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Post by the Scribe on Mar 22, 2020 21:28:31 GMT
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-1678804-1378255463-4376.jpeg.jpg) Released: January 1972
Label: Capitol
Recorded: 1971
Produced by: John Boylan
Currently available: Yes, The Best Of Linda Ronstadt: The Capitol Years
Side 1:
1.Rock Me On The Water (Jackson Browne) (3:40)
2.Crazy Arms (Ralph Mooney/Chuck Seals) (3:33)
3.I Won't Be Hangin' Round (Eric Kaz) (3:03)
4.I Still Miss Someone (Johnny Cash/Roy Cash Jr.) (2:42)
5.In My Reply (Livingston Taylor) (3:32)
Side 2
6.I Fall To Pieces (live) (Hank Cochran/Harlan Howard) (3:11)
7.Ramblin' Round (Leadbelly/Woody Guthrie/John A. Lomax) (3:22)
8.Birds (live) (Neil Young) (3:01)
9.I Ain't Always Been Faithful (Eric Andersen) (2:51)
10.Rescue Me (live) (Raynard Miner/Carl Smith) (2:47)
Musicians:
Linda Ronstadt: Vocals, Tambourine
Tippy Armstrong: Guitar
Richard Bowden: Guitar
John Boylan: Guitar
Glenn Frey: Guitar, Backing Vocals
Bernie Leadon: Guitar, Backing Vocals
John "Moon" Martin: Guitar, Backing Vocals
Buddy Emmons: Pedal Steel Guitar
Sneaky Pete Kleinow: Pedal Steel Guitar
Weldon Myrick: Pedal Steel Guitar
Herb Pedersen: Banjo, Guitar, Backing Vocals
Barry Beckett: Keyboards
Jimmie Fadden: Harmonica
Gib Guilbeau: Fiddle, Backing Vocals
Dean Webb: Mandolin
Michael Bowden: Bass
David Hood: Bass
Randy Meisner: Bass, Backing Vocals
Wesley Pritchett: Bass
Lyle Ritz: Bass
Michael Botts: Drums
Roger Hawkins: Drums
Don Henley: Drums, Backing Vocals
JD Souther: Vocals, Backing Vocals
Merry Clayton: Backing Vocals
Dianne Davidson: Backing Vocals |
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Post by the Scribe on May 13, 2021 5:51:37 GMT
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Post by the Scribe on May 13, 2021 5:54:11 GMT
 Linda Ronstadt is the third solo studio album by Linda Ronstadt, released in early 1972 on the Capitol Records label. The album was a sales failure, prompting Linda's exit from Capitol Records. It peaked at #163 on Billboard's Pop Album Chart and #35 on Billboard's Country Album Chart. It is considered to be a front-runner in the country rock music genre.
History
Before recording the album, Ronstadt hired guitarist Glenn Frey to assemble a touring band; Frey did so with members of drummer Don Henley’s band Shiloh, who were signed to Amos Records at the same time as Frey’s previous band, Longbranch Pennywhistle. The touring band, augmented by pedal steel guitarist Sneaky Pete Kleinow and producer John Boylan on guitar, accompanied Ronstadt on six of the album’s ten tracks, including three that were recorded live at The Troubadour nightclub in West Hollywood, California during March of 1971.
Linda Ronstadt: The Sound of My Voice | "Don Henley" Official Clip
The other members of the original Eagles lineup, guitarist Bernie Leadon and bassist Randy Meisner, appeared on other tracks as session musicians, with Meisner accompanying Ronstadt on backing vocals with the live band on “Birds” and “Rescue Me”. Frey, Henley, Leadon and Meisner formed the Eagles, with Ronstadt’s approval, after the album’s release. Other notable session musicians on the album include violinist Gib Guilbeau, pedal steel guitarist Buddy Emmons, harmonica (Jimmy Fadden of the Nitty Gritty Dirt Band), and Herb Pedersen on guitar, banjo and backing vocals.
The lack of major success with this and preceding albums led to Ronstadt's decision to leave Capitol. After signing with Asylum Records and recording her first album with them, however, Ronstadt was required to release her 1974 album, Heart Like a Wheel on Capitol to fulfil her contract. Ironically, it would become her breakout album.
Track listing
"I Fall to Pieces," "Birds," and "Rescue Me" are live performances.
Side one
No. Title Writer(s) Length
1. "Rock Me On the Water" Jackson Browne 3:40
2. "Crazy Arms" Ralph Mooney, Chuck Seals 3:33
3. "I Won't Be Hangin' Round" Eric Kaz 3:03
4. "I Still Miss Someone" Johnny Cash, Roy Cash Jr. 2:42
5. "In My Reply" Livingston Taylor 3:32
Total length: 16:30
Side two
No. Title Writer(s) Length
1. "I Fall to Pieces" Hank Cochran, Harlan Howard 3:11
2. "Ramblin' 'Round" Lead Belly, Woody Guthrie, John A. Lomax 3:22
3. "Birds" Neil Young 3:01
4. "I Ain't Always Been Faithful" Eric Andersen 2:51
5. "Rescue Me" Raynard Miner, Carl Smith 2:47
Total length: 15:12
Personnel
Adapted from album's liner notes.[5]
Linda Ronstadt – lead vocals, arrangements (2, 7), tambourine (10)
Barry Beckett – keyboards (3)
John Boylan – guitar (1, 2, 5, 6, 8, 9), arrangements (2, 5, 9)
Glenn Frey – guitar (1, 6, 8-10), arrangements (1), backing vocals (9, 10)
Sneaky Pete Kleinow – pedal steel guitar (1, 2, 6, 8, 10)
Richard Bowden – electric guitar (2)
Tippy Armstrong – guitar (3)
Weldon Myrick – steel guitar (3)
Bernie Leadon – guitar (4, 5, 7), backing vocals (5, 7)
Herb Pedersen – guitar (4), backing vocals (5, 7), banjo (7)
Dean Webb – mandolin (4)
Moon Martin – backing vocals (4), guitar (8, 10)
Buddy Emmons – pedal steel guitar (5, 9)
Michael Bowden – bass guitar (1, 2, 6, 8-10)
David Hood – bass guitar (3)
Wesley Pritchett – bass guitar (4)
Randy Meisner – bass guitar (5), backing vocals (8, 10)
Lyle Ritz – bass guitar (7)
Don Henley – drums (1, 2, 6, 8, 9, 10), backing vocals (8, 9, 10)
Roger Hawkins – drums (3)
Mike Botts – drums (5)
Jimmie Fadden – harmonica (7)
Gib Guilbeau – fiddle (2, 4, 6, 7), backing vocals (4)
J.D. Souther – backing vocals (2), lead and harmony vocals
Merry Clayton – backing vocals (3)
Dianne Davidson – backing vocals (3)
Miss Ona – backing vocals (3)
Production notes:
John Boylan – producer
Al Coury – production coordinator
Don Blake – engineer
Larry Hamby – engineer
Rudy Hill – engineer
Wally Heider – engineer
Mike Shields – engineer, mixing, mastering
Ray Thompson – engineer
Dean Torrence – design
John Hoernle – art direction
Ed Caraeff – photography
Studios
Recorded at United Western Recorders and The Troubadour (Hollywood, California); Muscle Shoals Sound Studios (Sheffield, Alabama).
Mixed and Mastered at NEMO Productions.
References
Allmusic review
Christgau, Robert (1981). "Consumer Guide '70s: R". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 089919026X. Retrieved March 12, 2019 – via robertchristgau.com.
Brackett, Nathan; Christian Hoard (2004). The Rolling Stone Album Guide. New York City, New York: Simon and Schuster. p. 701. ISBN 0-7432-0169-8. rolling stone linda ronstadt album guide.
Moore, Mary Ellen (1978). The Linda Ronstadt Scrapbook: An Illustrated Biography. New York: Grosset & Dunlap. p. 61. ISBN 0-441-48411-5.
Linda Ronstadt (booklet). Capitol. 1972. |
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Post by the Scribe on Jan 23, 2022 5:21:11 GMT
Linda Ronstadt – Reflecting on the 50th Anniversary of Her Self-Titled Third Album
www.undertheradarmag.com/blog/linda_ronstadt_reflecting_on_the_50th_anniversary_of_her_self_titled_third
The Album First Came Out on January 17, 1972
Jan 21, 2022 By Austin Saalman
Steeped in its region of origin’s booming counterculture, Linda Ronstadt’s vastly underrated eponymous third solo album possesses an irresistibly down-home sound, amplified by the presence of her up-and-coming peers, rendering it a foundational recording of its genre. Although the album’s commercial failure prompted Ronstadt’s departure from Capitol, Linda Ronstadt is a remarkable release, its solid musicianship and twangy charm having helped set an early stage for the emergent country rock subgenre soon to take American radio by storm, perfecting the timeless postcard notion of a breezily romantic ’70s Los Angeles for a nation yet beguiled by its hazy mythology.
Her generation’s top vocalist, Ronstadt could just as easily have performed these tracks a cappella and still commanded the same regard. This is ably demonstrated on the album’s opening track, a stunning cover of Jackson Browne’s “Rock Me on the Water”—the same song was also featured on Browne’s own eponymous debut, released seven days prior—on which Ronstadt eschews his initial gospel approach in favor of a melancholic, reverberating country sound, uniquely interpreting Browne’s apocalyptic vision of “fires burning hotter and hotter.” Here, her compelling vocals conjure a certain doomed immediacy, all of which spills across the musical soil beneath the blooming petals of those blue roses she so often evoked through her music.
Accompanied by a “who’s who” of ’70s musical talent, Linda Ronstadt features contributions from Asylum alumni Don Henley, Glenn Frey, Randy Meisner, and Bernie Leadon—their group Eagles would release its debut album that June—as well as J.D. Souther, whose solo debut was also released that summer. Flying Burrito Brother Sneaky Pete Kleinow, soul singer Merry Clayton, singer/songwriter Moon Martin, and members of the Muscle Shoals Rhythm Section help to ensure the album’s authentic sound with solid performances. While not physically present on the recording, Johnny Cash and Livingston Taylor also receive writing credits, as the album features covers of “I Still Miss Someone” and “In My Reply,” throughout which Ronstadt’s voice billows like the warm Santa Ana winds, leaving the originals and all subsequent renditions wilted and pale in comparison.
Ronstadt and company positively glow on their cover of Neil Young’s “Birds,” lush backing harmonies accentuating her misty-eyed interpretation of Young’s words, while Eric Andersen’s “I Ain’t Always Been Faithful” and R&B favorite “Rescue Me” also receive commendable treatment. The latter sees Ronstadt breaking the album’s general country mold with astounding results. Ronstadt’s ultimate genius rests not only in her devotedly disciplined classical sensibilities, but also her knack for character development. That she was able to cover as many tracks by as many great artists (Browne, Souther, Cash, Warren Zevon, Smokey Robinson, The Rolling Stones, Kate McGarrigle, Chuck Berry, Waylon Jennings, Roy Orbison, Buddy Holly, etc., etc.) as she did, and breathe fresh life into their words, speaks volumes as to her masterful storytelling abilities and concept of artistic intimacy.
Even 50 years on, Ronstadt’s vocal prowess has yet to be usurped. While her musical abilities are most certainly not limited to country and rock—she is an accomplished jazz and opera singer, as well as a Tony Award-nominated Broadway performer, and her 1987-released album Canciones de Mi Padre received a Grammy Award for Best Mexican-American Performance—the mark left upon the Laurel Canyon music scene is arguably among her most significant. Her mainstream breakthrough did not arrive until the release of 1974’s Heart Like a Wheel, at which point Ronstadt quickly rose to prominence as one of popular music’s most celebrated artists, her hits regularly topping the charts, and her oft-emulated neo-Bohemian, post-hippie fashion sense becoming as iconic and influential as her music and political activism. By the decade’s end, she was named the highest paid woman in rock, regularly selling out packed stadiums and arenas. Her triumph as a female artist in a male-dominated industry only attests to her authoritative grasp upon her craft and her dynamic presence. Although she officially retired in 2011, eventually revealing her battle with progressive supranuclear palsy as the cause, Ronstadt’s pop legacy shines on. At 50, Linda Ronstadt remains a melodic treat—the enormous talent displayed here should appeal not only to fans of the singer and genre, but also any listener interested in quality music.
www.lindaronstadt.com
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Post by the Scribe on Mar 6, 2022 6:45:31 GMT
In My Reply: Linda Ronstadt at 50
rockandrollglobe.com/country-and-or-western/in-my-reply-linda-ronstadt-at-50/
A half-century later, the singer’s seminal third album still sets the standard
January 26, 2022 Lee Zimmerman
Linda Ronstadt 1972 (Image: Reddit)
Some may argue otherwise — and perhaps, rightfully so considering what would come — but Linda Ronstadt’s self-titled third LP could arguably be called her best album overall.
Released on January 17, 1972, it followed two earlier individual efforts that had allowed her to find her footing following her departure from her seminal outfit, the Stone Poneys. Recorded with a crew of soon-to-be country rock notables — future Eagles Glenn Frey, Don Henley, Bernie Leadon and Randy Meisner, pedal steel players Sneaky Pete Kleinow of the Flying Burrito Brothers and session stalwart Buddy Emmons, multi-instrumentalist Herb Pedersen, Jimmy Fadden of the Nitty Gritty Dirt Band, and acclaimed fiddle player Gib Guilbeau — it was a singular achievement that garnered little appreciation at the time.
Nevertheless, Linda Ronstadt proved to be an auspicious undertaking, both in terms of the execution — including various tracks that were recorded live at the iconic Troubadour nightclub in L.A. — and, equally significantly, as far as the song selection. The taste Ronstadt showed in her choice of material is evident throughout, given the fact that she literally spans the divide between archival country and the emerging sounds of the Southern California singer/songwriter scene that carried on that tradition within its own special sphere. She knowingly taps one of Jackson Browne’s earliest offerings, “Rock Me On the Water,” preceding Browne’s single release by several months, while also besting innumerable other versions of the same song.
Linda Ronstadt Linda Ronstadt, Capitol Records 1972
Likewise, her take on Neil Young’s exceedingly mellow and melancholy “Birds” helped lift that song from obscurity and give it new life. Other contemporary covers — Livingston Taylor’s “In My Reply, Eric Kaz’s “I Won’t Be Hangin’ Around” and Eric Andersen’s “Faithful” in particular — showed that Ronstadt had a great ear when it came to choosing material that could be further amplified through her emotive, expressive vocals.
“Faithful” was an especially tasteful choice. Culled from Andersen’s remarkable Blue River album, which was still a month away from its own release, it boasted a chorus that took on its own particular poignancy through Ronstadt’s supple and sensitive treatment.
“They said loving you and leaving you is the hardest thing to do
To give my foot another chance
To try another shoe…”
The exquisite beauty and emotion shared in those sentiments takes the song to very brink of utter heartbreak.
Ronstadt culls that same degree of sensitivity in the standards she selected as well. “Crazy Arms” became classic courtesy of Ray Price, but other versions soon followed by Mickey Gilley, Barbara Mandrell and (albeit precedingly) Patsy Cline, among them. Here again, Rondtadt breaks down the barrier that still existed at the time between classic country and contemporary mainstream music. The same could be said of the way she takes “I Fall To Pieces,” another equally arched expression of ache and despair, and interprets it as entirely her own. That’s particularly true of the way she treats Johnny Cash’s lonely lament, “I Still Miss Someone,” another measure of the way Ronstadt was able to straddle two worlds quite comfortably.
That said, Ronstadt ventured even further, tackling material at the opposite ends of the stylistic spectrum — from Woody Guthrie’s troubadour tale “Ramblin’ Round” to the exuberant outpouring of the R&B classic “Rescue Me,” first made famous by Fontella Bass. Both songs set the stage for the various paths Ronstadt would follow later on as she nimbly veered between an array of other genres — country, pop, Latin, and even light opera — all the while proving herself to be a master of them all.
Ironically, the album’s failure to find favor with the mainstream market prompted Ronstadt to leave Capitol Records and initiate a more fruitful career on Asylum Records, a label that seemed better suited to her early Americana leanings. Greater success would follow, beginning with the final album she owed Capitol, Heart Like a Wheel, which, ironically, made her a major player and set the course for all that followed.
Ronstadt’s superstardom was assured thereafter, but regardless, it was Linda Ronstadt that set the standard.
Lee Zimmerman is a writer and columnist based in beautiful Maryville Tennessee. Over the past 20 years, his work has appeared in dozens of leading music publications. He is also the author of Americana Music: Voice, Visionaries, and Pioneers of an Honest Sound, which will be published by Texas A&M University Press early next year.
amzn.to/2BLQHh1
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Post by the Scribe on Jan 20, 2023 2:53:54 GMT
the one before the one before the one
Linda Ronstadt’s Self-Titled Album Was A Hint Of What Was To Come
www.udiscovermusic.com/stories/linda-rondstadt-self-titled-album/
A fascinating transitional record, this album led to one of the most incredible decades in pop music.
Published on January 17, 2023By Caroline Sullivan
Linda Rondstadt album cover Cover: Courtesy of Universal Music
In early 1972, Linda Ronstadt was the archetypal promising-but-underperforming artist who just couldn’t get a breakout hit. She already had five albums on her CV – three with country-rockers The Stone Poneys, two solo – but only once had she connected with the public in a big way: on the Poneys’ chiming single “Different Drum,” which made her briefly ubiquitous in 1967. Hearing her sing it, said Jackson Browne in 2019, was like “pull[ing] back the covering of a fully developed vocal stylist.”
www.udiscovermusic.com/news/linda-ronstadts-story-told-in-the-sound-of-my-voice-documentary/
www.udiscovermusic.com/stories/stone-poneys-stone-poneys-album/
I Fall To Pieces
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There’d been a flurry of excitement around a 1970 ballad, “Long, Long Time,” resulting in a Grammy nomination, but it had come to nothing. And so there she was in January 1972, seeking a launchpad. There was also pressure from Capitol Records, which had invested in her career, setting her up with different producers and with some of the era’s best new songwriters. Her failure to properly take off seemed inexplicable: she had the pipes, she had the ability to put her own aching stamp on other people’s tunes (not a songwriter herself, she mainly used other artists’ material). She certainly had the marketable looks. What was the issue?
Maybe it was just the stars finally aligning, but in the third week of January, the launchpad materialized. Linda Ronstadt didn’t make a huge commercial splash – it reached 35 on the country chart, 163 on the rock – and produced no major singles, but it was the record that primed the 25-year-old singer for superstardom to come. And superstardom was the only word for it: from the mid-‘70s to the early 80s, she was the most successful female vocalist in rock, with a CV packed with groundbreaking achievements, from being the first woman to have six consecutive platinum albums to be the first to sell out arenas in her own right.
Listen to Linda Rondstadt’s self-titled album now.
udiscover.lnk.to/LindaRonstadt
How did Linda Ronstadt rev up her career? In a word: subtly. Though it was a crossover record, there was no boundary-leaping new direction; its power was in its deft introduction of rock to her country sound, just as country music – the California-hippie sort she’d specialized in – was starting to sound tired. She and producer John Boylan used new songs by young rock writers like Neil Young, Jackson Browne, and Eric Kaz. They assembled a studio band who’d already toured with her and knew where she was headed on this new album (the band later named themselves The Eagles, and did pretty well). And Ronstadt, muscular and heartfelt, gave some of the performances of her life.
Listen to Young’s “Birds,” a close-harmony tour de force in which she leads the band through the song’s delicate peaks and troughs. It’s so shimmeringly perfect it’s hard to believe it was recorded at a gig (the Troubadour in Hollywood, in early 1971). Then hop to “Rock Me On The Water,” and hear her interpretive ability on Browne’s farewell-to-the-‘60s ballad. “While your walls are burning and your towers are turning/I’m going to leave you here,” she sings, sorrowful but resolute. Her tone is as fragile as glass. This album is where the depth and maturity she was nurturing on her first two albums, Hand Sown…Home Grown and Silk Purse, really blooms.
Birds
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Ronstadt didn’t abandon country, as illustrated by versions of Patsy Cline’s “I Fall To Pieces” and Johnny Cash’s “I Still Miss Someone.” But they’re delivered without the twang that marked Silk Purse, which was recorded in Nashville, Across the album, you can hear her gently pulling away from her roots: the next two albums, Don’t Cry Now and Heart Like A Wheel would make more decisive inroads into the soft-rock style that would define her. Heart Like A Wheel was the one that made her a household name, and Linda Ronstadt is best heard as a fascinating transitional record – the one before the one before the one.
www.udiscovermusic.com/artist/patsy-cline/
www.udiscovermusic.com/artist/johnny-cash/
Listen to Linda Rondstadt’s self-titled album now.
udiscover.lnk.to/LindaRonstadt
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