums, one can only speculate. I myself don't have the answer to that, though someone else here might.
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Post by sliderocker on Feb 12, 2015 21:52:59 GMT -5
If I remember correctly the reason for Very Lovely Woman was that the record company wanted something more hip than the country oriented material on Silk Purse and they didn't want to lose momentum from Long Long Time. Linda has said a few times that she picked the songs she wanted to record and in the late 60s through the early 70s, Linda wanted to be a country singer. I rather imagine Linda picked Very Lovely Woman but may have done so out of pressure from Capitol to do more pop oriented material.Then again, she resisted pressure from Capitol to record Stand By Your Man and Help Me Make It Through the Night, so I rather imagine she could've resisted them on Very Lovely Woman. The impression I've gotten on Long, Long Time was that Capitol didn't want to release the song as a single, and was somewhat annoyed and ticked off that it had became as big a hit as it did. It probably could've been a top five or ten if Capitol had given it more promotion but Capitol considered it a country song, which was funny as I thought it more a pop song than country song. Regardless, what would Capitol have released as a single? Almost every Silk Purse song was a country song or given a country arrangement. Long, Long Time stood out from all the other SP songs and was the best possible and most reasonable choice for a single. The yahoos at Capitol who couldn't see that or hear that should've been fired as if they missed something that obvious, what else did they miss, not only on Linda but on their other artists?
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Post by sliderocker on Feb 12, 2015 22:09:15 GMT -5
It would be interesting, in my opinion, to hear all of what she recorded during those sessions, in re-mastered form, of course. I don't know the vagaries of how this could ever get done; but given the fact that she's not going to be able to sing again, we can always hope (IMHO). It would be up to the record companies which have the rights to her unreleased recordings, unless Linda retained the rights to her recordings. Which I don't think she does as given her dislike of her work, she probably would've taken her recordings off the market. All things considered, it wouldn't be that hard to assemble an album of unreleased songs, simply arranging the various royalties: artist (Linda), producers (multiple), songwriters/music publishers (multiple), recording engineers (if some were given a royalty, don't think that happened until the late 70s) and remixing and remastering the songs for release on cd. The record company would also probably want any album to sell a certain number of copies and if they didn't think they could get that, that could kill any chances for a general release. A limited release, such as via Rhino Handmade, would be a serious possibility.
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