Archive for the ‘Compilations’ Category
By the point The Mills Brothers’ new anthology Cab Driver: The Dot and Paramount Years: 1958-1972 begins in 1958, Herbert, Harry and Donald Mills had already been superstars for nearly thirty years. Known for their tight harmonies and sophisticated scatting as much as for their ability to mimic musical instruments with their voices, The Mills Brothers scored their first U.S. No. 1 hit in 1931 on the Brunswick label with “Tiger Rag,” an oldie from 1917 (!). Hollywood stardom followed at Paramount and Warner Bros., and the brothers broke a barrier for African-American entertainers when they played a command performance before the King and Queen of England in 1934. Tragedy threatened to derail the group in 1936 when founding member John Jr. died of pneumonia, but they pressed on with father John Sr. until 1957, singing with luminaries like Bing Crosby, Ella Fitzgerald and Louis Armstrong along the way. Through this entire period, The Mills Brothers were Top 40 mainstays. In late 1957, they left the venerable Decca label for relative upstart Dot, which is where this new 28-track compilation from Cherry Red’s Poker Records imprint picks up.
Cab Driver: The Dot and Paramount Years: 1958-1972 explores in depth this rarely-anthologized period of The Mills Brothers’ long recording career. This is the period in which the jazz/swing vocal greats came to terms with rock and roll, sometimes addressing it and other times ignoring it, but always remaining true to their singular vocal sound. Cab Driver concentrates on the group’s Dot single releases rather than on the albums which were frequently themed by concept: an album of re-recorded old hits (some things never change!), a country album, a Hawaiian album, a Latin album, etc. On singles, the brothers had more of an opportunity to stretch and show their vocal versatility. They flirted with doo-wop (a cover of The Silhouettes’ “Get a Job” which opens this collection), country (a fine cover of Skeeter Davis’ melancholy “The End of the World”), Broadway (the title song from Bob Merrill’s musical comedy Take Me Along), pop (a reworking of Nat “King” Cole’s hit “Dance, Ballerina, Dance”) and jazz (the Dorothy Fields/Jimmy McHugh standard “Don’t Blame Me”), and even created a blues-bossa hybrid (!) with Fats Waller’s (!!) “Honeysuckle Rose Blues Bossa Nova” in 1966.
As of 1968 – the year of The Graduate, White Light/White Heat, Music from Big Pink and The Beatles (a.k.a. The White Album) – The Mills Brothers hadn’t seen a chart hit since 1959. That changed with the release of “Cab Driver,” from “Something Stupid” songwriter (and brother to Van Dyke) C. Carson Parks. The twangy, country-meets-classic pop ballad struck a chord, going all the way to the Top 25 of the Pop chart and Top 5 Adult Contemporary. The Mills Brothers went “once more ‘round the block” with its follow-up, “My Shy Violet” from the team of Earl Shuman and Leon Carr (“Hey There, Lonely Girl”). Its barbershop quartet-inspired harmonies earned the brothers another Top 5 AC hit, and a none-too-shabby No. 73 Pop placement. “Cab Driver” and “My Shy Violet” started a run of chart hits on the Pop, AC and Country charts for the still-eclectic trio.
After the jump: more on Cab Driver, including the complete track listing with discography, and order links! Read the rest of this entry »
Creedence Clearwater Revival are taking it back to the year it all started – sort of – for a new compilation to be released on Record Store Day.
To those who were paying attention, Creedence Clearwater Revival were pretty active before 1969. Singer-songwriter-guitarist John Fogerty, older brother/rhythm guitarist Tom Fogerty, bassist Stu Cook and drummer Doug Clifford had been performing and recording together in their native San Francisco since 1959, first under the name of The Blue Velvets (in which Tom wrote and sang while Cook played piano instead of bass) and then The Golliwogs, the latter of which saw them move to local jazz label Fantasy Records. When the lineup crystallized around John’s distinctive vocals and southern/roots-inspired songwriting prowess, CCR was born, issuing their first self-titled album in 1968 and enjoying their first hit, the Top 20 single “Susie Q.”
But it was that next year, 1969, that solidified their reputation as one of the defining rock bands of the ’60s. That year saw them touring incessantly, including a headlining spot at the Woodstock festival. And amazingly, they found time in their schedules to release not one, not two, but three albums between January and November of that month. Bayou Country, Green River and Willy and The Poor Boys were all Top 10 hits on Billboard‘s albums chart (with Green River topping that chart), and they spun off four iconic singles: the now-standard “Proud Mary” (No. 2) backed with “Born on the Bayou”; the rollicking “Bad Moon Rising” (No. 2) coupled with “Lodi” (No. 52); “Green River” (No. 2) and its B-side “Commotion” (No. 30) and the irresistible “Down on the Corner” (No. 3), coupled with the anti-war anthem “Fortunate Son” (No. 14).
CCR enjoyed several more years of success, with two albums in 1970 and a final LP in 1972 (without Tom Fogerty), plus several more Top 10 hits (never, however, a No. 1 hit). They were inducted into the Rock and Roll Hall of Fame in 1993, and their catalogue is still widely available, thanks to several compilations and remasters and endless licensing (mostly executed by Fantasy Records without the approval of Fogerty).
In addition to a new 10″ white-vinyl compilation, The ’69 Singles, including all eight sides the band released in that year, dropping into all participating indie retailers on Record Store Day, Fantasy and CCR are keeping the spirit of ’69 alive with vinyl reissues of those three albums (Bayou Country was repressed this year, while Green River and Willy and The Poor Boys are expected August 5 and November 4, respectively), a new compilation and “high-resolution audio releases.”
The ’69 Singles (Fantasy FAN-35329-01, 2014)
- Proud Mary
- Born on the Bayou
- Bad Moon Rising
- Green River
- Down on the Corner
- Fortunate Son
Tracks 1-2 from Fantasy single 619 Bayou Country (Fantasy 8387, 1969)
Tracks 3-6 from Fantasy singles 625 and 634 and Green River (Fantasy 8393, 1969)
Tracks 7-8 from Fantasy single 622 Willy and The Poor Boys (Fantasy 8397, 1969)
In past years, Numero Group’s Wayfaring Strangers series has taken adventurous listeners along to hear Ladies from the Canyon, Guitar Soli and Lonesome Heroes, drawing on rare or privately-pressed folk music and casting it in a new light. With its latest release, however, Numero is traversing even more unexpected territory. The punningly-titled Warfaring Strangers volume entitled Darkscorch Canticles will immerse listeners in a world of mystics and mages, devils and demons, and yes, dungeons and dragons. The 16-track anthology, due in stores today on CD, LP and MP3, is a first-of-its-kind compilation of fantasy-based hard rock from the 1970s. But more unbelievably, it will soon also become available in one of the most unusual box set configurations we’ve seen in our four-plus years here at The Second Disc: as a bona-fide role playing game!
If you’ve never heard of Triton Warrior, Stone Axe, Stoned Mace, Hellstorm, Medusa, or (doing Medusa one better) Gorgon Medusa, you’re not alone. But you might not forget them after spinning Darkscorch Canticles. “This music hails from an occluded realm, somewhere just beyond the pot-addled minds of its creators,” Numero explains. Those young minds were likely listening to Black Sabbath and Led Zeppelin – and maybe Camel or even early, pre-glam Tyrannosaurus Rex – while exploring new worlds in Dungeons and Dragons, the role-playing game that first appeared in 1974 to spearhead the RPG genre. “In this collection,” Numero states, “medieval Bonham thunk and febrile Iommi guitar leads crowd out the bluesy Americana that foregrounded [Zeppelin and Sabbath], replacing hippie pastoralism with mythology, armored conflict, sorcery, and doom.” This is garage rock from a world in which wizards, elves, dwarves, monsters and wizards might be hiding next door to the garage in question.
Hit the jump for much more on Darkscorch Chronicles – the CD and the role-playing game – including the complete track listing and order links! Read the rest of this entry »
The careers of Otis Redding and Aretha Franklin have been inextricably linked since Franklin entered New York’s Atlantic Studios on Valentine’s Day, 1967, with producer Jerry Wexler to record Redding’s “Respect.” Even before that pivotal moment, however, the two artists shared a label in Atlantic Records (distributor of Redding’s Stax records) and an ability to invest any song with raw honesty and unvarnished emotion. Atlantic and Rhino Records have recently issued two newly remastered 4-CD retrospectives dedicated to Redding and Franklin: respectively, The King of Soul and The Queen of Soul.
“Respect” was originally cut by the soul shouter supreme and producer Steve Cropper at Stax’s Memphis, Tennessee studios in July 1965, and became his second-biggest pop hit to that point. In Redding’s original, he’s insistent as he addresses his woman. His intensity is as blazing as the song’s horns are frantically bleating. She can do him wrong, do what she wants to, take his money – but he demands “a little respect” when he comes home. It’s what he wants, sure. But moreover, it’s what he needs. It’s no surprise that Redding’s urgent entreaty to maintain his pride and self-worth took on greater depth against the backdrop of the civil rights movement. Redding’s personal plea had universal resonance.
When Franklin approached “Respect,” she turned it on its ear. Whereas Redding asked, “What you want? Honey, you got it! What you need, baby you got it!,” Aretha taunted with equal measures of command and sass, “What you want? Baby, I got it! What you need? You know I got it!” Franklin and Wexler fleshed the song out, adding an instrumental bridge courtesy of saxophone great King Curtis, and dialing up the funk but relaxing the frenetic tempo. Aretha, with her sisters/background singers Erma and Carolyn, also personalized the song, throwing in some indelible ad libs (“Sock it to me,” “Take care, T.C.B.!”) and demanding her “propers.” She might give her man all her money, but there’s no doubt of who’s in control. The anthemic quality already inherent in Otis’ “Respect” came to the fore in Aretha’s empowered reading, which was crowned by one final, key touch – the spelling out of “R-E-S-P-E-C-T.” Her electrifying reinvention went to the top of both the Pop and R&B (Black Singles) charts, prompting Redding to kiddingly stammer that it was the song “that a girl took away from me, a friend of mine, this girl, she just took this song!”
“Respect,” of course, features on both box sets – twice on Redding’s collection, once in the studio and once in a live setting. But that immortal song is just the tip of the iceberg for these compilations. In addition to offering a wealth of some of the most sublime soul music ever recorded, The King of Soul and The Queen of Soul serve as affordable, no-frills primers for those who don’t own all of the artists’ individual Atlantic albums on compact disc. The Redding set is particularly valuable in this regard; while most of Franklin’s CD releases are still in print, Rhino’s reissues of Redding’s Stax/Volt/Atco catalogue are considerably more difficult to find.
The King of Soul (Atlantic/Rhino R2 541306, 2014) coincides with the fiftieth anniversary of the late legend’s debut album, 1964’s Pain in My Heart. Over its 92 tracks, these four discs trace Redding’s meteoric rise to superstar status, spanning the fast and furious period between 1962 and his tragic passing in 1967. King of Soul draws on both studio and live recordings, including key singles and tracks from such landmark albums as 1965’s Otis Blue, 1967’s Carla Thomas duets set King and Queen, and 1968’s posthumously-released The Dock of the Bay. Every one of Redding’s original studio albums through 1970 is represented here, and compiler Reggie Collins has also drawn upon the 1968 various-artists album Soul Christmas and 1993’s lavish, now out-of-print Rhino box set Otis! The Definitive Otis Redding. (Collins was credited as the “research director” on that box.) As Redding’s catalogue is limited in size, some albums are nearly-complete here, such as 1965’s torrid Otis Blue: Otis Redding Sings Soul. Ten out of the original LP’s eleven tracks are reprised. (The lone omission is Redding’s version of the Sam Cooke hit “Wonderful World.”) As Stax did not begin recording in stereo until 1965, the majority of the first three CDs are in mono; the fourth disc is nearly all-stereo.
After the jump: more on Otis, plus the lowdown on Aretha’s Queen of Soul! Read the rest of this entry »
I’ll Have Popcorn With That: Eclectic New Compilation Offers Jerry Butler, Eartha Kitt, Johnny Nash, Frankie Laine
Bob Stanley of the band St. Etienne and the new Croydon Municipal label wants to tell you. “Popcorn is a genre after the fact, built by curation rather than creation,” the author of Yeah Yeah Yeah: The Story of Modern Pop (soon to be retitled The Story of Pop Music from Bill Haley to Beyonce for its upcoming U.S. edition) writes in the liner notes to his new release Sweet ‘n’ Salty Popcorn. “Its narrative was formed by Belgians in the seventies from records made in the fifties and sixties – there was no such thing as a Popcorn artist because no one had set out to make a Popcorn record in the first place. It was all in the rhythm, which had to suit the unusual ‘slow swing’ dance, and it could be Latin boogaloo, an orchestrated Italian ballad or an early Tamla Motown single.”
Despite sharing that atmospheric, “slow swing,” soulful rhythm, the twenty tracks selected by Stanley to introduce Popcorn to an audience outside of Belgium make for a diverse lot. Popcorn could emerge from crooners (Tony Martin), theatrical vixens (Eartha Kitt), early rock and rollers (Jo Ann Campbell, Larry Hall), and bona fide soul men (Jerry Butler, Roy Hamilton). Popcorn songs could hail from the pens of writers Burt Bacharach and Hal’s brother Mack David (Dean Barlow’s “Third Window from the Right”), Phil Spector (Johnny Nash’s “Some of Your Lovin’,” not the Goffin and King tune of the same name), Curtis Mayfield (Butler’s “Find Another Girl”), Billy Sherrill (future evangelist Jackie Weaver’s “The Tingle”) and the team of Doc Pomus and Mort Shuman (the offbeat “River in My Blood” sung by future “I Love New York” jingle writer Steve Karmen). The earliest days of Motown even were incorporated into the Popcorn sound, as heard on Little Iva and Her Band’s recording of the “Continental Strut” co-written by Brian Holland. In other words, the Popcorn genre is rather catholic; Stanley counts “gritty R&B…film themes, ska, tango, Spector-esque girl groups and loungey instrumentals” from the fifties and sixties among the tracks you might hear in a Popcorn club.
After the jump, we have more details on Sweet ‘n’ Salty Popcorn as well as the complete track listing and order links! Read the rest of this entry »
When considering Serge Gainsbourg (1928-1991), it’s often impossible to separate the provocateur’s art from his outré behavior. The French songwriter, poet, actor and director was described by one journalist as “David Bowie, Mick Jagger and John Lennon rolled into one smoke cloud of controversy,” but it’s hard to imagine any of those rock icons at their most outrageous ever releasing anything like Gainsbourg’s duet with Jane Birkin, “Je t’aime…moi non plus.” The song’s odd amalgam of steamy, erotically breathy lyrics and exclamations over an easy listening instrumental was quintessentially Gainsbourg, though the artist’s musical repertoire also encompassed jazz, rock and roll, disco, new wave, ye-ye pop and even the (more or less) traditional chanson. And for all the envelope-pushing subject matter of his songs, his lyrics were literate, intricate and frequently poetic. Gainsbourg has joined the illustrious ranks of Ace’s Songwriters series with the recent release of Vamps et Vampire: The Songs of Serge Gainsbourg.
Gainsbourg biographer Alan Clayson introduces this 25-track anthology with an essay posing the question, “Was he a misunderstood genius whose daring vulgarity, intricate double entendres and negative love ballads were relevant contributions to Gallic performing arts, or a cynical old lecher who was, as he said himself, ‘only interested in eroticism and money (in that order)?’” Perhaps Serge Gainsbourg was both, but Vamps et Vampire allows his musical legacy to receive proper reevaluation removed from the salacious (if entertaining) episodes that made him such a constant presence in the French headlines over the years.
All but eight of the tracks here date from Gainsbourg’s prolific work in the (very) swinging sixties 1960s, with the collection rounded out by five songs from the 1980s, one from the 1970s and two from the 1990s. As the title indicates, every track is performed by a female artist including the two most closely associated with Gainsbourg: his flames Brigitte Bardot and Jane Birkin. Gainsbourg’s relationship with France’s greatest-ever sex symbol Bardot was short-lived, but produced memorable music including this collection’s “Harley Davidson” and “Contact,” both arranged by the esteemed Michel Colombier. (Bardot duetted with Gainsbourg on the original “Je t’aime,” but it remained unreleased until 1986; Ace’s compilation pointedly overlooks the track in any version.) Birkin, the Swingin’ London icon, actress and onetime Mrs. John Barry, enjoyed a relationship with Gainsbourg from 1968 through 1980 during which time they teamed up to produce some of the most remarkable work of their musical careers including his much-acclaimed 1971 concept album Histoire de Melody Nelson. Birkin is heard here on 1969’s “Jane B” and 1983’s “Con c’est con ces consequences.”
After the jump, there’s more Serge, including the full track listing with discography! Read the rest of this entry »
Morrissey, Your Arsenal: Definitive Master (Parlophone)
We don’t hate it when Moz becomes successful, as was the case with his third non-compilation album from 1992, which now comes with an unreleased live show on DVD.
Johnny Winter, True to the Blues: The Johnny Winter Story (Columbia/Legacy)
Bob Mould, Workbook: 25th Anniversary Edition (Omnivore)
After the disbandment of Hüsker Dü, singer/guitarist Mould was on the solo beat with this album, now expanded with an unreleased 1989 concert at the Cabaret Metro in Chicago.
The L.A. rockers collect their last nine or so years of A-sides on a professionally-pressed CD-R compilation or a box of six vinyl singles; both feature a newly released track, “Cannibal.”
Various Artists, The Tabu Records Box (Tabu/Edsel)
Three new BBR reissues include two Isaac Hayes LPs for Polydor in the ’80s and LaBelle’s final studio album for Epic, which reunited her with producer Allen Toussaint. Joe, of course, has a full summary coming soon!
That change in the air pressure you’re probably feeling around your favorite indie record store can only mean one thing: Record Store Day 2014 is coming your way. April 19 will see a host of beloved major and independent labels celebrating the good old resilient brick-and-mortar store with various titles sold exclusively at participating stores. And the beloved cratediggers at Omnivore Recordings have four exciting titles prepared for the big day – nearly all of which feature artists making their debut appearances on the label.
In a fitfully-brief career that ended with his untimely death at the age of 29, Hank Williams still managed to do more for country music than most, with a sizable stable of crossover hits including “Move It On Over,” “Your Cheatin’ Heart,” “I’m So Lonesome I Could Cry” and “Hey Good Lookin’.” Omnivore has quite an incredible find with its first RSD 2014 title, The Garden Spot Programs, 1950 – Extended Play. Culled from rare radio show recordings Williams cut for Naughton Farms, a plant nursery in Waxahachie, Texas (with a session band, not his familiar Drifting Cowboys ensemble), these recordings found Williams tackle hits, standards and material he rarely, if ever, recorded anywhere else. Sourced from newly-discovered transcription discs, these tunes haven’t been heard for nearly six decades; a month after the release of this 10″, 33 1/3 RPM disc (packed in a 78-RPM style sleeve with notes from co-producer Colin Escott), Omnivore will release 24 of these tracks from four shows on a new CD/LP compilation on May 20. (Keep an eye here for more info about that set soon!)
Two years before jazz bassist Jaco Pastorius (1951-1987) burst onto the scene with his 1976 solo album, the 22-year-old musician was working out his early solo material in after-hours sessions at Criteria Studios in Miami. Six cuts from those sessions soon made their way onto an acetate disc with which to entice prospective labels; now, that acetate is partially recreated on splatter vinyl (with one bonus track) as well as a CD featuring 11 selections from the entire session. (Happily, this title will be added to the label catalogue after the RSD celebrations.) Modern American Music…Period! The Criteria Sessions features two essays from DownBeat contributor/Jaco biographer Bill Milkowski as well as fan, package co-producer and Metallica bassist Robert Trujillo. Altogether, the set makes a perfect companion to the forthcoming documentary Jaco, about the late legend.
After the jump, Omnivore has a single from a most unexpected voice – an actor’s – and a special compilation of live cuts from some familiar Omnivores!
Fans of Michael Jackson may have something beyond warmer weather to look forward to this year: more unreleased music.
Today, at a global conference in Barcelona unveiling their new Xperia Z2 mobile phone, Epic Records/Sony Music unveiled a new advertisement for the product that featured an newly-mixed Michael Jackson outtake, “Slave to the Rhythm.” Hardcore fans will recognize the track as first conceived during the sessions to 1991′s Dangerous and considered for release as recently as on Invincible, the last album released in Jackson’s lifetime, in 2001. (A remix of the track featuring troubled pop star Justin Bieber made its way online last year; Jackson’s estate was quick to distance themselves from the mix.)
Beyond the 90-second advertisement embedded above, no further clarification toward future projects has been made. Last year, rumors swirled of a forthcoming album featuring outtakes assembled by producer Timbaland.
A future solo album would be the seventh release from Sony Music since Jackson’s passing in June 2009. By the holiday season, Epic had released a companion soundtrack to the half-concert film/half-documentary This is It, chronicling the rehearsals for 50-date tour Jackson was set to undertake in London. A “new” album, the ill-received Michael, dropped in 2010, while Legacy released Michael Jackson’s Vision, a triple-disc DVD collection of Jackson’s short films for MTV, that same quarter. The following year, a Cirque du Soleil production yielded a new remix album of Jackson’s music, Immortal. 2012 saw the release of the most archival title to date, a celebration of Bad‘s 25th anniversary in 2012 with a 3CD/1DVD box set and Spike Lee-directed documentary. Last summer, the King of Pop’s Epic solo catalogue was released as “Mastered for iTunes,” alongside a rarity-packed digital box set.
Without question, The Second Disc will bring you confirmation of an album as it’s available.
On April 10, Linda Ronstadt joins the class of the Rock and Roll Hall of Fame – an honor that was certainly not needed to acknowledge Ronstadt’s place as among the top vocalists of her generation, but a welcome and long-overdue honor nonetheless. Two days earlier, Rhino celebrates the career of the versatile artist with the release of Linda Ronstadt – Duets. Its fifteen tracks encompass performances alongside artists including Aaron Neville, Emmylou Harris, Don Henley, Frank Sinatra, James Taylor, Dolly Parton, James Ingram and others, including one previously unreleased recording with bluegrass musician Laurie Lewis.
Curated with the cooperation of Ronstadt and her longtime manager, John Boylan, Duets touches on the varied sides of Ronstadt the artist. Since her earliest days as a member of The Stone Poneys, she’s refused to allow herself to be pigeonholed in one genre. That inclination towards musical exploration has led her to treat the works of Gilbert and Sullivan, Rodgers and Hart, Warren Zevon, Lowell George, and Jackson Browne with the same kind of respect and innate understanding. The Rock Hall induction comes on the heels of the publication of Ronstadt’s memoir Simple Dreams and her sad announcement that Parkinson’s disease has left her unable to sing. Ronstadt has never completely fit in with the rock clique, despite having placed 38 singles on the Billboard Hot 100 (including ten that went Top Ten) and 36 entries on the album chart, including ten that reached the Top Ten there too, and three that hit the top spot!
Duets draws on a variety of sources spanning 1974 to 2006. A number of tracks show Ronstadt’s love of country music, including duets with her Trio partners Dolly Parton (1977’s “I Never Will Marry”) and Emmylou Harris (1974’s Grammy-winning “I Can’t Help It (If I’m Still in Love with You)”). Other tracks draw on the group of Southern California/Laurel Canyon rockers in which Ronstadt flourished commercially and artistically; Eagles’ Don Henley joins Ronstadt on the harmonies of Warren Zevon’s “Hasten Down the Wind,” and J.D. Souther sings on his own “Prisoner in Disguise.” James Taylor, who shared a producer with Ronstadt in Peter Asher and recorded many of his best works with that SoCal flavor, duets on a revival of the Ike and Tina Turner staple “I Think It’s Gonna Work Out Fine.” Ronstadt, whose three collaborations with Nelson Riddle remain among the finest expressions of her art, is heard on a couple of Great American Songbook standards via “Moonlight in Vermont” with Frank Sinatra from Old Blue Eyes’ Duets II project, and Irving Berlin’s “Sisters” with Bette Midler from Midler’s 2003 Rosemary Clooney tribute album produced by Barry Manilow.
Among the most successful tracks here are the Grammy-winning “Somewhere Out There” written by Barry Mann, Cynthia Weil and James Horner for Don Bluth’s 1986 animated film An American Tail, on which Ronstadt duets with James Ingram, and two tracks with New Orleans’ legendary Aaron Neville from their joint album Cry Like a Rainstorm, Howl Like the Wind. “Don’t Know Much” reunited Ronstadt with Mann and Weil, this time writing with Tom Snow. The song had been performed previously by Mann, Bill Medley, Bette Midler, Glenn Jones and even Dallas actress Audrey Landers, but Ronstadt and Neville took it all the way to No. 2 Pop/No. 1 AC in 1989, also picking up a Grammy for their trouble. “All My Life,” written by Karla Bonoff, won yet another Grammy, and though it barely missed the Pop Top 10 at No. 11, it also topped the AC chart. Ronstadt had been an early champion of Bonoff’s songs, recording three of them on 1976’s Hasten Down the Wind. The three most recent tracks on Duets hail from what will likely remain Ronstadt’s final studio album, Adieu False Heart with Cajun music singer Ann Savoy, including a cover of the Left Banke’s 1966 hit “Walk Away Renée.”
After the jump: more on Duets, including the complete track listing and pre-order links! Read the rest of this entry »