This time, Linda Ronstadt's first Spanish album, two reissues by Tim Easton and an early work by Jackie DeShannon, are front and center on vinyl rotations.
Linda Ronstadt – Canciones de mi Padre – (Iconic Artists Group)
Tucson, Arizona, Linda Ronstadt honors her Mexican heritage here with 13 pieces made famous by Mexican mariachi bands and four of the greatest of the genre accompany her: Mariachi Vargas de Tecalitlan, Mariachi Los Camperos de Nati Cano, Mariachi Los Galleros de Sol Pedro Rey and Mariachi de Mexico de Jose Hernandez. Ronstadt's voice is instantly recognizable on this first Spanish release (her success inspired her to make others) and her soulful vocals make these selections as appealing as her pop hits. The album insert has the lyrics of each song in Spanish, and there is also an English translation so that non-Hispanic speakers can understand what each song is about. Sometimes the translation is not needed, as in the slow and softly orchestrated “Por Un Amor” (“For a Love”) where the pain for a lover is palpable in Linda's voice. For the lively ranchera “Los Laureles” (“The Laurels”), a mariachi favorite dating back to the 1920s or 30s, Ronstadt turns to a sultry reading of the song trying to catch the attention of a potential suitor. “La Cigarra” (“The Cicada”) is an allegory about how the cicada sings before it dies, but it's actually about a human love affair and features Ronstadt hitting beautiful, extended high notes throughout the song. And so it continues in this delightful set, a relaxed listen that's perfect for, say, a Saturday afternoon. Lots of great harmony vocals provided here by Pedro Rey, Heriberto Molina, Juan Rey, Ronstadt clan members Pete and Mike (brothers) and many more. Listeners will find that Canciones de mi Padre offers a chance to hear a side of Ronstadt that at the time was unknown to most, while also offering a chance to enjoy traditional mariachi music. This is the first release of the title on vinyl.
Tim Easton – Special 20 and No Cool – (Black Mesa Records)
Here are reissues of two excellent albums from singer/songwriter and guitarist Easton. Special 20, Easton's 1998 solo debut opens with the catchy “Just Like Home,” a lyrically fun track that chronicles how the hardships of the road are “just like home.” The track, which features harmonica work from Easton, sounds like it was inspired by Johnny Cash. “Special 20” is a bluegrass choogler with Al Perkins on dobro, Jim Hoke on harmonica and Mickey Grimm playing oil, all coming together for a classic Americana groove. Easton breaks free, however, on “Torture Comes to Mind,” a great one to drop in the car with the windows down. the cut is at times reminiscent of Perkins' sobbing REM Banjo and Easton's plaintive bluegrass vocals on “Troublesome Kind” while “All the Pretty Girls Leave Town” is a showcase for Easton's playing and singing as he only has a mandolin. and glockenspiel stand. The song, like everything here, is an Easton original, but if someone told you it was written by John Prine, you'd find it plausible. “Help Me Find My Space Girl” is rich with harmony vocals and a hooky worm while “Sweet Violet” is a declaration of love performed almost like a lullaby. The closing “Rewind”, again reminiscent of John Prine, has a sweet taste of pedal steel played by Perkins. Includes 12 page lyrics booklet. No Cool originally released in 2013 and reissued here to mark its 10th anniversary. “Don't Lie” kicks off the album with a humming melody and words that advise a lover not to lie. “Troubled Times” harks back to the early days of rock 'n' roll, and the short song is tailored for a quick trip down the dance floor. Actually, a lot here is short. the somewhat quirky, Dwight Twilley-evoking “Lickety Split,” clocking in at just over three minutes, is the longest song on Side 1, and that's enough to draw listeners into its fun atmosphere. “Tired and Hungry” is a fast guitar freak, “Little Doggie (1962)” has a Bakersfield sound, and “They Will Bury You” is eerie and bluesy with some John Lee Hooker guitar. Unlike the tone of the rest of the album, “Not Cool” is slow and regretful as it mourns the end of a relationship. Easton's delve into a predominantly retro sound here stands in stark contrast Special 20? together the two albums will make fans want to know what his five albums sound like between the two.
Jackie DeShannon – The Sherry Lee Show (Sundazed Records)
The folks at Sundazed are experts at finding obscure but awesome titles to be released for the first time or to be re-released. As examples, some of their new releases are from pop/psych act Penny Arkade, jazz oddities Sun Ra & His Arkestra, Midwestern garage rockers Gestures, and surf band Vaqueros. Here the company has discovered a treasure for fans of Jackie DeShannon, the soulful pop singer who had hits with “What the World Needs Now is Love” and “Put a Little Love in Your Heart.” The Show Sherry Lee features 28 tracks that show what DeShannon did before she became a star when she was a country singer going by her real name Sherry Lee Myers. The never-before-released footage was culled from radio broadcasts recorded on reel-to-reel tape by DeShannon's mom. The sound therefore, while clear, is graphic and monophonic. The set opens with Jackie sounding especially cute on a sizzling version of Bill Monroe's chestnut “Y'all Come,” and there are plenty of other familiar tunes here, including George Jones' “Uh, Uh, No,” a very fine take on Patsy. Cline's big “Walkin' After Midnight,” Ferlin Husky's “Waiting,” and Fats Domino's classic “I'm Walkin',” which DeShannon explains is performed because listeners have been asking her to sing some rock 'n' roll. It's not a rock song, but DeShannon also sings Elvis with a rendition of “Anyway You Want Me” and, later in the set, rocks it pretty well with the also Elvis-related “Baby Let's Play House.” DeShannon's classmates will love it The Sherry Lee Show as did fans of the country music sound of the mid-1950s.
