Linda Ronstadt and Aaron Neville - Dating, Gossip, News, Photos
LINDA RONSTADT: (Singing) Feeling better now that we're through, feeling better .. It's just that I am not in the market for a boy who wants to love only me. . what I, you know, how I was feeling about my life and my relationships. .. I mean, the tenors - I sang with Aaron Neville, Smoky Robinson, Placido. Linda Ronstadt has the sort of voice that will allow her to sing anything , pairing Ronstadt with 12 other estimable artists: Aaron Neville. Linda Maria Ronstadt (born July 15, ) is an American retired popular music singer known Her duet with Aaron Neville, "Don't Know Much", peaked at number 2 in .. Ronstadt's professional relationship with Asher allowed her to take .. rehabilitate an idea of pop that Beatlemania and the mass marketing of rock LPs.
Backstage at a concert in Texas, Chris Hillman introduced her to Emmylou Harristelling them, "You two could be good friends",  which soon occurred, resulting in frequent collaborations over the following years. Meanwhile, the album became Ronstadt's most successful up to that time, sellingcopies by the end of Asher attributed the long-term success of his working relationship with Ronstadt to the fact that he was the first person to manage and produce her with whom there was a solely professional relationship.
Buddy Hollyreleased September 6,on which Ronstadt's version of Buddy Holly's " That'll Be The Day " appears among newly recorded versions of Holly's songs by various artists.
And that's how I attack vocals. Many of these rhythms and sounds were part of her Southwestern roots. However, as early asRonstadt was being criticized by music "purists" for her "brand of music" which crossed many genres. Country Western Stars magazine wrote in that "Rock people thought she was too gentle, folk people thought she was too pop, and pop people didn't quite understand where she was at, but Country people really loved Linda.
Ronstadt's natural vocal range spans several octaves from contralto to sopranoand occasionally she will showcase this entire range within a single work. Ronstadt was the first female artist in popular music history to accumulate four consecutive platinum albums fourteen certified million selling, to date.
As for the singles, Rolling Stone pointed out that a whole generation, "but for her, might never have heard the work of artists such as Buddy HollyElvis Costelloand Chuck Berry. You exorcise that emotion When interpreting, Ronstadt said she "sticks to what the music demands", in terms of lyrics. And I had to do them both in order to reestablish who I was. With this in mind, Ronstadt fuses country and rock into a special union.
Along with other musicians such as the Flying Burrito BrothersEmmylou HarrisGram ParsonsSwampwaterNeil Youngand the Eaglesshe helped free country music from stereotypes and showed rockers that country was okay. However, she stated that she was being pushed hard into singing more rock and roll. In many instances, her own interpretations were more successful than the original recordings, and many times new songwriters were discovered by a larger audience as a result of her interpretation and recording.
Ronstadt had major success interpreting songs from a diverse spectrum of artists. Ronstadt's interpretation peaked at number 2 on the country chart. The album itself was nominated for the Album of the Year Grammy. Rolling Stone put Ronstadt on its cover in March It was the first of six Rolling Stone covers shot by photographer Annie Leibovitz. It included her as the featured artist with a full photo layout and an article by Ben Fong-Torresdiscussing Ronstadt's many struggling years in rock n roll, as well as her home life and what it was like to be a woman on tour in a decidedly all-male environment.
It was climbing the pop and country charts but Heat Wavea rockified version of the hit by Martha and the Vandellaswas receiving considerable airplay. The album featured a sexy, revealing cover shot and showcased Ronstadt the singer-songwriter, who composed two of its songs, "Try Me Again" co-authored with Andrew Gold and "Lo Siento Mi Vida". It also included an interpretation of Willie Nelson's ballad " Crazy ", which became a Top 10 Country hit for Ronstadt in early At the end ofRonstadt surpassed the success of Heart Like a Wheel with her album Simple Dreamswhich held the number 1 position for five consecutive weeks on the Billboard chart.
Simple Dreams spawned a string of hit singles on numerous charts. Simple Dreams became one of the singer's best-selling international-selling albums as well, reaching number 1 on the Australian and Canadian Pop and Country Albums charts.
The same year, she completed a concert tour around Europe. As Country Music magazine wrote in OctoberSimple Dreams solidified Ronstadt's role as "easily the most successful female rock and roll and country star at this time. The Rolling Stone cover story was accompanied by a series of photographs of Ronstadt in a skimpy red slip, taken by Annie Leibovitz.
Ronstadt felt deceived by the photographer, not realizing that the photos would be so revealing. She says her manager Peter Asher kicked Leibovitz out of the house when she visited to show them the photographs prior to publication. Leibovitz had refused to let them veto any of the photos, which included one of Ronstadt sprawled across a bed in her underpants.
But I wouldn't choose to show a picture like that to anybody who didn't know me personally, because only friends could get the other sides of me in balance. Asher noted, "Anyone who's met Linda for 10 seconds will know that I couldn't possibly have been her Svengali. She's an extremely determined woman, in every area.
To me, she was everything that feminism's about. Living in the USA was the first album by any recording act in music history to ship double-platinum over 2 million advance copies. At the end of that year, Billboard magazine crowned Ronstadt with three number-one Awards for the Year: Ronstadt continued this theme on concert tour promotional posters with photos of her on roller skates in a dramatic pose with a large American flag in the background.
By this stage of her career, she was using posters to promote every album  and concert — which at the time were recorded live on radio or television. Ronstadt was also featured in the film FMwhere the plot involved disc jockeys attempting to broadcast a Ronstadt concert live, without a competing station's knowledge. Ronstadt was persuaded to record "Tumbling Dice" after Mick Jagger came backstage when she was at a concert and said, "You do too many ballads, you should do more rock and roll songs.
I didn't have a trace of stage fright. I'm scared to death all the way through my own shows. But it was too much fun to get scared. He's so silly onstage, he knocks you over. I mean you have to be on your toes or you wind up falling on your face. The biggest stars are male, and so are the back-up musicians Janis Joplinthe first great white woman rocker, rattled the bars ByRonstadt had collected eight gold, six platinum, and four multi-platinum certifications for her albums, an unprecedented feat at the time.
Her Greatest Hits album would sell consistently for the next 25 years and in was certified by the RIAA for seven-times platinum  over seven million U. InGreatest Hits, Volume 2 was released and certified platinum. There is a new royalty ruling today's record charts. And so he hadn't thought of himself as a singer, but we just put the harmonies together. We just kind of fit them together, and sort of like throwing against the wall, you know, and see if it stuck.
All right, so this is Linda Ronstadt with the Stone Poneys, the first album that they released. Singing Look out your window, the rain is turning into snow.
So the time has come, you know. You must decide to stay or go. Oh, how you love me, sweet summer blue and gold. Will you stay with me, long winters gray and cold? Singing Go, love, open up the door. You'll see the winds aren't warm anymore. The birds we heard all summer long were chased away by winter storm. And Linda Ronstadt has a new memoir, which is called "Simple Dreams: Was that the direction you were heading in? Well, that's what we came from, you know. That's - on the radio in those days, the radio was so wide open, you could hear a jazz song, the Singing Nun, a country song, and, you know, Peter, Paul and Mary, you know, doing sort of what was considered commercial folk music.
And we heard a lot of that stuff, and we were really influenced by it, you know, that kind of finger-picking guitar style and stuff like that. So that's what we were chasing then. You got a manager, and your manager thought you should really be, like, the soloist.
He wasn't that hot on the band, but he liked you, and thought he could really promote you. And then you're ready to record "Different Drum," and you show up to the studio, and, like, your band's not there.
Linda Rondstadt and Aaron Neville
It's these different musicians. Tell the story of what happened. Well, originally, we had recorded - I had heard it, it was a song called "Different Drum. And I thought it was a really strong piece of material. I thought it was a hit.
But I wanted to record it in a folky way. So we recorded it with a guitar and a mandolin. And, of course, you know, the record company didn't like it. And they said, well, we want to do it again, but we're going to get a different arrangement. And I had no idea there was going to be all these musicians. It turns out they were all good players. Don Randi was playing. Jimmy Gordon was the drummer, a wonderful drummer. Don Randi was playing harpsichord.
Yeah, Don Randi was playing harpsichord, and he played piano. So I was just shocked. And when they played the arrangement, I didn't know how to fit the phrasing in. I didn't - it suddenly wasn't the way I was used to singing it.
So it really knocked me off my stride. And I think we went through it twice, and we kept the second take. And that was it, you know, me sort of going I know how to do this now. And it was a hit. You know, what was I supposed to know? I mean, I was just shocked. I didn't want them to use it, because I felt like I was struggling so with the singing, and I thought that showed, you know, so clearly. But it was a hit. So when they put it out, that was a lucky thing for me that they didn't listen to me.
So this is my guest Linda Ronstadt, "Different Drum," Singing You and I travel to the beat of a different drum. Oh, can't you tell by the way I run?
Every time you make eyes at me. You cry and moan and say it will work out, but honey child, I've got my doubts. You can't see the forest for the trees. Oh, don't get me wrong. It's not that I knock it. It's just that I am not in the market for a boy who wants to love only me. Singing Yes, and I ain't saying you ain't pretty. All I'm saying, I'm not ready for any person, place or thing to try and pull the reins in on me. So goodbye, I'll be leaving. I see no sense in this crying and grieving.
We'll both live a lot longer if you live without me. That's Linda Ronstadt, recorded ina big hit for her, "Different Drum," her first big hit. Did you believe in the lyric about not wanting to be tied down or monogamistic? Like, did that describe you? Well, I didn't want - yeah. Never been married, right? No knack for it. You know, I think that the culture supports serial monogamy, and I think I had plenty of that.
And I think I was reasonably monogamous in a serial way. But I'm not a good compromiser. I think I don't have a knack for the kind of compromise - I admire people's marriages, and I think it's a wonderful thing to have.
But I don't think it's the only way to live. I think there are many ways to live, and many ways to establish intimate support in your life that can be from family or friends or a great roommate that you like, you know. It doesn't have to be somebody you're sleeping with. I figured that out pretty early on, and that was sort of how I felt.
I was trying to sing. I was never trying to get married. Speaking of figuring out, you write in the book about how you had to figure out your image. Female performers in the folk-pop genre were genuinely confused about how to represent themselves. Did we want to be nurturing, stay-at-home Earth mothers who cooked and nursed babies?
Or did we want to be funky mamas in the troubadour bar, our boot heals to be wandering an independent course like our male counterparts? So, where did you see yourself fitting in between, like, the funky mama and the Earth mama? Well, I didn't really fit in there. I was raised to, you know, to a wear hat and gloves and polish the silver, and it wasn't the way I was quite raised.
So I was a little bit confused by it. But I was also raised out in the country, you know, where we were sort of rough-and-ready child. I was kind of right out there on my own, rolling around in the desert. So I had a little bit of both. And my mother, there was nothing pretentious or fussy about my mother, but she had had a very nice upbringing, a very privileged upbringing, and she liked to keep the rules sort of, you know, where we lived, way out in the wilderness in Tucson in the desert, which was pretty uncivilized compared to what she'd grown up, you know, having.
Linda Ronstadt will be back in the second half of the show. Her new memoir is called "Simple Dreams. I'm Terry Gross back with more of our interview with Linda Ronstadt. Her memoir "Simple Dreams" was published in September. Ronstadt had her first hit in with the song "Different Drum. Last August, Ronstadt revealed that she has Parkinson's disease, and that the disease has left her unable to sing.
When we left off, we were talking about her difficulty figuring out her public image early in her career, when she knew she didn't quite fit into the time's popular images of the Earth Mother or the Funky Mama. I remember the rumor about Janice Joplin was - and I don't know if you heard this because you were in the music industry, so - and you actually knew her, but at a distance Not well, but I knew her little bit.
But at a distance, when like all of her fans were preparing for like the concert, you know, in the college auditorium, like the rumor that went around was like Janis Joplin got so deep into the sexuality of her songs that she actually reached orgasm on stage. Well, I never heard that. I doubt that was true, but I've never personally had that experience myself, but But did you feel like you have to compete with that kind of image and that kind of like level of sexuality that people projected onto her?
I think competition is for horse races and I never thought it belonged in art. And I never felt that competitive with other girl singers, really. If I really admired them, I'd try to figure out a way - if it was appropriate, to figure out a way - to sing with them.
You know, I liked Maria Muldaur when I first started out. Now, there was somebody that was really sexy on stage. And, in fact, Janice just admired her too, she loved her. And I got to sing with Maria little bit. It was really fun. We did some harmonies together. But mainly when I ran into Emmylou Harris, that was it. You know, we could finish each other's sentences musically, and personally too. We have a very shared, similar sensibility, and that was a friendship that really opened up a tremendous number of musical doors for me.
I love the way you write about first hearing her. That, you know, you loved her singing so much, and the songs that she was singing were the songs you'd wanted to be able to sing, if you record company had let you. And just like that, if I could. And you said you had a choice. You could either just be like really jealous or meet her and try to sing with her, and you chose to meet her and sing with her.
I like that story. I remember that so clearly. It was just like running into a glass wall at miles an hour. I just went, oh my god, it was like a slap in the face, you know, and I thought, OK, I can get jealous here or I can just love this person and admire her and just go with it and see what I can learn.
And it was just a split second, but I made that decision and it was - I never looked back. It was the best decision I ever made. You have a few stories in your new memoir about being propositioned by men who assumed hey, it's a hippie chick singer, free love. For example, the time when a producer of a TV show that you were doing, you were a guest on the show. He came into your room on the premise that you had to talk about business, and he immediately like stripped off all his clothes.
He took all his clothes off. I was so shocked because I'm really kind of modest, you know, I had a Catholic school upbringing and we just didn't see a lot of naked bodies. And this guy, I'm telling you, was not the Adonis of show business. He was kind of There was something really kind of exhibitionistic and self-hating about what he was doing. I felt sorry for him. I mean it was - clearly he was so troubled. But, you know, he had the power and I didn't have any. And so I just kind of edged to the door and edged to the door and then I just went out the door.
You know, and I didn't come back for a couple of hours, I went and sat in the lobby. And I was so bored and I was so mad down there sitting in the lobby, but - because I wanted to go to bed, but I was just afraid to go back to my room. And in those days, you know, when you were kind of low man on the pecking order, or low woman on the pecking order, you didn't dare go and complain.
I called my manager and he said don't say anything because, you know, they might kick you off the show. I mean you did the show, so So while we're talking about this kind of stuff, I thought this was hysterical.
Inyou perform at Disneyland. And the contract stipulated that you had to wear a bra and your skirt had to be a certain number of inches from the ground when you were kneeling. Which led me to wonder Not very many inches. They seemed, so your skirt had to be long enough. Had they seen your act and known that, well, sometimes you don't wear a bra and that you kneel in your show? They just, that was just the rules, that if you wanted to work for Disneyland, you And I was laughing.
I was going to put the bra my head, you know, it didn't say in the contract. But I really needed to get paid. They paid really well at Disneyland, that's why we did those silly gigs. But, you know, they always have these silly laws. I think they were a very uptight organization.
In your memoir you write about how when you found the song "Heart Like A Wheel," the Anna McGarrigle song, which she sang with her sister Kate, that that song rearranged your entire musical landscape. First, let's start with why did you musical landscape need rearranging?
In Memoir, Linda Ronstadt Describes Her 'Simple Dreams' : NPR
Well, I'd come from this kind of sensibility. My grandfather loved opera, he loved "La Traviata," that was his favorite opera, that's my favorite opera. And he had this kind of, you know, arty, refined sensibility, but he also loved traditional music and he loved Mexican music, he was really passionate about that. So, and the same with my father, you know, he liked those things too. So the McGarrigles kind of married this incredibly traditional sort of refined aesthetic with, you know, just telling it like it is - sort of straight out, no bones about it the way they talk about stuff.
And it was just this unabashed sentiment. They were unafraid of female sentiment. And I don't know, there's something in the water up there in Canada because my favorite writers are the McGarrigles sisters, Leonard Cohen, Neil Young, Gordon Lightfoot - oh my god, what a great ballad writer - Joni Mitchell.
I mean, you know, they're just, they're completely unique great writers. And in a lot of ways they're falling in the tradition of what it would be called art song. And that's what I was seeing with the McGarrigles. I thought, I didn't know what to call it then but I just knew it was different from folk music and it wasn't the same as rock 'n roll. It wasn't, there was no place for it in pop music on the charts, but I wanted to sing it because it told my story exactly how I felt at the time about what I, you know, how I was feeling about my life and my relationships.
And I just had to sing it. And I tried it for a couple - and I sang it for couple of different guys. And, you know, my manager at the time, he said, oh, that's just too corny. You know, nobody's going to want to listen to that. And the record company wasn't interested in it. They said, oh, that's not a hit, they'll never play that on the radio.
So I just kind of, it sort of hurt my feelings on behalf of the song, and I sort of folded it up and tuck it in my pocket. And then one night before we were going to play Carnegie Hall, and the night before I was rehearsing with my piano player, Andrew Gold, and he had learned the song some other place. I don't know where he had learned it. And he was just playing the introduction to it.
I said, I know that song, let's do it. So I sang through it and, of course, you know, I knew all the words and everything and I said let's put it in the show.
And we put it in the next night at Carnegie Hall, got a huge response. So that was how I won with that song, I just kept trying, you know. Well, it ended up being the title track of a album.
Don't Know Much
Singing Some say the heart is just like a wheel. When you bend it, you can't mend it. But my love for you is like a sinking ship and my heart is on that ship, out in mid-ocean.
Singing When harm is done no love can be won. I know it happens frequently. What I can't understand, oh please God, hold my hand. Why it had to happen to me? Singing And it's only love, and it's only love that can break a human being and turn him inside out. Well, they weren't - I just didn't think they really got who I was, and I mean to their credit, how could they know?
Because I was still shaping who I was. I was morphing into something. It took me 10 years to learn how to sing, really, and to figure out, you know, who I was stylistically. So, but I had always loved Hank Williams, and I had always loved his country songs. And I could play them on the guitar because there were three chords. And I liked singing them and they were good harmonies and they were great sentiment. So - and again, I had this manager that said, oh, that's too country for rock and too rock for country; you'll never sell any records, you know.
But I liked those songs, so I sang them. Let's take a short break here, then we'll talk some more with Linda Ronstadt. She has a new memoir about her singing career called "Simple Dreams. You wanted to sing songs like Sinatra and Rosemary Clooney had recorded. And you wanted to do it with Nelson Riddle And you were lucky enough to actually record three albums with him. So let's go back for a moment. How did you first know the American Song Stan Book?
I'm glad that was you and not me. I heard it on the - first on the Victrola and then on the big hi-fi monaural record player that my father brought home in the '50s. He brought it home with a bunch of records. He brought Louis Armstrong and Ella Fitzgerald, duets that were just fabulous. There were a lot of people that could, really knew how to sing that stuff, and those were brilliant songs. They're just, they're, if - I think that if the American - what the United States gave to world culture at large - especially in the 20th century - was the American popular song, and it was a wonder to behold.
The title of the album is "What's New. What spoke to you about that song? Well, I'd had experiences like that, where you run into an old boyfriend that maybe you're still carrying a little torch for and, you know, you see him and it just kind of brings back all those old feelings and you have a brief little encounter with him on the street and you go on by like nothing ever happened and it's kind of a devastating experience.
And that song just describes it in very subtle innuendos, you know, it doesn't, it's not instructive. It doesn't say this is what happened, the story, the story, the story. It just kind of supplies these little details and you put the story together yourself - like a good arguing, like a good trial lawyer. This is Linda Ronstadt from her first album of standards. The album is "What's New. How is the world treating you? You haven't changed a bit.
Handsome as ever, I must admit. How did that romance come through? We haven't met since then. Gee, but it's nice to see you again. That's Linda Ronstadt from her first album of standards, which was called "What's New," and the first of three albums in which she collaborated with the arranger Nelson Riddle.
Did you, do you feel like you learned things about music or about, you know, how singing fits in with an arrangement by working with Nelson Riddle? Well, I learned a tremendous amount. I mean I told Nelson in the beginning, I had the chutzpah to tell him I needed a really custom fit and that I liked to be involved in the way the arrangements were set. I didn't kid my, you know, I can do simple arrangements myself. I've done some very simple string writing and some very simple - and I can do pretty complicated harmony arrangements.
But I knew that I was way over my head with anything like this. And he was one of the great masters of the style, if not the great master for pop music.
So - but I said I wanted a custom fit. So he came over to my house in the morning and we would go through things. And he's the only person I ever let - allowed him to correct me on a key. Like I'd usually pick the key out of the air and every once in a while he'd say, no, it'd be better if you moved it up a little bit or down a little bit.
And he'd always be right. But, you know, I remember in one song I asked for a modulation, you know, just to kind of brighten up the arrangement and give it a little - keep it from getting too boring, you know? And he said, oh, I can do a trick. He said I can modulate - modulation usually modulates it up to a higher key and it brightens. He said I'll give it - I'll modulate to a lower key. And it gave it this incredible mood shift, you know? I was just always floored by the things that Nelson came up with and he always had a real reason for however he cast his arrangements.
The woodwinds would have a certain place in the mix. You know, it would be just supporting something or they'd be speaking out more prominently or the strings would be in the background, they'd be speaking out more prominently.ALL MY LIFE, AARON NEVILLE & LINDA RONSTADT
He always knew actually where to cast the instruments so that they supported the story and illustrated the story. He - Nelson Riddle died while doing the arrangements for your third album together. That must've been devastating. It was devastating because there was only one Nelson Riddle. They don't make any more like him. And, you know, it was the end of an era in a certain way. And we still had one track to record after he died and we did.
Musicians were crying in the orchestra because they all loved Nelson. You know, he'd given them so much work over the years and he appreciated what, you know, what their abilities were. And his son was also playing in the trombone section. It was pretty tough that day.