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It remains the biggest-selling album of Ronstadt's career, being certified seven times Platinum (over 7 million US copies shipped) by the Recording Industry Association of America [5] in America alone, with 1. Lindo disco en color rojo, folder resistente y buena calidad en audio, aunque por el precio es logico que sea de 140gram. One of two Motown classics Ronstadt covered on "Prisoner in Disguise," her take on "Heat Wave" peaked at No. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products.

It's a stunning performance of a classic song that added new dimensions to her vocal range against the backdrop of Riddle's lush yet tasteful orchestration. Ronstadt's vocal is flawless, from the understated pining of those early verses to the unadulterated show of force that kicks in when she promises, "I'm goin' back some day" and that high note on the last "bayou. The Everlys' record doesn't start with guitars sliding into a chord and just letting it ring at the top of each line.Long before they got together on "Trio," Emmylou Harris turned up singing harmonies on this highlight of "Heart Like a Wheel," a melancholy take on a Hank Williams classic with pedal steel guitarist Sneaky Pete Kleinow underscoring the heartache. This doesn't sound a thing like Buddy Holly's million-selling hit recording of the song, which topped the charts in Billboard and the U. Home Grown," with its oddly psychedelic fuzz-guitar lick, is closer to straight-up country, though, than country-rock.

Years before she managed to convince the suits at Asylum to sign off on her "Canciones de Mi Padre" project, Ronstadt slipped this understated Spanish-language song into the mix on "Hasten Down the Wind. Rondstadt had some of her best moments with material that had a more emotional element, regardless of genre.topped by Ronstadt vowing "All I'm sayin' is I'm not ready for any person, place or thing tryin' to pull the reins in on me" with total conviction. Ronstadt's initial reaction to Peter Asher's guitar-driven production on her first chart-topping single, as revealed in the Grammy-winning documentary, "Linda Ronstadt: The Sound of My Voice"? It includes material from both her Capitol Records and Asylum Records output, and goes back to 1967 for The Stone Poneys' hit " Different Drum.

The two records showcase Ronstadt’s stylistic versatility, hopping across genres from new wave to country to pop and rock, covering some of the most popular standards of her heyday and making them completely her own. There's a reason Ronstadt chose this torch song first recorded by Bob Crosby and His Orchestra in 1939 as both the title track and lead single when she hit us with the first installment in a trilogy of albums exploring the Great American Songbook with the Nelson Riddle Orchestra. Linda Ronstadt is among the most successful singers of her generation, selling out arenas on the strength of hits as huge as "When Will I Be Loved" and "Blue Bayou" before using the leverage that success provided to follow her muse in a series of intriguing new directions. But what ultimately makes a record this romantic translate is the chemistry the singers bring to the proceedings. Two years later we made the move to our present address, 35 The Headrow, where we have remained ever since.This version on 1977's "Simple Dreams" feels much more hopeless — in a good way, especially when Parton chimes in on the mournful chorus. The restraint is the key, resulting in an intimate recording that perfectly underscores her wistful reading of the lyrics. There's a video on YouTube of Ronstadt introducing this song — first recorded by the Queen of Rockabilly, Wanda Jackson — as "the first country-rock song I ever learned. No wonder, then, that Ronstadt's version doesn't stray as far from the original recording as she tends to go. She and Neville are, of course, amazing singers in their own right, Neville turning in the flashier performance.

Linda Ronstadt interview: From Tucson to Rock and Roll Hall of Fame, her lifetime love affair with music 25. This song was written by Lowell George while still a member of Frank Zappa's Mothers of Invention and subsequently cut by George's own band, Little Feat, in a stark acoustic arrangement on their debut and again in a full-band arrangement on their second album, "Sailin' Shoes. The Stone Poneys had planned to record an acoustic version of the song, but producer Nick Venet had other plans: the perfect chamber-pop arrangement — complete with a harpsichord solo! And speaking of that bridge, her final plea is met by the opening notes of Danny Kortchmar's searing lead guitar break, mixed ridiculously high to outstanding effect. When fellow Arizonan Stevie Nicks led a stage full of powerful women in saluting Ronstadt at her induction to the Rock and Roll Hall of Fame, this is the song they chose to bring that all-start tribute to a fitting close.

They're just married to a brooding rock arrangement, an intriguing combination that made "You're No Good" her biggest mainstream hit since 1967's "Different Drum" hit No. Ronstadt's version makes you feel the hurt with more conviction, from the trembling vulnerability of the opening lines to the full-throated pleas of "please don't go" coming out of the bridge. It's remarkably Motown-esque, if a shade or two more melancholy in Ronstadt's voice than Smokey Robinson's. She enjoyed success on country and rock charts alike with a voice that capably handled the requirements of both styles. Just last year, the Miracles' original recording of this soulful gem was singled out in Rolling Stone as no less than the Greatest Motown Song of All Time.