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Post by the Scribe on May 13, 2021 7:10:21 GMT
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-1678755-1544386143-8583.jpeg.jpg) Released: November 24 1987
Label: Elektra/Asylum
Recorded: 1987?
Produced by: Peter Asher
Currently available: No
Side 1
1.Por Un Amor (Gilberto Parra) (2:56)
2.Los Laureles (Gilberto Parra) (2:25)
3.Hay Unos Ojos (Rubén Fuentes) (2:45)
4.La Cigarra (Ray Pérez y Soto) (3:45)
5.Tú Sólo Tú (Felipe Valdez Leal) (3:09)
6.Y Ándale (Minerva Elizondo) (2:32)
7.Rogaciano El Huapanguero (Valeriano Trejo) (3:00)
Side 2
8.La Charreada (Felipe Bermejo) (3:49)
9.Dos Arbolitos (Chucho Martínez Gil) (2:34)
10.Corrido De Cananea (Rubén Fuentes) (3:24)
11.La Barca De Guaymas (Rubén Fuentes) (3:25)
12.La Calandria (Nicandro Castillo) (3:00)
13.El Sol Que Tú Eres (Carlos Gutiérrez Cruz) (2:57)
Musicians:
Linda Ronstadt: Lead vocals
Michael J Ronstadt: Vocals
Danny Valdez: Vocals, Guitar
Gilberto Puente: Guitar
Jorge Lopez: Guitar
Samuel Gutierrez: Guitar
Felipe Perez: Violin
Antonio Ramos: Violin
Salvador Torres: Violin
Steve Fowler: Flute
Ron Kalina: Harmonica
Juan Gudiño: Trumpet
Ignacio N Gomez: Trumpet
Jim Self: Tuba
Larry Bunker: Percussion
Pedro Rey: Vocals
Pedro Rey Jr: Vocals
full album:
www.youtube.com/playlist?list=OLAK5uy_k-f3-_gJF2dal2KSNdiGte4bVqzhCOiNU |
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Post by the Scribe on May 15, 2021 0:37:46 GMT
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Post by the Scribe on Jun 4, 2021 8:26:15 GMT
May 12, 2018 at 1:30 am Quote Post Options Post by the Scribe on May 12, 2018 at 1:30 am
I can’t let the 30th anniversary of one of the most important musical albums ever recorded get away without my own personal tribute. It wasn’t just another album. It was an event. An inspiring cultural event. And for some, a healing event.
First some history:
from the Scribe:
I worked at my local university in different capacities for decades. Back in the late 1980’s I was in a management position and one of my staff, Jerry and I had something in common. Linda Ronstadt. We playfully argued over who was the bigger fan on a daily basis. It got to the point we didn’t need to argue about it. We would just look at each other and laugh because we knew where the conversation would take us. At that time a favorite topic was Linda’s upcoming first Spanish album. Jerry was latino and grew up listening to Mexican music. The fact that Linda was to record this music consumed both of us with anticipation.
Early one morning I received a frantic phone call from Jack, another of my staff. He was talking so fast with such emotion I couldn’t understand what he was saying. “Jerry fell from the second story mezzanine. He isn’t moving. We just found him there. What should I do?” I arrived at the location just as the ambulance and police pulled up. There was Jerry lying in a pool of blood. He landed on his head and went unconscious. He was rushed off to the hospital and taken immediately into the operating room.
He was in there for hours in a comatose state. He needed an immediate blood transfusion but evidently he was a Jehovah’s Witness and there was some problem getting a quick approval from church leadership to do so. Approval came towards the end of the day but it was so late the doctors couldn’t assure us if he would make it or not. His brain was so swollen and a part of his skull had to be removed to relieve pressure. We were all on pins and needles.
Three days went by and Jerry was still in the hospital. Still in a coma.
During that week Canciones de mi Padre was released and I rushed to Tower Records to purchase a copy. I was not going to let Jerry die without hearing this beautiful album of songs sung so perfectly by Linda Ronstadt. Her voice was powerful and mesmerizing unlike anything I had ever heard before.
I copied the album onto a cassette and headed to the hospital where Jerry still was unresponsive in his coma. He was not responding to any stimulus whatsoever and things looked bleak. His wife was sitting in the waiting room looking so sad and forlorn. She smiled and said I could go in to see Jerry who was alone and hooked up to wires like a Christmas tree. The room was pitch black except for a light that shone down over his bed leaving nothing but darkness all around. Light embraced his body that was wrapped and strapped like some sort of a surreal cacoon to prevent any movement on his part.
I said “Jerry. Guess who I brought with me? It’s Linda Ronstadt!! As my tape of Canciones began to play a BIG SMILE from ear to ear appeared on Jerry’s face. I knew then and there he would be alright. Jerry was still with us and now responsive. I said “Jerry, if you want to hear the REST of this album you will need to come out of that coma and this tape recording is yours.”
I left for the night and when I returned the next day everyone said a miracle had happened. Jerry was out of his coma and sitting up in bed and out of intensive care. He saw me come in, smiled and said “where’s MY tape?” I laughed and we sat listening in awe to Linda’s healing voice with neither of us saying a word for the duration of the album. Just shaking our heads in approval and amazement that each song was better than the last. Things turned out alright and we both knew why.
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Post by the Scribe on Jun 4, 2021 8:33:44 GMT
This tribute isn't over! Another lovely story of healing and inspiration from Marcela Davison Aviles Honoring the 30th Anniversary of Linda Ronstadt’s “Canciones de Mi Padre”By Marcela Davison Avilés
February 28, 2018
Canciones de mi Padre, History, Linda Ronstadt, Mexican-American
I can’t remember exactly why I walked into the living room the one and only time I saw my Dad crying. Actually, I didn’t walk into the living room so much as pass by when I noticed Dad. There he was, sitting in his favorite chair, crying.
He had the record player on which was a rare thing for Daddy. He preferred reading over any other past time except watching football. Next to the record player was Linda Ronstadt’s new album, “Canciones de Mi Padre.” Canciones, as most US Latinos of a certain age will tell you, was an album that changed their lives and America simultaneously. It made it OK to be Mexican American in U.S. mainstream society – suddenly we were cool and Americans fell in love with a Mexican heritage that was not described in their history books. Everyone was playing Canciones. Everyone became simpatico.
When I was 27 I traveled home to visit my parents after moving to New York City to begin a new job. I didn’t get home often, which was a combination of insufficient finances and an attitude that placed New York over Tucson as the center of coolness. My parents were semi-retired and their social circle consisted of our Mexican family and Mexican American friends they’d known since high school and the sprinkling of anyone not Mexican they knew from work or school or Mom’s Spanish club students.
And there was Dad, listening and crying. I asked him what was the matter and he looked at me and all he said was, “this is the music of my childhood.”
I remember feeling extremely curious about Dad’s Mexican boyhood. This was a man so intensely proud of his American citizenship that he insisted we speak only English at home. “We are Americans,” Dad frequently reminded us, “of Mexican descent.” I remember his sing songy Mexican accent as he said this, with the accent on the last syllable of “descént.” My Mother, because she was Mom and, well, Mexican, never abided by this rule. She openly spoke to us and him in Spanish which I suppose was a reasonable trade in Dad’s eyes, for her love and us. As for us kids, we had our secret identities. I was a treehouse adventuress of my own descént.
But Dad was a hybrid – the product of his Mexican Mother and American Father and although he was born in Mexico, he always emphasized his American roots. It was like that little village in Sonora where he was born never existed. Until the Linda album.
Dad came of age in the early 40’s and the big bands – Glen Miller, Tommy Dorsey, Harry James, Les Brown – played him into WW II and back. Back then, to be part of American society everyone had to fit in, speak English, and not look like the enemy. His coming of age music was patriotic and dreamy – “Begin the Beguin,” “String of Pearls,” “In the Mood” – these were some of this favorites. Rock music, like Spanish, was something that snuck into the house. Dad would say something to Mom in English, she would respond in Spanish and before you knew it he was responding in Spanish and the Rolling Stones were on in my brother’s room.
So when Canciones came out, he was clueless about Linda Ronstadt’s career – as far as he was concerned she was from Tucson, her Dad owned the local hardware store and that was good enough to buy the album. But the rest of the nation knew Linda as a rock superstar who was on the cover of Rolling Stone. The rest of the nation listened to Canciones because Linda was rock royalty and her opinion on music, even strange music in another language, mattered.
And thus a unique and historical American convergence was formed – mainstream America bought the album because Linda was and is a pop culture living legend – she validated our American Dream. Mexican Americans bought her album because Linda was family and loved her heritage – she was one of us.
The surprise for all concerned was the music itself. Mainstream America had never encountered it before. Mexican Americans knew it as once and future music – from a radio in their Grandparent’s room, or from an old Mexican movie. And in 1987 the stories and melody of Mexico’s bygone days blew into the mainstream zeitgeist like a fairytale – it was unfamiliar and familiar, it was new and old, it was the smell in the air after it rains in Sonora’s desert.
Listening to that album, America learned how to pronounce the words mariachi and besotted. I remember thinking it was like the whole nation had become enchanted. Everyone was listening to these Mexican acoustic harmonies and the catch in Linda’s voice and you read the liner notes because you needed to know what that was about, and then you discovered the songs were not songs they were stories but they were songs.
Dad loved one song in particular, called “Dos Arbolitos.” It was my Grandmother’s favorite, then his favorite, then my favorite. It’s the reason he was crying that day. The sound of it reunited him with his culture, and he remembered he was Mexican. After that, definitions of descent didn’t seem to matter. What mattered was he remembered the village where he came from, and he wanted me to know about it. He wanted to share his story.
Dos Arbolitos was written by Chucho Martinez Gil in the early days of the 20th century and its lyricism has bonded countless lovers, families and migrants to each other. To listen to it is to enter a world where land and the human soul are joined and melody is an idealization of desire and nostalgia. The lyric does one thing only: it tells a story. It’s not a tag line, not a hook, not a jingle. It isn’t subservient to the beat. It does what a ballad does best – it spins a tale with a beginning, a middle and an end. Check out the open – it describes a love of nature, a love of yearning, a love of love:
Han nacido en mi rancho dos arbolitos
(On my ranch one day two little trees were born)
Dos arbolitos que parecen gemelos
(Two little trees who appear as twins)
Y desde mi casita los veo solitos
(and from my own little house I see them all by themselves)
Bajo el amparo santo y la luz del cielo
(Under holy protection and the light of the sky)
Nunca están separados uno del otro
(They are never separated, one from the other)
Porque así quiso Dios que los nacieran
(Because that is how God intended for them to be born)
Y con sus mismas ramas se hacen caricias
(And with their own branches they caress each other)
Como si fumeron novios que se quisieran
(As if they were betrothed and in love)
Thirty years ago Canciones became the biggest selling non-English language album in the history of recorded music. It transcended language, geography and politics and brought people together. Today, Latin dance music is bigger than ever and hip-hop has been called the most important cultural voice of our times. But in these times I’m recalling Lincoln’s parable that a nation divided against itself can’t stand. Is Lin Manuel Miranda the only heir to Maria Grever, Yip Harburg, Violetta Parra, Arlo Guthrie, and Chucho Martinez Gil? That’s another column, about another artist.
Marcela Davison Avilés
Marcela Davison Avilés, is an essayist, independent producer and consultant with The Chapultepec Group. A first generation Mexican-American, Marcela also is a frequent commentator on issues impacting the arts and Latino community, and has appeared as a guest speaker on programs such as National Public Radio and CNN. Her thoughtful editorial opinions have been published numerous times in the...
some of the comments at the end of this article: hiplatina.com/linda-ronstadts-canciones-de-mi-padre//
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Post by the Scribe on Apr 14, 2022 6:39:45 GMT
Linda Ronstadt’s ‘Canciones de Mi Padre’ Album Added To Grammy Hall of Fame
BY KIKO MARTINEZ
12.28.20 at 2:07 pm
Art by Stephany Torres for Remezcla
Thirty-three years after its original release, Linda Ronstadt’s Spanish-language album Canciones de Mi Padre has been enshrined into the Grammy Hall of Fame.
The Recording Academy recently announced Ronstadt’s Grammy Award-winning, double platinum album, which features traditional Mexican folk songs, was one of 29 songs and albums to be added to the celebrated recordings. Other albums that joined Canciones de Mi Padre include Bruce Springsteen’s Greetings From Asbury Park, N.J., Pearl Jam’s Ten and A Tribe Called Quest’s The Low End Theory.
Songs and albums tapped for distinction must be at least 25 years old. Trio, a country music album Ronstadt recorded with Dolly Parton and Emmylou Harris in 1987, was also chosen for the Hall of Fame.
“We are proud to announce this year’s diverse roster of Grammy Hall of Fame inductees and to recognize recordings that have shaped our industry and inspires music makers of tomorrow,” Harvey Mason Jr., chair and interim president and CEO of the Recording Academy, said in a statement. “Each recording has had a significant impact on our culture, and it is an honor to add them to our distinguished catalog.”
In recording Canciones de Mi Padre, Ronstadt, who was known mostly for singing rock and folk music, wanted to honor the Mexican ancestry on her father’s side. During an interview with Remezcla in November, Ronstadt said she had no idea how big the album would become.
“I was just trying to do something I had been wanting to do since I was 18 years old,” she said. “I was focused on that and not on whether it was going to be a success or not.”
Now we know, Canciones de Mi Padre is, in fact, a Grammy Hall of Fame-worthy success that has stood the test of time.
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Post by the Scribe on Apr 14, 2022 6:42:40 GMT
LINDA RONSTADT - "CANCIONES DE MI PADRE" {{H.D.}} (COMPLETE), 1989
300,998 views Aug 17, 2017
Dia Reinhardt
4.08K subscribers
This video is the complete version. The opening first 5 minutes shows Linda talking and riding a horse through the countryside and also she is shown with her father. She talks about her childhood and love of the Mexican culture. In this show she celebrates the music of her Hispanic-American heritage - songs she calls "a living memory of heart felt experience", taped in San Francisco. This 'Great Performances' presentation is also called "A Romantic Evening in Old Mexico". Her singing partner is Daniel Valdez.
I have come across a music review by Ralph Novak (in an old "People" magazine dated Jan. 11, 1988) of the album Linda made of "Canciones De Mi Padre". It reads as follows: "Lovingly conceived and delightfully executed, this all-Spanish album is Ronstadt's tribute to her father, Gilbert, now in his 70's. All 13 songs on the LP (the title means Songs of My Father) originated in his native Mexico, and Ronstadt and her co-producers, Peter Asher and Ruben Fuentes, enlisted a corps of Mexican mariachi musicians to play backup. If the songs inevitably lose a little in transition for non-Spanish speakers, there is plenty of fire and romance left over, and the lyrics are translated on the album sleeve. Ronstadt sounds in high spirits, her voice soaring and dancing through this melodically rich music.
The warm mood is enhanced by the fact that her backup singers include her brothers Pete (the Tucson, Ariz., chief of police) and Mike (who runs the family hardware store in Tucson) and her 17 year old niece Mindy. Another notable contribution comes from Mexican singer Pedro Rey, whose vocal harmony helps make Tu Solo Tu ("You Only You") a particularly touching track. La Charreada, a festive tune about a kind of cowboy dressage competition, is another highlight. This whole album is a cause for celebration; it is not often that a record provides such a bounty of rare good feelings. (Electra/Asylum) - Ralph Novak." In this review there is also a photograph of Linda and her singing partner that says "Linda Ronstadt, La senorita herself, with Mexican-American collaborator Daniel Valdez." Dia Reinhardt, 8-17-2017
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Post by the Scribe on Apr 15, 2022 11:43:38 GMT
Op-Ed: Linda Ronstadt’s ‘Canciones de mi Padre’ changed my life, and my culture
www.latimes.com/opinion/op-ed/la-oe-arellano-ronstadt-30-years-20171121-story.html
BY GUSTAVO ARELLANO
NOV. 21, 2017 11:15 AM PT
Whenever I hear the opening of Linda Ronstadt’s “La Charreada” I think back to the winter of 1987, when I was 8 years old. That’s when my mom bought Ronstadt’s latest release: “Canciones de mi Padre” (“Songs of My Father”), a Spanish-language cover album that remains a milestone of American music and Mexican American history. A rush of brash mariachi strings, and male yelps that mimic the excitement of a Mexican-style rodeo, followed by Ronstadt’s mighty voice that holds a note for seconds before she launches into rapid-fire verses — and it all comes to me again.
Its national success — it sold over 2.5 million units, the biggest-selling foreign-language album ever in the United States — was a crucial moment to my peers and me. Our generation would become the first group of Mexican Americans to grow up comfortable with both sides of that term. Seeing Ronstadt sing in Spanish on national television, her album cover published in newspapers, taught us that it was OK to be unapologetically Mexican, no matter how assimilated we may be. Any time you hear one of us say “Doyers,” or wear a splendid guayabera, it’s because of her.
“Canciones” was the coda to a banner year for Mexicans in popular entertainment. “La Bamba” and “Born in East L.A.” told stories of the Los Angeles Chicano experience on the big screen. The Los Lobos-fronted soundtrack to the former had played across the Southland that summer. (My dad bought our cassette from a street vendor in front of a King Taco.)
Previous generations of American entertainment giants downplayed their ethnic heritage to appeal to as wide an audience as possible.
Ronstadt was the biggest deal of them all. She had used Español before in her career: a Latin American version of “Blue Bayou,” her own composition, on the 1976 LP “Hasten Down the Wind,” and a duet with salsa legend Rubén Blades in 1985. But with “Canciones” she did something revolutionary. Previous generations of American entertainment giants downplayed their ethnic heritage to appeal to as wide an audience as possible. Now came Ronstadt, deep into her career, with a bold announcement: I’m Mexican, and what of it?
The album isn’t perfect. In “La Charreada,” you can tell Ronstadt’s primary language isn’t Spanish because she pronounces words too exactly and doesn’t elide like a native speaker. Sometimes, she offers despair when the right tone for a song is melancholy, subtle differences that Mexicans raised on mariachi noted then and now.
But 30 years later, “Canciones” remains a classic. It’s an education, as songs span genres from huapangos to sones huastecos, corridos to rancheras, feminine confessions to macho boasts. The three mariachis that backed Ronstadt — Mariachi Vargas de Tecatitlán, Los Camperos de Nati Cano and Mariachi Sol de México —remain the most prominent in the world and ensured that every song sparkled. Ronstadt’s mastery was such that standards such as “Y Ándale” (“Get on With It”) became permanently associated with her.
Critics at the time couldn’t understand the album. Multiple interviewers asked Ronstadt if it was a cheap ploy to capitalize on her distant heritage at a time when “Hispanics” were hot. Rolling Stone dismissed “Canciones” as “the party-gag album of the year,” and complained that the cover art “makes her look like an El Torrito [sic] waitress who’s been nibbling at the guacamole.” (The Times, to its credit, praised the “purity of spirit” in her efforts.)
Ronstadt was unapologetic. “I wanted [fans] to know,” she told a newspaper in 2008, “that they had something that really was strong and it was pure Mexican and that they should feel proud of that and they don’t have to sell [their culture] down the river.”
To promote the album, Ronstadt appeared in all tiers of American pop life: the hip (“Saturday Night Live,” where she performed two tracks with Mariachi Vargas), the august (PBS’ “Great Performances,” for which she recorded a special), and the muy mainstream “Today” and “Good Morning America.” Her best performance was on “Sesame Street,” where she sang “La Charreada” in English to Elmo backed by a Muppet mariachi that nailed it. That appearance, in particular, stuck with me: Nothing normalized seemingly foreign concepts in the 1980s more than “Sesame Street,” so seeing a Mexican on it taught my child’s mind that we were really, truly cool.
“Canciones” won a Grammy for best Mexican American performance in 1989, and an Emmy for the PBS special. But the album did much more than help Ronstadt’s career, or my sense of place.
She was there in 1990 when Mariachi USA hit the Hollywood Bowl for the first time; every summer since, the largest such festival in the U.S. has drawn crowds to the most L.A. of concert venues. Ronstadt “revive[d] the mariachi tradition for both old and new audiences,” wrote UCLA musicology professor Steven Loza in his 1993 book, “Barrio Rhythm: Mexican American Music in Los Angeles.” She also “brought to [mariachi] an even larger, international level of commercial recognition and diffusion.”
My mom still has Ronstadt’s CD, although she now listens to songs on her iPad. It doesn’t matter: The chills that “La Charreada” and the other tracks create remain the same. So gracias, Linda, for showing the world mexicanidad at its best. Now, can you hook me up with an original vinyl?
Gustavo Arellano is the author of “Taco USA” and is a longstanding contributor to Opinion.
Follow the Opinion section on Twitter @latimesopinion or Facebook
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Post by the Scribe on Apr 15, 2022 11:46:53 GMT
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Post by the Scribe on Sept 1, 2022 14:07:02 GMT
The Library of Congress is preserving these major historical recordings for posterity
www.kpbs.org/news/national/2022/04/13/the-library-of-congress-adds-25-titles-including-alicia-keys-and-ricky-martin
NPR
By Neda Ulaby
Published April 13, 2022 at 2:07 AM PDT
Singer Alicia Keys performing at Madison Square Garden in New York City, a few months after the 9/11 attacks in 2001.
George De Sota
Getty Images
When the World Trade Center was destroyed on Sept. 11, 2001, staffers at the city's largest public radio station struggled to report the news — not because their transmitter was atop one of the Twin Towers. But our colleagues at WNYC persevered and managed to keep New Yorkers informed throughout the horror and chaos of that terrible day and provide the first eyewitness accounts of the attack.
Now, WNYC's 9/11 broadcasts will be archived in the National Recording Registry. Every year since 2000, when the Registry was first established by an act of Congress, the Library of Congress picks 25 titles to be preserved for posterity.
www.loc.gov/programs/national-recording-preservation-board/recording-registry/
The list usually includes what the LOC calls "sounds of history," and this year, those selections include the complete presidential speeches of President Franklin D. Roosevelt and WSB-Atlanta's coverage of Hank Aaron's 715th home run, vividly called by legendary sportscaster Milo Hamilton.
www.mlb.com/news/broadcaster-milo-hamilton-dies/c-150122950
"When Aaron hit that homer, Hamilton's on-air exuberance matched that of those in the stands," said the Library of Congress in a statement. "Almost as well remembered as the 715th home run itself, Hamilton's announcing of the breaking of 'the record that would never be broken' is one of baseball's — and radio's — greatest ever calls."
The registry is intended, in part, to promote the LOC's preservation efforts. So how better to publicize itself than including the country's most beloved musicians? This year's inductees, as usual, include numerous celebrities and staples of classic rock. Entire albums newly added to the registry range from Duke Ellington's 1956 Ellington at Newport to 1997's Buena Vista Social Club to Linda Ronstadt's 1987 career milestone, Canciones de Mi Padre.
"Canciones de Mi Padre is an album I've always wanted to make because of my Mexican heritage," Ronstadt said in a statement. "I love the musical traditions that came with it. I always thought they were world-class songs. And I thought they were songs that the music could transcend the language barrier."
Other notable albums added to the 2022 registry include Alicia Keys' Songs in A Minor, Bonnie Raitt's Nick of Time and Wu-Tang Clan's Enter the Wu-Tang (36 Chambers), from 1993. According to the Library of Congress, that album "would shape the sound of hardcore rap and reasserted the creative capacity of the East Coast rap scene. The group's individual artists would go on to produce affiliated projects that deepened the group's influence for decades in hip-hop."
But the list also dusts off more obscure, esoteric and offbeat contributions. The earliest recording — 1921's "Harlem Strut" — is the first known recording by jazz pianist James P. Johnson, who also composed "The Charleston." And the most recent addition, from nearly a century later, is a podcast episode: WTF with Marc Maron, from 2010, featured Robin Williams in a warm, rambling, and startlingly intimate conversation. Four years later, the comedian would be dead from suicide at age 63.
"The National Recording Registry reflects the diverse music and voices that have shaped our nation's history and culture through recorded sound," said Librarian of Congress Carla Hayden as part of the announcement. Along with several of the featured artists, she will be interviewed as part of the series, "The Sounds of America," from NPR's 1A, which focuses on this year's selections for the National Recording Registry.
www.npr.org/podcasts/510316/1a
Those selections follow, in chronological order:
1. "Harlem Strut" — James P. Johnson (1921)
2. Franklin D. Roosevelt: Complete Presidential Speeches (1933-1945)
3. "Walking the Floor Over You" — Ernest Tubb (1941) (single)
4. "On a Note of Triumph" (May 8, 1945)
5. "Jesus Gave Me Water" — The Soul Stirrers (1950) (single)
6. "Ellington at Newport" — Duke Ellington (1956) (album)
7. "We Insist! Max Roach's Freedom Now Suite" — Max Roach (1960) (album)
8. "The Christmas Song" — Nat King Cole (1961) (single)
9. "Tonight's the Night" — The Shirelles (1961) (album)
10. "Moon River" — Andy Williams (1962) (single)
11. "In C" — Terry Riley (1968) (album)
12. "It's a Small World" — The Disneyland Boys Choir (1964) (single)
13. "Reach Out, I'll Be There" — The Four Tops (1966) (single)
14. Hank Aaron's 715th Career Home Run (April 8, 1974)
15. "Bohemian Rhapsody" — Queen (1975) (single)
16. "Don't Stop Believin'" — Journey (1981) (single)
17. "Canciones de Mi Padre" — Linda Ronstadt (1987) (album)
18. "Nick of Time" — Bonnie Raitt (1989) (album)
19. "The Low End Theory" — A Tribe Called Quest (1991) (album)
20. "Enter the Wu-Tang (36 Chambers)" — Wu-Tang Clan (1993) (album)
21. "Buena Vista Social Club" (1997) (album)
22. "Livin' La Vida Loca" — Ricky Martin (1999) (single)
23. "Songs in A Minor" — Alicia Keys (2001) (album)
24. WNYC broadcasts for the day of 9/11 (Sept. 11, 2001)
25. "WTF with Marc Maron" (Guest: Robin Williams) (April 26, 2010)
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Post by the Scribe on Oct 18, 2022 18:09:51 GMT
How Linda Ronstadt fought — and won — a battle to release the Mexican 'songs of her father'
www.jsonline.com/story/entertainment/music/2022/10/11/linda-ronstadt-canciones-de-mi-padre-album/8179675001/
Ed Masley
Arizona Republic
Recording an album of Mexican folk songs in Spanish was something Linda Ronstadt dreamed of doing from the time she first left home in Tucson for Los Angeles at 18.
www.jsonline.com/story/entertainment/music/2022/10/04/linda-ronstadt-2022-book/8141191001/
It just took some time to get to where she had the clout she needed in the industry to make it happen.
After breaking through with "Different Drum" in 1967, Ronstadt became one of the most successful pop stars of her generation, sending eight songs to the Top 10 on the Billboard Hot 100, from 1974's "You're No Good" to 1980's "Hurt So Bad."
www.jsonline.com/story/entertainment/music/2022/09/15/different-drum-linda-ronstadt-top-hit-monkees-song/10361603002/
Along the way, she left Capitol Records to work with Elektra/Asylum.
In 1980, Ronstadt proved that she could go beyond her comfort zone of country, pop and folk-rock with a Tony-nominated role on Broadway in "The Pirates of Penzance."
By that point, her sales were undeniable.
And yet, the head of Elektra/Asylum tried to talk her out of doing 1983's "What's New," the first of three Ronstadt releases saluting the Great American Songbook with conductor Nelson Riddle.
"What's New" went triple-platinum. The other two went platinum.
Riding that wave, she pitched an album of Mexican folk songs sung in Spanish at a time when Asylum execs were probably hoping for another Buddy Holly cover.
Ronstadt's longtime manager John Boylan remembers their reaction well. "They said, 'OK, you got away with it once. Now what are you trying here? You're singing in a foreign language? What?!'"
'Different Drum.' How a pop song by one of the Monkees made Linda Ronstadt a star
www.jsonline.com/story/entertainment/music/2022/09/15/different-drum-linda-ronstadt-top-hit-monkees-song/10361603002/
Linda Ronstadt told her label: 'You owe me this'
But Ronstadt held her ground.
"Canciones de Mi Padre" was released in 1987, with Mariachi Vargas, Mariachi Los Camperos and Mariachi Los Galleros de Pedro Rey helping the star bring her vision to life with the authenticity required.
"The label didn't want it," Ronstadt tells The Arizona Republic. "But to their credit, they stepped up to promote it once it started doing well on its own."
She didn't think of it in terms of a hit record.
"I just thought of it as the record I wanted to make," she says.
"And I had made a lot of hit records for the company. So I said, 'You owe me this.' I didn't think about things like touring or what will we do to promote the record? I just wanted to get the music right and get the show right."
"Canciones de Mi Padre" didn't chart as high as some of Ronstadt's bigger pop releases. But it did become the biggest-selling non-English language album in U.S. history, going double platinum and earning a Grammy for Best Mexican/Mexican-American Album.
www.jsonline.com/story/entertainment/music/2022/07/11/linda-ronstadt-25-best-songs/7831725001/
'My Sonoran Desert': Linda Ronstadt on how Arizona borderlands culture shaped her
www.jsonline.com/story/entertainment/music/2022/10/04/linda-ronstadt-2022-book/8141191001/
The Sonoran roots of 'Canciones'
The album's title means "Songs of My Father."
Gilbert Ronstadt was of Mexican descent and had what his daughter recalls as a beautiful voice.
"Very soulful," she says.
The singer has fond memories of her father serenading her for her third birthday with Lalo Guerrero, a family friend from Tucson often called the Father of Chicano Music.
Years before she convinced her label to sign off on "Canciones," Ronstadt recorded a mournful Spanish ballad she and former bandmate Kenny Edwards co-wrote, "Lo Siento Mi Vida."
"It seemed like the most natural thing in the world to call him and say 'Help us write these lyrics in Spanish,'" Ronstadt says.
How did he feel when the song was included on 1976's "Hasten Down the Wind," a platinum album.
"He was delighted," she says. "He got paid."
'Simple Dreams': Linda Ronstadt on her lifetime love affair with music
www.jsonline.com/story/entertainment/music/2018/03/09/linda-ronstadt-music-simple-dreams-memoir/408779002/
Linda Ronstadt, "Canciones de mi Padre"
Beautiful Aunt Luisa's 'Canciones'
Another family member who shaped the recording of "Canciones" was her Aunt Luisa, who performed under the name Luisa Espinel and gave up a promising opera career to study the regional folk songs and dances of Spain.
"She was beautiful," Ronstadt says.
"And she was a scholar. She also collected music from northern Mexico and used both in her show. She was very well-reviewed."
The New York Times reported on a 1927 performance at the Edith Totten Theatre with "Señorita Espinel can congratulate herself on a genuine success."
truewestmagazine.com/article/the-first-ronstadt-superstar-2/?oly_enc_id=5023B7661790I6Y&r=5023B7661790I6Y
She also played Paris and all over Europe.
"Then she came back and started setting her own roots," Ronstadt says.
In 1946, her aunt published a book called "Canciones de Mi Padre: Spanish Folk Songs from Southern Arizona."
That's where she got the title and the concept for her album and a second Spanish-language album she recorded and released in 1991, "Mas Canciones."
Playlist:Linda Ronstadt's 25 greatest songs of all time, ranked
www.jsonline.com/story/entertainment/music/2022/07/11/linda-ronstadt-25-best-songs/7831725001/
What it was like taking 'Canciones de Mi Padre' on tour
In her 2022 memoir, "Feels Like Home," Ronstadt writes of performing those songs in traditional Mexican dress on tour: "It was a wonderful experience. Aunt Luisa beat me to it by about 50 years."
The tour did well, despite not selling many tickets in advance to opening night in San Antonio.
"Mexican audiences are walk-up audiences, apparently," Ronstadt says.
"I was using the same promoter I used for rock 'n' roll. And he was flipping out. But when we got out on stage, the place was just packed to the rafters with three generations of families and they all knew the songs."
Bringing generations together with song
Old songs have a habit of sticking around in Ronstadt's family. She recalls a recent family gathering where five generations of Ronstadt starting singing — the sort of thing that's bound to happen when they get together.
"And we were still singing the same songs," Ronstadt says with a laugh. "We should get some new material. But we all separately found our way to that music."
She and her relatives have always sung together.
"It used to be me, my older sister, my brother Peter and then my younger brother Mike came along but he was seven years younger than I am, so that made him 14 years younger than my sister," Ronstadt says.
"But he found his own groove. They say blood on blood sounds good. If you sing with somebody and you're genetically connected, it sounds better."
'I had loved the songs since I was little'
For Ronstadt, recording two albums of songs she had learned from her father was its own reward.
"I didn't think is was important, except I wanted to sing the songs," she says.
"That's what was important to me. I wasn't trying to make a social statement. I had loved the songs since I was little and always wanted to sing them."
As it turned out, Ronstadt says, they're really hard to sing.
"I had to some woodshedding," she says. "But the guys in the band, the mariachi, helped me. They were really cool about it. They could have been like, 'Who's she think she is?' But they treated me like a lady."
Linda Ronstadt took home the Grammy Award for Best Mexican-American Performance for 'Canciones de Mi Padre' on Feb. 22, 1989 in Los Angeles.
Why Linda Ronstadt prefers 'Mas Canciones'
As hard as Ronstadt fought to bring these albums to fruition, she's not one to shower her own work with words of praise.
"I hate all my records," she says.
"But the second Mexican record, 'Mas Canciones,' is much better than the first one. I had it onstage and had gotten much freer with the phrasing and stuff like that. I really understood the rhythms."
As to why she hates her records, Ronstadt says, "I always think 'Why did I sing that' or I 'shouldn't have done that.' I listen with a very critical ear. I know what I'm doing right. I made some records that were good. They weren't usually the ones with hits on them."
Asked if she's glad she had those hits, she laughs. "Of course. I like to eat."
Reach the reporter at ed.masley@arizonarepublic.com or 602-444-4495. Follow him on Twitter @edmasley.
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Post by the Scribe on Aug 20, 2023 12:20:05 GMT
Linda Ronstadt - Canciones de mi Padre Vinyl Unboxing (2023 Reissue)
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Post by the Scribe on Aug 26, 2023 20:54:36 GMT
Tucson legend Linda Ronstadt's labor of love gets a second life
tucson.com/news/local/subscriber/linda-ronstadt-tucson-canciones-re-release/article_dcc13736-413b-11ee-b371-bf8f355c1380.html?utm_source=tucson.com&utm_medium=js_redirect&utm_campaign=invalid_source
Cathalena E. Burch Aug 25, 2023 Updated 21 hrs ago
Tucson native, Emmy and Grammy winner Linda Ronstadt honored at a ceremony before the International Mariachi Conference's Espectacular Concert with the renaming of the Tucson Music Hall as The Linda Ronstadt Music Hall. Video by Kelly Presnell / Arizona Daily Star
On the 30th anniversary of Linda Ronstadt's seminal 1987 album "Canciones de mi Padre," Los Angeles Times columnist Gustavo Arellano recalled how the album came at a watershed time for Mexican Americans.
Linda Ronstadt smiles as she talks about her book "Feels like Home," during the second day of the Tucson Festival of Books on the University of Arizona campus on March 5.
Mamta Popat, Arizona Daily Star
"Our generation would become the first group of Mexican Americans to grow up comfortable with both sides of that term," he wrote in a 2017 Times op-ed. "Seeing Ronstadt sing in Spanish on national television, her album cover published in newspapers, taught us that it was OK to be unapologetically Mexican, no matter how assimilated we may be."
"Canciones" sold more than 10 million albums worldwide and was for decades the biggest selling foreign-language album in American history. It earned Ronstadt a Grammy in 1989 for Best Mexican/Mexican-American Album and was inducted into the Grammy Hall of Fame in 2021. Last year, the album was added to the Library of Congress's National Recording Registry, whose mission is to "ensure the survival, conservation and increased public availability of America's audio heritage," according to its mission statement.
On Sept. 8, Ronstadt's longtime friend Irving Azoff and his Iconic Artists Group is re-releasing the album on vinyl for the first time in more than 35 years.
tucson.com/life-entertainment/local/music/tucson-linda-ronstadt-canciones-de-mi-padre/article_56d5e2f4-3ac2-11ee-bbff-4b1a187f5ec0.html
“Anything that connects generations to their grandparents is a good thing. Anything that is a positive affirmation of who you are is a good thing, I think," Ronstadt said during a phone call earlier this week from home in San Francisco.
“Canciones de mi Padre” was inspired by Ronstadt’s grandfather, who founded Tucson’s first orchestra in the 1890s.
The re-release comes days after Hotel Congress puts Ronstadt and the album in the spotlight for the final installment of HoCo Fest, the historic downtown hotel's annual boutique music festival over Labor Day weekend. Each night of HoCo Homecoming from Sept. 1-4, artists will perform Ronstadt's music in tribute of her contribution to the evolution of Tucson's music community. Part of that also will include the official album release concert on Sept. 3.
tucson.com/life-entertainment/local/music/hoco-fest-tucson-linda-ronstadt-music/article_dff19914-32ea-11ee-8510-d738cceb5fc6.html
The album is part of Ronstadt's 2021 deal with Iconic, the artist management group formed by entertainment mogul Azoff, to sell her music assets including the masters she owns. Ronstadt said she doesn't know if there are plans for future reissues, but "I know (Azoff) will do right by me. We’ve been friends for a long time,” she said.
If it had been up to her, Ronstadt, 77, said she would have preferred releasing both "Canciones" and the 1991 follow up, "Mas Canciones," as a pair.
“I wish they would have released them together because they are all one piece," she said, then demurred when asked about the idea that a whole new generation of young Hispanics will experience what Arellano experienced when "Canciones" first came out in 1987.
Truth be told, when she was recording the album, Ronstadt never considered how it would be received or who it would impact.
"I was just thinking I loved the songs and I wanted to record them," she said, her voice growing quiet at times, a side effect of her growing hearing loss and the progression of her 10-year battle with the Parkinson's-like disorder progressive supranuclear palsy. "I wanted to learn them and the only way to learn them was to record them.”
By the time she released "Canciones de mi Padre," Ronstadt had recorded 14 of her 23 career studio albums since her debut "Hand Sown … Home Grown" on Capitol Records in 1969. From the 1974 release of her fifth album, "Heart Like A Wheel," through her final solo release, 2004's "Hummin' to Myself," Ronstadt racked up a breathtaking 11 platinum albums (1 million sales) including three that went double-platinum and three that sold triple.
Yet, when she proposed recording a record in Spanish, her label balked.
She wouldn't back down.
"I had given (the label) enough records that sold that they had to take this one because I wanted to do it," she said. "I didn’t think about whether it would be commercial or not; it was just songs I liked. It was self-indulgence.”
The songs were part of her musical heritage and soul, nurtured in the family's Tucson home with aunts and uncles, brothers and cousins, gathered around after family parties when her father, Gilbert, pulled out his guitar.
“That’s what we always did. We would have a big party and my dad and his guitar, and cousins and uncles singing, aunts and uncles," she recalled. "They weren’t singing professionally; they were singing like talented amateurs and they were expressing their emotions."
The album featured the three top mariachi bands in the world — Mariachi Vargas, Mariachi Los Camperos and Mariachi Los Galleros de Pedro Rey — and the rancheras, huapangos and Mexican songs Ronstadt sang with her family including the heartbreaking ballad "Por Un Amor," which she said is still a favorite.
Linda Ronstadt with Mariachi Vargas at Centennial Hall on Feb. 11, 1988.
Bruce McClelland, Arizona Daily Star
“They were all family songs," Ronstadt said. "And they were songs I was passionate about. I loved the lyrics; I thought they were telling what my life was about. I love the idea of playing with my family; my brothers came in and played on both records. It was fun to have that full part of my life connected, my (career) and my heritage.”
Ronstadt said she knew "Canciones" would sell, but "I didn't think it would sell as much as it did."
“I was lucky. There was an audience for it," she said.
When she toured with the album in 1989, her longtime promoters were nervous. No one knew what to expect.
”Mexican-Americans don’t buy tickets in advance; it’s a walkup business," Ronstadt explained. "We were using same promoters I was using for rock 'n' roll and they’re used to people buying tickets in advance. So they didn’t know if we were selling any tickets. But every night we would walk on stage and the theaters were full.”
Ronstadt, who made her last public trip back home for the 14th annual Tucson Festival of Books last March, won't be here for the HoCo Homecoming. But she said she is thrilled that young artists from the San Francisco area Los Cenzontles Mexican cultural arts center will be performing the official album release concert at 6:30 p.m. Sept. 3 on the Hotel Congress Plaza stage. The group, which Ronstadt has championed for 30 years, traveled with her to her grandfather's native Banámichi in Sonora, Mexico, in 2019. The trip was made into a documentary, “Linda and the Mockingbirds,” which is one of the films featured in the HoCo Homecoming film festival at the Screening Room on Sept. 2.
tucson.com/news/local/tucson-fans-welcome-home-linda-ronstadt/article_c333b37e-b6e5-11ed-9049-5396c486e112.html
www.hocofest.com/
www.loscenzontles.com/
tucson.com/entertainment/music/linda-ronstadt-returns-to-homeland-rekindling-love-affair-with-mexican-music-culture/article_df046d43-0eea-5956-95bc-4c43bcf4dae2.html
“They are so good,” Ronstadt fairly gushed about the ensemble. “I love these people …. No one is trained to perform; they are trained to find joy in their music and express themselves in that joy.”
Contact reporter Cathalena E. Burch at cburch@tucson.com. On Twitter @starburch
If you go
What: HoCo Fest Homecoming
When: Friday, Sept. 1-Monday, Sept. 4; Hola HoCo welcoming party 7 p.m. Thursday, Aug. 31
Where: Hotel Congress, 311 E. Congress St.
Cost: $100 for four-day festival pass, $10-$25 for day passes through hocofest.com; Thursday's event is free
What to expect: More than 60 bands performing on Hotel Congress's three stages (Club Congress, Century Room and Plaza), with a film festival at the Loft Cinema, 3233 E. Speedway; and the Screening Room, 127 E. Congress, and nightly tributes to Tucson legend Linda Ronstadt.
Details: For a complete schedule and lineup, visit hocofest.com.
Subscribe to stay connected to Tucson. A subscription helps you access more of the local stories that keep you connected to the community.
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Post by the Scribe on Aug 26, 2023 21:47:04 GMT
Linda Ronstadt's seminal 'Canciones de mi Padre' album to be re-released
tucson.com/life-entertainment/local/music/tucson-linda-ronstadt-canciones-de-mi-padre/article_56d5e2f4-3ac2-11ee-bbff-4b1a187f5ec0.html
Cathalena E. Burch Aug 14, 2023 Updated Aug 22, 2023
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"Canciones de mi Padre"
Linda Ronstadt’s seminal ‘Canciones de mi Padre’ album to be re-released.
Provided
Linda Ronstadt
Linda Ronstadt with Mariachi Vargas at Centennial Hall on Feb. 11, 1988.
Bruce McClelland, Arizona Daily Star
Cathalena E. Burch
Linda Ronstadt’s “Canciones de mi Padre” still holds the record as the biggest-selling Spanish-language album in American history.
Now a new generation of Americans will get to experience the seminal album when Iconic Artists Group re-releases it on vinyl Sept. 8.
iconicartistsgroup.com/
The official album release will be part of the HoCo Homecoming Labor Day set for downtown Tucson the weekend of Sept. 1-4.
Throughout the four-day festival, in its 18th and final year, artists will pay tribute to Ronstadt through her music, from her pop and country hits to her catalogue with Nelson Riddle and her Latin influences from her late father Gilbert to the Mariachi music that informed her from childhood.
The re-release comes 35 years after Ronstadt put out “Canciones” in 1987 in a creative move that initially didn’t sit well with her record label, Ronstadt has told the Star and other publications. The album, produced by Ronstadt’s longtime manager Peter Asher and Rubén Fuentes of Mariachi Vargas de Tecalitlán, also featured Mariachi Vargas, Mariachi Los Camperos and Mariachi Los Galleros de Pedro Rey — three of the world’s greatest mariachi.
“This music is like an old friend to me,” Ronstadt said in a prepared statement, “and I hope the new generation of vinyl fans will enjoy it.”
The re-release is part of Ronstadt’s 2021 deal with Iconic, the artist management group formed by entertainment mogul Irving Azoff, to sell her music assets including the masters Ronstadt owns and royalties from the ones she does not, according to a report from Variety. The arrangement creates a partnership with Ronstadt and her team, including her manager John Boylan and her longtime personal assistant Janet Stark to market Ronstadt’s catalog and preserve her 50-year legacy in the digital era, Variety reported.
variety.com/2021/music/news/linda-ronstadt-music-assets-irving-azoff-1234935593
Iconic and Azoff, the powerful music executive behind the careers of the Eagles, Christina Aguilera, Journey, Van Halen and Bon Jovi, to name a few, also own the catalogues of Cher, Nat King Cole, the Beach Boys, Dean Martin and David Crosby.
The HoCo Fest celebration of Linda Ronstadt kicks off at 7 p.m. Friday, Sept. 1, when Tucson vocalist Katherine Byrnes joins pianist and longtime Ronstadt collaborator Jeff Haskell to revisit “Linda Ronstadt & Nelson Riddle.” That show is at the Century Room.
The Dusty Chaps, the Tucson country-rock band that started playing in 1969, around the same time Ronstadt left Tucson for California, are teaming up with Linda’s nephew Peter Ronstadt and his musical duo partner Liz Cerepanya to showcase Ronstadt’s country side. That show begins at 5 p.m. on the Congress Plaza stage.
At 2 p.m. Sunday, Orkesta Mendoza joins Brian Lopez, Chetes, Los Cenzontles and Nick and Shawn from DeVotchka for the official “Canciones de mi Padre” re-release concert on the Plaza stage.
For tickets and details, visit hocofest.com.
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