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Post by the Scribe on Jun 21, 2021 11:32:36 GMT
Linda Ronstadt - Greek Theatre Berkley, CA 9/21/75
Out Of Order
1.72K subscribers
Soundboard recording of Linda Ronstadt at The Greek Theatre in Berkley, California
on September 21, 1975.
Songs played:
missing: That'll Be The Day
1. Love Has No Pride
2. Silver Threads And Golden Needles
3. Willin'
4. It Doesn't Matter Anymore
5. Hey Mister, That's Me Up On the Jukebox
6. When Will I Be Loved?
7. Lose Again
8. Faithless Love
9. I Can't Help It (If I'm Still In Love With You)
10. Desperado
11. Love Is A Rose
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Post by the Scribe on Jun 21, 2021 11:35:56 GMT
WOLFGANG'S
www.wolfgangs.com/music/linda-ronstadt/audio/2548-4115.html?tid=34177
Linda Ronstadt
Greek Theatre (Berkeley, CA)
Date Sep 21, 1975
Total Length 41:54
1
That'll Be The Day (Partial)
00:59
2
Love Has No Pride
04:26
3
Silver Threads And Golden Needles
02:36
4
Willin'
03:36
5
It Doesn't Matter Anymore
05:15
6
Hey Mister, That's Me Up On the Jukebox
04:21
7
When Will I Be Loved?
02:53
8
Lose Again
03:51
9
Faithless Love
03:31
10
I Can't Help It (If I'm Still In Love With You)
03:41
11
Desperado
03:29
12
Love Is A Rose
03:16
Copyright© Bill Graham Archives and affiliates
Liner Notes
Linda Ronstadt - vocals; Andrew Gold - guitar, vocals; Dan Dugmore - guitar, pedal steel guitar, violin, banjo; Waddy Wachtel - bass; Rob Walsh - keyboards; Mike Botts - drums; Peter Asher - vocals on "Lose Again"
1975 was a breakthrough year for Ronstadt and this performance at Berkeley's Greek Theater captures that magic moment in time. Ronstadt was certainly on a roll, having released Heart Like A Wheel the previous year, perhaps her most perfectly realized album, which went on to spend an entire year near the top of the charts. "You're No Good" would sail right to the top of the singles charts, followed by a series of singles that would also become major hits on the Country and Adult Contemporary charts. Billboard Magazine named Ronstadt the top female pop artist of the year and she would grace the cover of Rolling Stone.
Just days prior to this recording, Ronstadt's eagerly awaited follow-up album, Prisoner In Disguise was released, which would continue to cement her success. Although Ronstadt wasn't a songwriter herself, she was personal friends with many of the best songwriters of the era and her keen sensibilities at choosing their songs, as well as classics songs by the likes of Hank Williams, the Everly Brothers, and Buddy Holly, proved her to be a gifted interpreter. Ronstadt's immediately recognizable soprano had an edge that few other singers of the era possessed.
This particular concert is also notable for being her first public performance following the release of Prisoner In Disguise and the first time Waddy Wachtel (who would soon become a ubiquitous presence in Ronstadt's, as well as countless others' music) performed with her band. Wachtel joined the entourage as a last minute replacement of bassist Kenny Edwards, who had taken ill and was unable to play this show. As Ronstadt explains at the beginning of this recording, they had little time to rehearse, so the set will not be focusing on her new album material. While this might seem initially disappointing, what we are treated to instead is a performance featuring an excellent cross-section of her best material from the past few years, including quite a few choice songs from Heart Like A Wheel.
The recording kicks off with Ronstadt's immediately captivating take on Buddy Holly's "That'll Be The Day," which would soon become another huge hit. Following this, she delves back to her roots with a lovely cover of Dick Reynolds and Jack Rhodes classic country number "Silver Threads & Golden Needles," a song she had been singing since her earliest performances fronting The Stone Poneys back in the late 1960s.
Tapping in to Heart Like A Wheel material, Lowell George's classic truck driver anthem, "Willin'," is up next. Ronstadt was one of the first people to recognize the timelessness of this great song and her rendition, as well as her constant press interview mentions of Lowell George and his band, Little Feat, would go a long way toward bringing them national attention. Another Heart Like A Wheel track follows, with her rendition of "It Doesn't Matter Anymore." This Paul Anka song, initially made famous by Buddy Holly & The Crickets, shows Ronstadt's innate ability to deliver a vocal that is both powerful, yet vulnerable, simultaneously. The same can be said about her reading of the Everly Brothers' classic "When Will I Be Loved" later in the set.
The audience is also treated to a preview of a song she would record the following year, "Lose Again," where she invites her manager, Peter Asher (formerly of the British Invasion duo Peter & Gordon) to join the group on backing vocals. The last four songs of the set are a tour-de-force performance, first returning to Heart Like A Wheel material with a new arrangement of J.D. Souther's "Faithless Love," followed by a terrific take on Hank Williams' "I Can't Help It (If I'm Still In Love With You)." The latter would earn Ronstadt a Grammy the following year for Best Female Country Vocal Performance. The show nears the end with her definitive take on "Desperado," a nod to her former band (which became The Eagles).
The new album, released just days before this performance is not completely ignored. In addition to Ronstadt's take on James Taylor's "Hey Mr. That's Me Up On The Jukebox," earlier in the show, she closes her set by announcing a new Neil Young song, "Love Is A Rose." This song, which Young himself had revamped out of his own "Dance, Dance, Dance," written several years before, would soon become another classic for Ronstadt, whose version on "Prisoner In Disguise" would become definitive, even compared to Young's own version of the song.
Every artist who achieves career longevity inevitably has recordings that are perceived as career defining moments. For Linda Ronstadt, those albums were Heart Like A Wheel and Prisoner In Disguise. This remarkable performance perfectly captures the live facet of that special moment in time. As this set so clearly illustrates, Ronstadt could effortlessly vacillate between a heartbroken vulnerability to a gutsy rocker and this versatility made her irresistibly sexy and vocally captivating, regardless of musical categories. These elements combined to make Ronstadt the first female rock 'n' roll superstar of the 1970s.
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Post by the Scribe on Jun 21, 2021 11:43:25 GMT
 UC Berkeley's Greek Theatre turns 100 years old this month
www.berkeley.edu/news/media/releases/2003/09/11_greek.shtml
By Carol Hyman, Media Relations | 11 September 2003
BERKELEY – Berkeley - One hundred years ago this month, the William Randolph Hearst Greek Theatre opened in Berkeley at the University of California with a performance befitting an amphitheater modeled after architecture from ancient Greece - Aristophanes' "The Birds," a Greek play presented in Greek by a student cast.
Since then, the site has become a popular venue for ceremonies, classical music performances, plays, and more recently, rock concerts. Audiences there have seen it all - from Jerry Garcia to Sarah Bernhardt, Corazon Aquino to the Dalai Lama, Janet Reno to Bill Cosby. And it's put UC Berkeley on the cultural map.
"It vividly expressed Berkeley's aspirations to be the 'Athens of the West.' Once it was finished, leading performing artists started coming to Berkeley, and they never stopped," said Steve Finacom, a UC Berkeley staff member and local historian.
To celebrate its centennial - the theater opened on Sept. 24, 1903, with a festival that lasted several days - the Greek Theatre will once again host a Greek play. On Sept. 20 and 21, Cal Performances will present the American premiere of Euripides' "Medea" by the National Theatre of Greece. These two UC Berkeley shows, in original Greek with English supertitles, will be the only ones the actors will offer in this country.
On those two days, a display of the history of the Greek Theatre will be on view at the theater. It then will move to the campus's Doe Library for the remainder of the year.
In conjunction with the performances, Mark Griffith, UC Berkeley professor of classics, will moderate a symposium on Euripides' "Medea" with scholars and members of the National Theatre of Greece on Friday, Sept. 19, from 3:30-5 p.m. in the Morrison Library.
With the gift of the amphitheater to the university in 1903 by William Randolph Hearst, the Greek Theatre - and the campus - began to make history with what is now a century of great performances, concerts and addresses by some of most renowned figures in the arts, politics and world affairs.
Benjamin Ide Wheeler, who became the University of California's president in 1899, was a moving force in bringing a Greek amphitheater to the campus. He had spent a year in Athens, and while he was there, served as a judge for the first modern summer Olympic Games held in that city in 1896. A professor of comparative philology and Greek, Wheeler was recruited from Cornell University, and he brought with him the importance of classical studies.
U.S. President Theodore Roosevelt, whom Wheeler knew from his days in New York, was invited to address the UC's graduating class of 1903. The Greek Theatre was not quite finished, but commencement took place there anyway.
"On May 10th, the workmen left so that staff could begin the transformation of the construction site into a setting for commencement," said Linda Jewell, a UC Berkeley landscape architecture professor who is involved in preparing this fall's display on the history of the theater. She got much of her information from a Ph.D. thesis written by Mark Wardrip.
"Julia Morgan oversaw the installation of colorful banners, a speaking platform and endless yards of muslin covering wooden frames to create the impression of finished structures. But commencement was not the first event in the theater," said Jewell.
"On May 12, the senior class, with a portion of the concrete seats still too wet to use, claimed the temporary stage for their annual extravaganza. By the 14th, all evidence of the extravaganza was gone, and flower garlands, a covered platform and other final decorations completed a setting appropriate for hosting a president."
The San Francisco Chronicle also reported on the commencement: "In a great walled amphitheater such as has scarcely existed in the world since the memory days of Greece, one whose only roof was a perfect sky, azureous as that above Athens, President Roosevelt delivered the most striking and interesting address of his series of speeches in California."
Over the years, along with world-renowned politicians, many famous entertainers have appeared on the Greek Theatre's stage.
Sarah Bernhardt performed in 1906 in a production of Jean Racine's "Phaedre" as a benefit for victims of the San Francisco earthquake and fire. In 1934, the second act of William Shakespeare's "A Midsummer Night's Dream" was staged there by promoter and producer Max Reinhardt, whose production of the play was later made into a popular film. The first act was performed on campus in the Faculty Glade, and then the cast, holding torches, led audience members to the Greek Theatre, where the rest of the play, illuminated by the torches, was performed. The cast included such stars as Olivia De Haviland and Mickey Rooney.
Since the late 1960s, with the opening of UC Berkeley's Zellerbach Hall, the Greek Theatre has seen fewer theatrical performances. But an ongoing tradition has been to hold rallies there before sporting events, as well as Commencement Convocation, an event held each May to honor all graduating seniors.
The largest rally of the year is the Big Game Bonfire Rally, held at the Greek Theatre before Big Game, the annual football competition between UC Berkeley and Stanford University. It concludes with the reading of "The Spirit of California," a brief reflection on Cal spirit written by Ken Raust, a 1981 graduate of UC Berkeley, in a tradition that began in 1985.
During the reading, the lights of the theater are turned off, and the only light comes from what's left of a bonfire that burns in the orchestra pit and from lit candles held by members of the audience.
"At last year's rally, we filled the seating as well as the hill with an unprecedented, in recent decades at least, crowd of nearly 10,000 loyal Californians," said Jon Locascio, chair of the UC Berkeley Rally Committee. "The Big Game Bonfire Rally is our marquee and most beloved event. Witnessing the bonfire rally for the first or the fortieth time is an awesome, if not 'spiritual,' experience that should not be missed."
Finacom said that anyone who's been around Berkeley "for a few years or more can easily recall a memorable experience at the Greek - an unforgettable operatic performance, a Grateful Dead concert, the speech of some statesman or stateswoman or leading figure in world culture."
And with limited special seating, he said, "it's an embodiment of the California ideal that life and culture can be enjoyed outdoors and democratically." |
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Post by chronologer on Mar 8, 2022 6:45:50 GMT
Linda Ronstadt - Berkeley, CA 9/21/75 Remaster
8 Mar 2022
Out Of Order
Soundboard recording from Greek Theatre in Berkeley, California on September 21, 1975. This is my light clean up and remaster of the available recording. Cuts & dropouts corrected with Wave Pad.
Setlist:
1. That'll Be The Day (Partial)
2. Love Has No Pride
3. Silver Threads And Golden Needles
4. Willin'
5. It Doesn't Matter Anymore
6. Hey Mister, That's Me Up On the Jukebox
7. When Will I Be Loved?
8. Lose Again
9. Faithless Love
10. I Can't Help It (If I'm Still In Love With You)
11. Desperado
12. Love Is A Rose
Here are the recording notes from Bill Graham Productions for this show:
Linda Ronstadt - vocals; Andrew Gold - guitar, vocals; Dan Dugmore - guitar, pedal steel guitar, violin, banjo; Waddy Wachtel - bass; Rob Walsh - keyboards; Mike Botts - drums; Peter Asher - vocals on "Lose Again"
This particular concert is notable for being her first public performance following the release of Prisoner In Disguise and the first time Waddy Wachtel (who would soon become a ubiquitous presence in Ronstadt's, as well as countless others' music) performed with her band. Wachtel joined the entourage as a last minute replacement of bassist Kenny Edwards, who had taken ill and was unable to play this show. As Ronstadt explains at the beginning of this recording, they had little time to rehearse, so the set will not be focusing on her new album material. While this might seem initially disappointing, what we are treated to instead is a performance featuring an excellent cross-section of her best material from the past few years, including quite a few choice songs from Heart Like A Wheel.
The recording kicks off with Ronstadt's immediately captivating take on Buddy Holly's "That'll Be The Day," which would soon become another huge hit. Following this, she delves back to her roots with a lovely cover of Dick Reynolds and Jack Rhodes classic country number "Silver Threads & Golden Needles," a song she had been singing since her earliest performances fronting The Stone Poneys back in the late 1960s.
Tapping in to Heart Like A Wheel material, Lowell George's classic truck driver anthem, "Willin'," is up next. Ronstadt was one of the first people to recognize the timelessness of this great song and her rendition, as well as her constant press interview mentions of Lowell George and his band, Little Feat, would go a long way toward bringing them national attention. Another Heart Like A Wheel track follows, with her rendition of "It Doesn't Matter Anymore." This Paul Anka song, initially made famous by Buddy Holly & The Crickets, shows Ronstadt's innate ability to deliver a vocal that is both powerful, yet vulnerable, simultaneously. The same can be said about her reading of the Everly Brothers' classic "When Will I Be Loved" later in the set.
The audience is also treated to a preview of a song she would record the following year, "Lose Again," where she invites her manager, Peter Asher (formerly of the British Invasion duo Peter & Gordon) to join the group on backing vocals. The last four songs of the set are a tour-de-force performance, first returning to Heart Like A Wheel material with a new arrangement of J.D. Souther's "Faithless Love," followed by a terrific take on Hank Williams' "I Can't Help It (If I'm Still In Love With You)." The latter would earn Ronstadt a Grammy the following year for Best Female Country Vocal Performance. The show nears the end with her definitive take on "Desperado," a nod to her former band (which became The Eagles).
The new album, released just days before this performance is not completely ignored. In addition to Ronstadt's take on James Taylor's "Hey Mr. That's Me Up On The Jukebox," earlier in the show, she closes her set by announcing a new Neil Young song, "Love Is A Rose." This song, which Young himself had revamped out of his own "Dance, Dance, Dance," written several years before, would soon become another classic for Ronstadt, whose version on "Prisoner In Disguise" would become definitive, even compared to Young's own version of the song.
Every artist who achieves career longevity inevitably has recordings that are perceived as career defining moments. For Linda Ronstadt, those albums were Heart Like A Wheel and Prisoner In Disguise. This remarkable performance perfectly captures the live facet of that special moment in time. As this set so clearly illustrates, Ronstadt could effortlessly vacillate between a heartbroken vulnerability to a gutsy rocker and this versatility made her irresistibly sexy and vocally captivating, regardless of musical categories. These elements combined to make Ronstadt the first female rock 'n' roll superstar of the 1970s.
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