Linda Ronstadt – Hasten Down The Wind (Ultra Analog, Half-speed Mastering)
Prix habituel
€189,00
Les vinyles dit "Rarissime" ne peuvent pas être échangés car ce sont des exemplaires uniques d'éditions épuisées.
En cas d'endommagement, les vinyles Rarissimes sont remboursés - après retour - mais ne peuvent être échangés contre un autre exemplaire.
DELAIS MOYEN D'EXPEDITION : 2 A 4 JOURS OUVRES
Délais de livraison variables suivant les pays de destination
La TVA est incluse dans le prix pour les pays de l'Union Européenne, et ajustée sur la base du pays de destination au moment du paiement.
L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.
ORDER LIMITED TO ONE ITEM PER CUSTOMER
Linda Ronstadt – lead vocals, backing vocals (A1-3, B2, B6), handclaps (A4) [click here to see more vinyl featuring Linda Rondstadt]
Karla Bonoff – backing vocals (A3, B6)
Wendy Waldman – backing vocals (A3, B6)
Don Henley – harmony vocals (A6)
Herb Pedersen – backing vocals (B2)
Pat Henderson – backing vocals (B3), choir vocals (B5)
Becky Louis – backing vocals (B3), choir vocals (B5)
Sherlie Matthews – backing vocals (B3), choir vocals (B5)
Gerald Garrett – choir vocals (B5)
Jim Gilstrap – choir vocals (B5)
Ron Hicklan – choir vocals (B5)
Clydie King – choir vocals (B5)
Bill Thedford – choir vocals (B5)
Andrew Gold – acoustic piano (A1, A6, B3, B5-6), organ (A1, A3), ARP String Ensemble (A1, A3), acoustic guitar (A1, A3, B4), finger cymbal (A1, A3), backing vocals (A1, A2, A4, B1, B2), electric piano (A2, B2), sleigh bells (A2), handclaps (A2), electric guitar (A4, B3), bass guitar (A5), harmony vocals (A5), tambourine (A6), lead guitar (B2), rhythm guitar (B2), cowbell (B2), clavinet (B6)
Clarence McDonald – acoustic piano B4)
Dan Dugmore – electric guitar (A1-2, B5-6), steel guitar (A5, B2-4)
Waddy Wachtel – electric guitar (A3-4, A6), acoustic guitar (A5), "reggae" lead guitar (B2)
Kenny Edwards – bass guitar (A1–4, A6, B2-6), backing vocals (A1-2, A4, B1), mandolin (A2), string arrangements (A2), acoustic guitar (A5), harmony vocals (A5)
Mike Botts – drums (A1-2, A4, B2-6)
Russ Kunkel – drums (A3, A5-6)
Peter Asher – handclaps (A2), shaker (A2, B2), tambourine, (A2-3), wood block (A4), cowbell (B2), backing vocals B2)
David Campbell – string arrangements and conductor (A1-2, A6, B3, B6)
Charles Veal – concertmaster (A1, B3, B6), violin (A2), viola (A6)
Dennis Karmazyn – cello (A1, A6, B3, B6)
Ken Yerke – violin (A2)
Richard Feves – double bass (A6)
Paul Polivnick – viola (A6)
1 LP, gatefold jacket
Limited numbered edition
Original analog Master tape : YES
Half-speed Mastered
Gain 2™ Ultra Analog
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12”
Stereo
Studio
Record Press : RTI
Label : MOFI
Original Label : Asylum
Recorded March 1976 at The Sound Factory, Hollywood by Val Garay
Mixed by Val Garay at The Sound Factory, Hollywood
Produced by Peter Asher
Mastered by Rob LoVerde at Mobile Fidelity Sound Lab
Originally released in August 1976
Reissued in 2009
Tracks:
Side A:
- Lose Again
- The Tattler
- If He's Ever Near
- That'll Be The Day
- Lo Siento Mi Vida
- Hasten Down the Wind
Side B:
- Rivers of Babylon
- Give One Heart
- Try Me Again
- Crazy
- Down So Low
- Someone To Lay Down Beside Me
Awards
1977 Grammy Award for Best Pop Female Vocal Performance
Reviews:
“This is Linda Ronstadt’s tenth album (including the three made with her first group, the Stone Poneys). While it is certainly not in a league with her masterpiece, Heart like a Wheel (and I’m beginning to believe its perfection occurs but once in an artist’s career), Hasten down the Wind is nonetheless representative of Ronstadt redivivus, of Ronstadt, the sensitive, introspective stirring we have admired all these years.
Aside from the inclusion of two innocuous songs — “Lo Siento Mi Vida” and Karla Bonoff’s “If He’s Ever Near” — the album’s problems are fairly well exemplified by the totally wrongheaded interpretation of the Warren Zevon-penned title song, which delineates the chilling tale of a lover’s indecisiveness. In the original version, stinging, venomous guitar lines plus ethereal guitar solos accentuated Zevon’s weary vocal. Here, strings and Andrew Gold’s impersonal piano accompaniment take the song all the way out of the danger zone, and Ronstadt’s carefully articulated, stodgy vocal belies her misunderstanding. When she is joined on the chorus by Don Henley (of the Eagles) the impact of the song’s touching and mystifying lyric is completely blunted by the beauty of the harmonizing.
The album’s only other major mistake is John and Johanna Hall’s “Give One Heart,” one of the worst songs — reggae or otherwise — I’ve heard. Orleans couldn’t salvage it, nor can Ronstadt. No amount of sweetening can rescue lyrics as inane as “That’s the paradox of I love you” or “If your baby loves you right/You can have skyrockets any old night.” A rock & roll bridge has been punched up, which only makes things worse by forcing a scream from Ronstadt as she tries to move up the scale. Worse still, one verse of an immaculately beautiful reggae song, “Rivers of Babylon,” is ruined by being used as a prelude to “Give One Heart.”
Otherwise the album is in good shape. And in a few instances it’s as good as anything Ronstadt has done.
I’ve always appreciated Ronstadt’s good-natured approach to her remakes of rock ‘n’ roll oldies. The version of “That’ll Be the Day” included here neither alters my feelings for nor threatens the Buddy Holly original. Her reading could be tougher, but the music behind it — particularly the solo sparring between guitarists Andrew Gold and Waddy Wachtel — has enough bite to overcome the vocal shortcomings.
Ry Cooder’s “The Tattler” is one of the album’s two gems. Swirling electric piano figures and a barely audible mandolin establish an irresistibly exotic ambiance. Ronstadt’s interpretation is extraordinarily subtle, sly and witty. She sounds at peace with herself as she sings of foolish lovers who don’t take the time to discover love’s true meaning. She doesn’t battle the instruments; she doesn’t strain for high notes. She simply allows the beauty of this well-structured song to speak for itself.
Ultimately, there is the Ronstadt-Gold song, “Try Me Again.” As in “Love Has No Pride” and “Long Long Time,” something precious is at stake here. The song’s theme summons from Ronstadt myriad emotions; midway through the first verse, she is befuddled — not yet wanting to admit what is going on in her life:
Lately I ain’t been feelin’ right
And I don’t know the cure, no
Still I can’t keep from wonderin’
If I still figure in your life
Realization and abject resignation in the second verse turn into frustration by the third (“When you say you tried/And you know you lied/My hands are tied”), which elicits the final, desperate plea of the title.
Near the end of the song, Gold hammers out angry piano chords beneath Dan Dugmore’s sorrowful steel guitar lines, then comes back with a powerful guitar solo that is the instrumental topping for the quintessential Ronstadt performance.
Willie Nelson’s “Crazy,” an inspired choice, follows. After the tumult of “Try Me Again,” “Crazy” is rather a boozy coda; a “what the hell, you gotta give love a try” barroom ballad that is lighthearted and loose enough for Ronstadt to falter on the last line without destroying the mood.
This isn’t Heart like a Wheel. But it is, despite its flaws, a fine album that begs closer inspection than, I fear, many of us are willing to give to Linda Ronstadt’s art. Like the best moments of the preceding nine, though, the best moments of Hasten down the Wind will be with us a long, long time.” David McGee, September 1974
“Again, Linda Ronstadt repeats her slick, Californian pop/country-rock formula on Hasten Down the Wind. When the material is first-rate -- such as "That'll Be the Day" or "Crazy" -- Ronstadt's performances are terrific, but on the subpar songs -- such as the three Karla Bonoff numbers -- she's dragged down with her material.” AllMusic Review by Stephen Thomas Erlewine
Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.
Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.
Ratings :
AllMusic : 3 / 5 , Discogs : 4.09 / 5