Singles and Chart Positions: “Now I’m A Woman” #93 (US), #41 (US R&B) Singles Certifications: N/A Other Charting Tracks: N/A Best Tracks: “Now I’m A Woman,” “Joe,” “Bridge Over Troubled Water,” “The Real Me”
After an extended period of albums with producer David Cavanaugh, Wilson did this 1970 album with Gamble-Huff productions, featuring producers/arrangers including Thom Bell, Bobby Martin, and arranger-conductor Lenny Pakula. Cavanaugh did show up as executive producer.
Around this time the Philly production team was best known for their work with artists like Jerry Butler, Billy Paul, and the Delfonics, among many others. Wilson falls right into the production style.
The title track is a customary strong outing from Kenny Gamble and Leon Huff. The beautiful "Joe" has the sound of a prime Thom Bell production, and Wilson gives an amazing performance and a particularly emotional note that might go through a listener. Wilson shines on "Lonely, Lonely" and "Let's Fall in Love Again"; both benefit from Bobby Martin's patently brassy and sweeping Philly production. “Now I'm a Woman” is an important album in Wilson's oeuvre and the Philly sound.
The release of Nancy Wilson's Now I'm a Woman album coincided with her distingué performance in an episode of Hawaii Five-O's third season ("Trouble in Mind") as the heroin-addicted jazz vocalist Eadie Jordan. In one scene, the no-nonsense Steve McGarrett confesses to being an Eadie Jordan record collector and fanboy.
The album’s only single, the title track, “Now I’m A Woman,” is a soul-stirring song that Wilson sinks her teeth into. The song about a woman reflecting on her past hurts, once as a baby, then as a lady, and now as a woman. Once again displaying their remarkable ability at song-tailoring, Kenny Gamble and Leon Huff craft a beauty for Wilson, utilizing an understated rhythm section and stately, well-spaced strings. Wilson was as comfortable and compelling in contemporary settings as she was with jazz and more elaborately arranged sessions.
Now I'm A Woman (1970)
Album highlight, “Joe,” a Kenny Gamble/Norman Harris/Allan Felder song that the Philly innovators also recorded with Dusty Springfield; Nancy Wilson's quite comfortable in this contemporary setting and demonstrates her inherent ability to sing in perfect diction, making the availability of lyrics unnecessary. Trademark Philly horns provide a familiar opening, and Wilson's exquisite, longing enhances the lush track. She misses Joe badly; check out her sorrowful, womanly cry before the chorus, it catches you by surprise.
Other album highlights “Bridge Over Troubled Water” is a soul-stirring rendition that brings an aura to the song that is as moving as any other cover of the Simon and Garfunkel classic. “The Real Me” is one of the three best songs on the album showcasing Wilson’s finesse with jazz and blues.
The following is a review of Nancy's album in the November 21, 1970 issue of Billboard Magazine:
A talent of consistent fine quality - that's Nancy Wilson. In this album, she demonstrates her versatility and professionalism with a selection of today's top hits "Bridge Over Troubled Water," "Long and Winding Road," "Close To You" and "Now I'm A Woman."
The following review showed up in the Spotlight Singles section of the October 10, 1970 issue of Billboard Magazine:
Miss Wilson is at her ballad best with this beautiful Gamble-Huff material that should prove an Easy Listening and Soul smash and carry her over to the Top 100 as well. First-rate production work.
Trivia: Dean Friedman is one of those artists that pretty much has gone unnoticed by the masses but has maintained a healthy enough audience to continue releasing albums into this current decade and perform a steady stream of concerts to this very day.
Dean’s popularity began with the hit single “Ariel,” it was the first of two hits from Friedman's eponymous debut LP, Dean Friedman. "Ariel," however, was his only hit in North America. It reached number 26 on the U.S. Billboard Hot 100 chart, number 17 on the Cash Box Top 100 and number 19 in Canada. The song spent 22 weeks on the Billboard chart and 24 weeks on Cash Box.
"Ariel" has been described as a "quirkily irresistible and non-categorical pop song about a free spirited, music loving, vegetarian Jewish girl", from Paramus, New Jersey, where Friedman grew up. The lyrics describe the young girl from "deep in the bosom of suburbia," who sang "mighty fine," with "'Tears on My Pillow' and 'Ave Maria'" perhaps implying that he was Roman Catholic. It describes the girl Ariel, "standing by the [since dismantled] waterfall at Paramus Park", one of the many shopping malls in Paramus. The quarters she was collecting for "the friends of BAI" refers to the New York radio station WBAI, and their listener association, while the song also makes reference to "channel 2," which refers to local CBS affiliate WCBS-TV.
Chicago radio superstation WLS, which gave the song much airplay, ranked "Ariel" as the 60th most popular hit of 1977. It reached as high as number four on their survey of August 20, 1977.
Lifesong, the record label which produced "Ariel" insisted Friedman change the song's second verse, which refers to the eponymous Ariel as "a Jewish girl", believing that radio stations might use it as an excuse not to play the record. The third verse was also removed to make the single shorter for radio. The management company received threats from the Jewish Defense League protesting against the edit and, at Friedman's insistence; the original version was put on the album.
"Ariel" (1977)
“Woman Of Mine” a more serious adult contemporary tune was Friedman’s first chart appearance in the UK reaching #52 and also scored on the charts in Scotland at #47. The song combines acoustic guitar with a super-smooth classic rock styled electric guitar solo in the middle of the song. Many that have heard this song have felt the song should have been a top ten hit.
“Humor Me,” an album standout is described by Dean Friedman as a love song for hopeless romantics. The song blends an irresistible combination of acoustic guitar and electric keyboards with an understated backing vocal chorus. The song is somewhat similar to a Michael Franks tune.
Here's a little lesser known trivia... Tony Levin, who is best known for playing electric bass with famous musicians such as King Crimson and Peter Gabriel as well as contributing to more than 500 albums for artists such as Paul Simon, Cher, Alice Cooper, Bryan Ferry, Seal, James Taylor and Carly Simon, also performed electric bass on Dean's first two albums.
Trivia: “Rose Royce II: In Full Bloom” is the 1st true studio album by Rose Royce. Their first actual album was the Original Soundtrack album for the film “Car Wash” from which they achieved two major hit singles “Car Wash” and “I Wanna Get Next To You.” “In Full Bloom,” though it did not have any major hits in the US was a bigger hit than “Car Wash” in the US and was certified Platinum by the RIAA. This was their only platinum in the US.
The album is solid and is full of dance and quiet storm hits. “Ooh Boy” one of the albums rhythmic ballads gives us a Michael Jackson sort of feel.
“You’re My World, Girl” not released as a single is very similar to “I Wanna Get Next To You.” Most of the songs on the album feature the lead vocals of the incomparable Gwen Dickey but “You’re My World, Girl” features the vocals of Kenny Copeland as does “I Wanna Get Next To You.
“Do Your Dance” and “It Makes You Feel Like Dancin’” both follow in the same vein as “Car Wash” both made it to #20 on the US Dance/Disco charts. “Do Your Dance” made it to US #39, becoming Rose Royce’s 3rd US top 40 hit out of four total.
The album highlight “Wishing On A Star” ironically was not a hit in the US. It only made it to #101 on the US singles chart and #52 on the US R&B chart. As time has gone by the song though has become a classic in the US. In other parts of the world, the song was a huge hit reaching #1 in France and #3 in the UK. The song was certified Silver in the UK.
"Wishing on a Star" was written by former Undisputed Truth member Billie Rae Calvin. The song was covered by several artists and was finally a hit in the US in 1992 by the Cover Girls but it is the original version by Rose Royce that is now most recognized in the US and around the world.
Release Date: November 1978 Produced by Jeff Goldstein Genre: Country, Country Rock, Rock, Pop Label: MCA
Chart Positions: #54 (US), #52 (Canada), #2 (US Country, Canada Country) Certifications: Gold (US, Canada) Awards: Nominated for the “Best Female Rock Performance” Grammy Award (Donna Summer won the award that year)
Singles and Chart Positions: “Texas (When I Die)” #3 (Canada Country), #5 (US Country), “I’m The Singer, You’re The Song #6 (Canada Country), #18 (US Country), #25 (Canada Adult Contemporary) Singles Certifications: N/A Other Charting Tracks: “Not Fade Away” #70 (US) Best Tracks: “Not Fade Away,” “Lover Goodbye,” “Angel From Montgomery,” “Heartbreak Hotel,” “Bown Eyed Handsome Man,” “Texas (When I Die)”
“TNT” was Tanya Tucker’s 9th studio album and was her first to be certified Gold in both the US and Canada. The album also received a Grammy nomination in the category of "Best Female Rock Performance." This was Tanya's third of 10 Grammy nominations. She has yet to win a Grammy.
With “TNT” Tucker made a bold departure from her classic country music style to do a more rock-flavored album – but for good measure kept a slight hint of that country there for her longtime fans. The departure proved to be extremely successful for Tucker as the album is her second highest charting on the US Country chart and her highest charting on the Canadian Country chart. The album was also her highest charting on the US Billboard Top 200 albums chart reaching #54. Only 1991’s “What Do I Do With Me” and 1992’s “Can’t Run From Yourself” have charted higher reaching #48 and #51 respectively. IN Canada “TNT” is Tucker’s highest charting album on the pop charts reaching #52. It was also her first album to make it onto the Canadian Country charts.
Because of the success of “TNT” Tucker followed the album with 1979’s “Tear Me Apart,” another rock-influenced album but captured much less success and by 1980 returned to her country music roots.
Featuring a playful somewhat flirtatious exuberant attitude from Tanya, "TNT was in many ways her coming of age album. She had just turned 20 a month before it's release and was ready to prove she was more than just a cute country music sweetheart.
The album opens with Phil Everly’s synth drum rocker “Lover Goodbye” and sets the mood for the album. Her remake of John Prine’s “Angel From Montgomery” is a beautiful southern rock ballad. Prine wrote and recorded this song for his 1971 debut album “John Prine.” Seals and Crofts helped on backing vocals on the ballad “The River and The Wind.”
The album’s first single “Texas (When I Die)” was the only true country number on the album. The song peaked at #5 on the US country chart and with time has become one of Tucker’s signature songs.
Tucker’s rendition of Buddy Holly’s “Not Fade Away” is a real scorching treat. The song was released as the b-side to “Texas (When I Die).” Receiving a fair amount of radio airplay and fan requests it ended up charting on Billboard’s Top 100 Singles chart reaching #70, making it the third highest charting pop single of her career.
Not Fade Away (1978)
Easily one of the album highlights is her rockin’ rendition of Elvis Presley’s “Heartbreak Hotel,” why they did not release this as a single is a mystery to me. Tucker puts in a flavorful rockabilly rendition of Chuck Berry’s “Brown Eyed Handsome Man.” The song was originally released on Chuck Berry’s 1957 debut album “After School Session” and was used as the b-side to his 1956 single “Too Much Monkey Business.”
Often "TNT" sounds as if Tanya's aim was to crack the AOR radio format and would have done well alongside the queens of AOR such as Pat Benatar, Linda Ronstadt and Anne & Nancy Wilson (Heart).
Singles and Chart Positions: “Can’t Get Enough Of Your Love Babe” #1 (US), #2 (Canada, France), #3 (Italy), #8 (UK), #12 (Netherlands, South Africa), #13 (Belgium), #23 (Australia), #25 (Germany), #1 (US R&B), #26 (US Adult Contemporary) “You’re The First, The Last, My Everything” #1 (UK, Italy), #2 (US, South Africa), #3 (Brazil), #4 (France), #5 (Canada), #6 (Ireland, Belgium), #7 (Australia, Austria, Switzerland), #9 (Germany), #13 (Netherlands), #1 (US R&B), #2 (US Dance) Singles Certifications: “Can’t Get Enough Of Your Love Babe” (US Gold), “You’re The First, The Last, My Everything” (US Gold, UK Silver) Other Charting Tracks: N/A Best Tracks: All Tracks – Solid Album from start to finish
“Can’t Get Enough” is Barry White’s third album and his first to crack the top five in the US and in many other parts of the world. This was Barry’s breakout, the one that launched him to worldwide superstardom.
The album topped the R&B albums chart, his third to do so. It also topped the US Billboard 200 and peaked at #4 on the UK Albums Chart as well as #1 in Italy and #2 in Canada and France.
Barry White wrote all the songs on the album as well as producing, arranging and engineering the album. White was a super talent well worth the recognition he received throughout the 70s and into the 90s.
Despite featuring two of his biggest career hits the album is a solid work with every song worthy of having been a single release.
“Can’t Get Enough Of Your Love, Babe” was released as the first single from his album Can't Get Enough in 1974, the song topped the U.S. Billboard Hot 100 and R&B charts and was a big hit throughout much of Europe. It was his second U.S. chart-topper, after "Love's Theme". The song is a pop-soul track with lush string arrangements and a disco-influenced beat behind it.
Barry White fell in love in 1973 with Glodean James, who was one of the members of his Love Unlimited backing trio of singers. He wrote, “Can’t Get Enough Of Your Love Babe” for her one night when he had troubles falling asleep. Barry and Glodean married in October 1974 and for a time were one of the best-known couples in showbiz. The pair separated in 1988 but never divorced and remained good friends for the remainder of White's life.
“You’re The First, The Last, My Everything” has gone on to become Barry’s biggest career hit and was the second single from the album. The song was White's fourth top ten hit on the US Billboard Hot 100 singles chart, reaching #2; it spent a week at #1 on the Billboard Hot Soul Singles chart. The early disco classic made it to number two on the disco/dance charts. In the UK Singles Chart, it fared even better, spending two weeks at the top in December 1974. It was also #1 in Italy, #2 in South Africa, #3 in Brazil, #4 in France and #5 in Canada and reached the Top 20 in another dozen countries around the world.
"You're The First, The Last, My Everything" (1974)
White's friend Peter Radcliffe started writing this as a Country song called "You're My First, You're My Last, My In-Between," but he couldn't get it recorded for 21 years. White recorded this as a Disco song, keeping most of the structure and two-thirds the title, but he rewrote the lyrics.
The album was a big winner at the 1974 NAACP Awards, which were presented in January 1975. White won Album of the Year ("Can't Get Enough), Male Vocalist of the Year and Producer of the Year. He attended the awards ceremony with his (then) wife Glodean.
The following review appeared in the July 20, 1974 issue of Billboard Magazine in the Top Single Picks section: "Can't Get Enough Of Your Love Babe" "Short talking intro leads into strongest vocal Barry has come up with in some time. Most uptempo thing he's done in a while, which includes his usual strong production work and distinctive beat which should be perfect for discos. Could cross easily into pop."
Singles and Chart Positions: “Love And Affection” #10 (UK), #16 (Ireland) “Down To Zero” (no chart data) Singles Certifications: N/A Other Charting Tracks: N/A
Best Tracks: “Love and Affection,” “Water With The Wine,” “People,” “Join The Boys,” “Like Fire,” “Tall In The Saddle”
Trivia: “Joan Armatrading” is Joan’s third studio album and her first to chart anywhere in the world. This is the album that put Joan on the map. The album mixes acoustic work with jazz-influenced material and displays Joan’s range of interest in music. The album was a big hit in the UK reaching #12 accompanied with a Top 10 UK hit “Love and Affection.”
"Love and Affection" 1976
In 1976, Robin Denselow wrote in The Guardian that the album "showed that we now have a black artist in Britain with the same sort of vocal range, originality (in fact even greater originality in terms of musical influences) and lyrical sensitivity" as Joni Mitchell.
Producer Glyn Johns has produced albums for many greats including Steve Miller Band, Eagles, Humble Pie, The Who, Boz Scaggs, Eric Clapton and more. He helped launch Joan Armatrading’s career when he was hired on to produce this album. He remained with her on her next three albums.
Joan signed to A&M Records is 1972 but it wasn't until after A&M gained worldwide rights to Joan's music that they decided to pour a good amount of money and effort into promoting Joan. A 3 1/2 minute film clip of the singer/guitarist performing "Love and Affection." A&M spent an unprecedented nine months promoting Armatrading's self-titled album, which included magazine ads, television spots (such as an appearance on Saturday Night Live) and promo copies of the album sent to every music critic and concert promoter throughout the world as well as a few film clips one of which shows comments from reviews. A&M spent near $300,000 promoting the album before it was even released.
Up to this point, Armatrading had shown that she had a lovely voice and an ear for interesting arrangements, but her work had been steeped in the folk idiom of the early '70s. Her third album changed all that, with producer Glyn Johns bringing in members of Gallagher & Lyle, Fairport Convention, and the Faces to punch up her folksy sound with elements of rock, country, and disco. The result is her most muscular music to date, with Armatrading adopting a swagger that showed her tales of unluckiness in love didn't have to have dire consequences ("Tall in the Saddle," "Water With the Wine"). Of course, it helped that the record featured her best material delivered in a wonderfully expressive voice that can capture the shades between song and speech like a sweeter version of Ian Anderson. "Down to Zero" (which features pedal steel guitarist B.J. Cole) and "Love and Affection" are the album's most memorable tracks, the latter breaking into the U.K.'s Top Ten (the album itself made the U.K. Top 20). But what endears this record to fans is the quality of each song; it wouldn't be fair to call anything here filler. The artsy and eclectic "Like Fire," the beautiful ballad "Save Me," and the ingratiating melodies of "Somebody Who Loves You" are just as likely to strike a chord with listeners as the better-known cuts. While Glyn Johns deserves credit for bringing Joan Armatrading's songs into a more flattering setting -- it's not coincidental that the record feels like a polished version of The Who by Numbers -- his real stroke of genius was letting the artist flower to her full potential. For many, this album remains the high point in her catalog.
Release Date: June 1977 Produced by Gary Klein, Charles Calello (produced “My Heart Belongs To Me) Genre: Pop, Easy Listening, Adult Contemporary Label: Columbia
Trivia: “Superman” is Barbra Streisand’s 19th studio album (if you include the soundtracks it is her 27th album). At this point in time “Streisand Superman” was her second most successful album worldwide topped only by 1976’s “A Star Is Born” soundtrack. As the years progressed other such as 1980’s “Guilty,” 1985’s “The Broadway Album” and 1997’s “Higher Ground” have outperformed “Streisand Superman.”
Having been released only 7 months after the “A Star Is Born” soundtrack, “Superman” follows with a similar pop-rock feel. Two of the song that showed up on the album (“Answer Me” and “Lullaby For Myself”) were written for “A Star Is Born” but did not make it into the movie. Streisand co-wrote “Answer Me” with Paul Williams and Kenny Ascher. Streisand also co-wrote the rock inspired “Don’t Believe What You Said.”
Many have stated Streisand’s cover of “New York State of Mind” fit her so well that it has become the definitive recording. Billy Joel, who wrote the song claimed, “I thought, ‘This is one of the greatest woman singers ever, doing … me? Me?’ I really loved it, though, because it kind of finally made me legitimate in this business to my mother.”
The first single release was the classic ballad “My Heart Belongs To Me” which was a huge success reaching the Top 5 in both the US and Canada. Columbia Records and Barbra put together a “publicity film” for “My Heart Belongs To Me.” It was shown at Columbia’s 1977 convention to industry insiders. Barbra lip-synched to the track. During the musical interlude, she “conducted” the orchestra, then started coughing from the smoke machines, all very comedic. At the end of the video, she spun toward the camera and made a funny face.
My Heart Belongs To Me (1977)
The second single, the title track “Superman,” was released about a year and a half after the album and did not fare to well, but was a moderate hit on Adult Contemporary radio.
Trivia: “A Quiet Storm” is Smokey Robinson’s third solo studio album, if you count his albums with the Miracles than this is his 22nd studio album release. From conception the album was destined to be classic & historic.
This is one of the most highly acclaimed soul albums of the 1970s. A longtime innovator at Motown, Robinson responded to the Funk revolution in black music (Marvin Gaye, James Brown, Sly Stone, Curtis Mayfield, Al Green) with an effective counterpoint: the stylish and mature album A Quiet Storm. This landmark album spawned and lent its name to the "Quiet Storm" musical programming format, a format still adopted by radio stations across America 40 years later. Quiet storm is a radio format and a subgenre of contemporary R&B music that is characterized by understated, mellow dynamics, slow tempos, and relaxed rhythms.
The album generated 3 hit singles including Smokey’s first disco hit "Baby That's Backatcha" that went to #7 on the Billboard Disco chart ( as well as #1 R&B), it was Robinson's first number one single since leaving the Miracles. The album re-established Robinson's reputation as a master songwriter and producer and solidified his solo success after leaving his legendary group, The Miracles.
“Love Letters” is a high point in terms of tempo, and it displays how masterful Smokey is in leading an uptempo track. He never misses a beat, and his cadence is virtually unmatched. “Wedding Song," an album highlight, was written for Hazel and Jermaine Jackson's wedding.
As he sings in “The Agony And The Ecstasy”; “our two worlds intertwine”. It was a match made in musical heaven. That particular song also highlights the love metaphor very clearly. Trying to find a balance between two worlds, both of which are essential. “We got to have the agony, before we have the ecstasy”. Both are excessive, but somehow blend seamlessly.
The seven minute title track, "Quiet Storm" became the cornerstone of a more upscale and sophisticated Soul sound that captivated an older, mature and largely black middle class audience. Robinson helped bring Soul music to the forefront of adult contemporary and middle of the road audiences.
In a review for Rolling Stone Magazine Robert Palmer wrote: "The languid intimacy of "Quiet Storm," the intricate instrumental arrangements on "Backatcha" and "Love Letters," and the prominence given to Marvin Tarplin's classy guitar throughout the album are evidence that one of black music's brightest lights is still a dynamic creative force."
“Living in the USA” is the 9th studio album by American singer/songwriter/producer Linda Ronstadt (her 12th if you count the three albums she released with The Stone Poneys). The album was Ronstadt's third No. 1 on the Billboard album chart and was the first album in history to ship Double Platinum. As a measure of her impact on popular culture in this time period, the front cover photograph of a roller skating Linda in a satin exercise outfit was noted to have increased the popularity of skating in the United States at the time. As People Magazine put it, “Anyone who gave Linda Ronstadt her first pair of roller skates deserves a place in this decade’s social history.”
It was Ronstadt's record sixth consecutive million-selling Platinum album. It was certified by the RIAA for 2 million copies sold in the US alone and has estimated real sales of 3 million US units sold.
“Living in the USA” was a smash hit even before it arrived in stores on Sept. 19, 1978. Given Ronstadt’s incredible streak of five million-selling albums, retailers couldn’t wait to pre-order the new disc; as a result, it reached the shelves as the first album in history to earn double-platinum status prior to its official release. And unlike certain other high-profile records that benefited from advance buzz, only to end up in the cutout bin, “Living in the USA” went on to dominate radio as well as retail sales.
The first hint of anything from the album happened on April 3, 1978 when Linda made an appearance for the premiere of the film FM she did a live performance of Elvis Presley’s “Love Me Tender.” The song was not featured on the film’s soundtrack album but it did appear on Ronstadt’s upcoming album “Back In The USA.”
The album featured a mix of covers of proven hits and newer compositions by some of Ronstadt's favorite singers. Yet there were changes evident as well. For one, as the album's cover photo showed, Ronstadt had cut her trademark long hair and sported a short permed hairstyle. She also traded in her usual country-style dresses for hot pants, and her high heel shoes for roller skates.
In reference to the album cover Ronstadt said, "I remember I wanted to bring my roller skates into the studio. "My friend Nicolette Larson and I used to skate everywhere. She used to bring her skates into the studio because it was really big and she could skate around between takes. My studio wasn't that big. It had too much carpet, so I wanted them to take it out so I could skate."
While Ronstadt paid tribute to the King with a cover of "Love Me Tender," she also acknowledged the influence of the burgeoning British new wave movement by covering the other Elvis. "Allison" had first appeared on Elvis Costello's debut LP, My Aim Is True, and remains his best-known tune today. "I had a friend at the time and that song reminded me of her, so I sang it for her," Ronstadt says. "She was a really sweet girl, but kind of a party-girl type. I felt like she needed somebody to talk to her in a stern voice, because she was getting married and she would have to change." Ronstadt's version was released as a single in the U.K. but stalled at #66, and was dismissed in interviews by the acid-tongued Costello. Ronstadt commented, “I’ve never communicated with him directly, but I heard that someone asked him what he thought and he said he’d never heard it but that he’d be glad to get the money. So I sent him a message. ‘Send me some more songs, just keep thinking about the money.'” (Costello would ultimately end up contributing three songs to Ronstadt’s next album, 1980’s Mad Love.)
The album's first single, a remake of Chuck Berry's "Back in the U.S.A," climbed to US #16. "Back in the U.S.A" was afforded its greatest impact when Linda Ronstadt remade the song in 1978. Ronstadt had heard the Berry original while being driven around Los Angeles by Eagles member Glenn Frey who had once been in her band, the track being on a "home-made" cassette Frey had playing in his tape deck. When 'Back in the U.S.A. came on Ronstadt said, “Boy that would be a great song to sing. I think I'll do that one."
"Back In The USA (1978)
A take of Doris Troy's "Just One Look" stalled at US #44, but Ronstadt wasn't happy with the recorded version. "It took me years to learn how to really sing that, but I could nail it now," she says, 15 years later.
The biggest hit from “Living in the USA” was Ronstadt's cover of Smokey Robinson's "Ooh Baby Baby," which climbed to US #7 and features alto sax by David Sanborn. "We used a live vocal from the rough mix," Ronstadt says. "We tried to go in and add things to it, but it never sounded as good as that live vocal."
Ronstadt is especially strong on her soulful cover of Little Feat’s “All That You Dream.” The song first appeared on Little Feat’s 1975 album titled “The Last Record Album.” Her soulful bluesy take of J.D Souther’s “White Rhythm and Blues” brings side one of the album to an inspiring close. Souther wrote this song for Ronstadt (he also wrote “Faithless Love” and “Heart Like A Wheel” for her). Souther later recorded “White Rhythm and Blues” for his 1979 hit album “You’re Only Lonely” as a duet with Phil Everly.
Although it was never released as a single, Linda Ronstadt's recording of "Love Me Tender" was edited together with the original by Elvis, creating a duet between the two that was played by many radio stations at the time. Elvis did the first verse alone, straight from his original recording, as Ronstadt didn't sing this verse on her version. It garnered enough airplay to chart at #59 on the US Country chart. Ray Quinn, program manager of radio station WCBM in Baltimore, dubbed together Elvis’s 1956 single and Ronstadt’s 1978 version. Although demand for the tape grew, no copies were made available to the public. A three-dollar bootleg single was made, however, on the Duet Label (Duet 101). The duet was inspired by the Barbra Streisand-Neil Diamond’s duet You Don’t Bring Me Flowers. Linda's version was in the same key as Elvis's record, and that would have made it easier for the record company to blend their voices together. There was some talk of recording additional instrumentation to smooth over the parts of the two recordings to give the impression it was just one recording. But that never came to be seen as RCA and Asylum could not agree on a contract for the release.
Billboard Magazine Review (September 1978)
Aside from being one of Linda Ronstadt's more perfect
albums, this collection of 10 songs ranging from Hammerstein/Romberg's
"When I Grow Too Old To Dream," to Elvis Costello's
"Alison" provides a unique display of her vocal charm. The
instrumentation, for the most part, is sparse, and it enables the special
qualities of Ronstadt's voice to shine through. There are many moods portrayed
here, including some husky ones that indicate maturity and a broadening taste,
although Ronstadt has always chosen material beyond the merely popular.
"All That You Dream" is a classic and could be her biggest song so
far. Best cuts: "All That You Dream," "Back In The USA,"
"Mohammed's Radio," "Just One Look," "Love Me Tender,"
"Alison."
