THIS BLOG IS ABOUT 7" RECORDS ONLY. YOU CAN NEVER HAVE TOO MANY. EVERY SONG IS CONVERTED TO MP3 FROM MY PERSONAL 45 COLLECTION, AND THERE'S NOT ONE THAT I WOULDN'T RECOMMEND YOU SEEKING OUT. ANY COPYRIGHT HOLDERS WHO DON'T WANT THEIR MUSIC HEARD HERE JUST LET ME KNOW, AND DOWN IT WILL COME. CLICK ON ANY IMAGE TO ENLARGE.
Somehow, this B side got a lot of play on both of our Syracuse Top 40′s: WOLF and WNDR. A few singles down the line from ‘The Pied Piper’, it always looked like the story of a Top 5 was about to be repeated, yet ultimately never happened.
‘But She’s Untrue’, in hindsight, was distinctively very Everly Brothers. Those guys were a generation or two ahead of us and unbeknown to any teen then, their sound was very addictive to an untrained ear. Mix in a nice Joe Meek knockoff production and the resulting single becomes a memorable period piece.
Transports me right back to winter ’67 when this was inescapable. Can vividly recall walking back to school in blizzard-like conditions after lunch, ‘But She’s Untrue’ getting played literally everyday at 12:45…for weeks. A cold transistor radio clamped to my frost bitten ear. It was worth the suffering.
Listen: Ten Commandments From Woman To Man / Prince & Princess Buster Ten
The Sonny & Cher of Ska, or is it the other way around. Novelty call and response records were in grand abundance back in 60′s Jamaica. And the mere thought of a street tough wise ass boyfriend cowering when his lady, the true boss in the house, starts whomping on him was too great to resist, on record and most definitely in real life.
Please remember, this came out at a time when blistering acid blues guitar solos were still pretty new and defiant. Mix that up with a skinny, skinny, skinny albino, silky straight white hair, a bloodless complexion, blue velvet jacket and voila: recipe.
Having made a few tame, more traditional blues recordings for labels like Imperial, Johnny Winter signed to Columbia during their great late 60′s renaissance. A time period that saw Big Brother & The Holding Company, The Chambers Brothers, Moby Grape, Al Kooper and Pacific Gas & Electric added to it’s roster.
The first two Columbia albums were pretty much in that trad blues vein, a touch more electrified. The touring to support them included making the rounds of Fillmore type venues in the US.
By album three, Johnny Winter, the artist, became Johnny Winter And. By infusing more Little Richard style wildness and covering a handful of RnR standards, they band and idea blew up.
They were so powerful live, that for a short time, I’m not sure anyone could top them at their game. Despite being consistently out of tune on stage (a result of the mania specific to this live show), no one cared. It was a tornado of sound and action. You couldn’t take your eyes off them nor sit still.
JOHNNY WINTER AND LIVE became the time tested true documentation of that period. Definitely one of the most exciting live recordings in my collection. The mono 7″ excerpt of ‘Jumpin’ Jack Flash’ edits out the second solo, a real shame. Definitely check the full length for that. Meanwhile, a single, like the live show from which it came, has rarely been hotter.
’73 – ’74 London was in full swing Glam mode. Didn’t mean the tail end of Prog or country/boogie/blues rock had let go just yet though. Less fashion driven, although they all had their platform heels and tight velvet pants uniform down pat, you could say they were more bent on “good, solid, tasty music”. That description, lifted from a Melody Maker review of ‘Wheelin’ ‘n’ Dealin” will make you gag I know, but it’s kind of accurate.
I particularly liked all these B division bands, signed to majors yet still slogging around the London clubs, grasping for Monday/Tuesday nights at the Fulham Greyhound or Marquee, where yours truly worked picking up empty pint glasses for washing. Mind you, this was one of the greatest jobs I ever had. Would give up a lot to go back in time to do it all over again.
Sassafras had their beginnings that year, and played the Marquee a few times during my tenure, double billing with other Chrysalis acts like Wild Turkey and Bedlam mostly, as I recall it.
Not until ’75 did their career changer 7″ above see light of day…..yet I could swear they were playing it live for a while. Yes, a guilty pleasure here. I was a fan. It’s one of the bands that can conjure up mental, visual and even aromatic memories (beer stenched Marquee carpet, Cornish pasty dispenser, scotch eggs) of that great era.
Melvin Van Peebles was, actually still is, an actor, director, screenwriter, playwright, novelist and composer.
Yes, this music exists because he has the talent to take complete control and responsibility for all parts of the job as a film maker, even the soundtrack. There may be others that do that as well, I’m not sure.
This wasn’t something I realized at the time. By assumption, he was an other great from the Stax roster. Not until getting a reissue of his work several years ago, the advent of the cd had some benefits, did I learn the above.
I say it often, but still worth repeating here. This track is literally made for a jukebox. It’s the life of every party I’ve ever had.
Does being attracted to Moog synthesizers count towards becoming an early techno fan? Seems logical. Don’t recall which band incorporating said device caught my ear initially. Most likely Silver Apples or The Nice, with Curved Air on the list not far behind. ‘Back Street Luv’, that was the first song I managed to hear by them. And believe me, with it hitting #4 in the British charts, I was on the hunt for an airing.
Harry Fagenbaum, the Warner Brothers college radio rep on the Syracuse University campus, gave me a copy. It was part of a 45′s handful, the only other two I can recall were Deep Purple ‘Strange Kind Of Woman’ and Fleetwood Mac ‘Oh Well’. And the Ron Nagle BAD RICE album, which I no longer have. I’m kicking myself to this day for dumping that one.
Boy, did that little care package make my week, but it was not to continue. Harry was very stingy and cut me off. Never got another record from him. Which was really rather mean, and unwise considering the piles of promos I could have returned his way for years to come. Whatever….
Can I tell you how my eyes lit up the Sunday I opened a Syracuse Herald Journal to find an ad for the Emerson, Lake & Palmer / Curved Air concert in spring ’72. Countdown to the day began that very moment.
Even in the 70′s, it was still kind of exotic for a couple of English bands to make their way upstate. Curved Air pulled into town, still clothed in lavender and lime silk trousers, tight blouses, complete with shag hairdos, absolutely genius. In hindsight, the archaic Moog blurting away was rather funny, who knew at the time. We were in awe. Their musical trip through clumsily played classical bits, and singer Sonya Kristina basically barking her way up and down lyrics got a little much, but all was forgiven when ‘Back Street Luv’ closed the set. Some records can transcend you right back to a magical memory, and this is one.
Despite Denny Cordell cutting his teeth during the 60′s as producer of The Moody Blues, The Move, Beverley and Joe Cocker & The Grease Band, he seemed to take a nasty turn in the period that immediately followed. He set up shop in Los Angeles, forming Shelter Records. Other than issuing a few reggae singles in the States for Chris Blackwell (The Maytals, The Wailers), Denny pretty much shifted gears musically. To this Anglophile, he betrayed his own greatness, suddenly producing and/or releasing super Americana stuff like Phoebe Snow, JJ Cale, Mudcrutch…..and Leon Russell.
I despised everything about Leon Russell. I hated his country boogie blues singalongs, his clothes, his grey hair – every last thing about him. Mind you, I was hard core pro England. The Kinks were the ultimate, Glam was preferred, I was not a believer.
Isn’t it crazy how one’s tastes can change, or in my case, grow. Man, was I wrong about Denny and Shelter. Fast forward a decade, and I’m jonesing for every last act on that roster, catching up on filling in the record collection with the Shelter singles.
Leon Russell’s history ran way deeper than I originally knew, back to Phil Spector’s Philles days where he led his house band, and he performed in the TAMI show and was a regular on SHINDIG and….and….and. Check the writer’s credits on some of those Phil Spector B sides: Leon Russell. Seemingly overnight, I needed everything attached to his long, long discography of contributions.
Well there aren’t many things I like more than a UK A&M A label. All the busy conflicting fonts, the bright yellow label, the red ‘A’ and the onslaught of release date/time/publisher info (Reminder: click on any of the records pictured to enlarge). It became a quest to get all Denny Cordell / Shelter via UK A&M 7′s. Took years but now pretty much complete. One of the first to be issued back on the old 700 series: ‘Roll Away The Stone’.
Do you think Mott The Hoople ever listened to Leon Russell?
Now here’s some amazing information. Kitty Wells is 91, and has been married to husband Johnny for 73 years.
She’s released 35 albums and 90 singles. Check out some of her awards and achievements, they’re remarkable.
One of the most under appreciated of Kitty Wells’ releases came long after her star had settled to legend, in ’74. Phil Waldin, owner of Capricorn Records and at the time, extremely successful with his southern rock roster (The Allman Brothers Band, Wet Willie, The Marshall Tucker Band) decided to use his fortunate moment and pay tribute to her greatness with a recording deal.
With various members from the Capricorn roster, she recorded FOREVER YOUNG, from which ‘I’ve Been Loving You Too Long (To Stop Now)’ was released as the third single. Sadly out of step with both country and pop, the release underperformed and seems to get overlooked consistently.
A song often covered, this take on it is pretty unique. Who can possibly pass up Kitty Wells giving it a go.
‘It Should Have Been Me’, not surprisingly, has been covered a bunch, including by Gladys Knight & The Pips and most successfully, Yvonne Fair (see that post elsewhere on this blog). Just to quickly recap, the latter is a proper church style reading, all the more convincing via her gruff delivery. A true classic.
Little did I realize, Kim Weston’s first Tamla single was indeed the original version. Really nice find in Cleveland’s Beachland Ballroom record annex, you can imagine my eyes lighting up at the sight of it. There was a part of me that couldn’t get home fast enough to give this beauty a spin. Unfortunately, home at that moment was 460 miles east but luckily the shop’s customer turntable/headphone setup did just fine. What a surprise to hear Kim Weston sounding so unrefined, raspy, beautifully under produced, even shouty.
Word is she has a Detroit radio show. Good thing I didn’t know that when I was there. I’m a Kim Weston stalker.
Between all the Parliament / Funkadelic releases, I must admit confusion. I do believe this was their debut single, and if not, certainly an early contributor to launching their tidal wave of output duiring the 70′s.
Vividly recall hearing ‘I’ll Bet You’ for the very first time through the PA at a Sly & The Family Stone concert. What was that! The low end was so dirty. The overall boom of the track dwarfed the songs each side of it. I just asked everyone around me if they knew it. No luck.
Out of desperation, I timidly approached the soundboard, hoping the mean looking character behind it might know. Luckily, fate was on my side. He did, and was rather impressed that a little white kid would even be interested. It was, by the way, the moment I discovered what a good view standing at the mix desk could offer. It’s become my preferred spot through the years. Learn something everyday.
I marched in to Walt’s Records on Salina Street after school the very next afternoon and landed my deep groove pressed copy. Sounds as thunderous now as it did that very moment coming through the PA at the Syracuse War Memorial.
Don’t even bother to ask me how it sizzles in a Rock-Ola or Seeburg.
A great host never lets you down. Not in Glasgow more than a few hours, Lindsay Hutton has Corinne and I in a record shop. I was happy, she was not. It was after all, our first time there and she wanted to see some classic old buildings. Some history. For fuck’s sake alright, give me ten minutes.
Slavishly, I had to make it quick. My fingers did the walking through the newly arrived 7″ bins – and fast. Mostly indie rubbish. One particular record stood out. Obviously, the sleeve helped. Even though in ’89, seems everything had acid in the title, ‘I Sit On Acid’ looked tacky and sleazy. I was in.
Can clearly recall every lip back at Lindsay’s place curled with the mere suggestion of playing it. So not until arriving home in New York did the single even get a spin. Verdict: Nice gamble, great payoff, and on a 7″.
In it’s day, ‘I Sit On Acid’ pushed every envelope. Genius intro and a good sick grind. Within a year, Lords Of Acid were getting so much local club play, it was simply impossible to avoid the track regardless of where you went. Not a problem, the longer the version, the better.
Both Praga Khan spinoffs, only later did I figure out they were one in the same with Digital Orgasm, their rave alter ego. Deservedly, a perfectly legal license to print money.
With Berry Gordy’s sister Gwen, Billy Davis started Anna Records in ’59, and later the Checkmate label in ’61. Both were distributed by Chess and one of their first Anna signings were The Voice Masters, whose various members took the lead vocal, depending on the track. Ty Hunter was one, as were David Ruffin and Lamont Dozier.
That web and family tree is all tangled but in a good way. Simultameously, Ty Hunter released singles for each imprint, and had moderate RnB success.
When Gordy/Davis eventually sold the masters of both imprints to Chess, Ty Hunter continued as a solo artist for that label, and released a handful of 7′s. None were hits, but years later became in demand. He’s seldom name checked in the history of RnB/Soul but the purists among us had been well aware for years.
The one Chess release of his that eluded me until now, ‘Bad Loser’, became a jaw dropping Sunday morning rummage sale find. ’tis that season again.
Like Hi, Motown, Stax etc, each company’s entire roster seems to have played, recorded, written and produced each other. Noticing Bo Diddley co-wrote this B side, I can’t help wondering, is that him on the bv’s, did he play on it, was he there?
After Ty Hunter’s run with Chess ended, he joined The Originals in ’71. Signed to Motown, and with Marvin Gaye producing some of their intital hits, they continued to have a decent run of US RnB chart entries. Ty Hunter finally got some deserved recognition – it only took fifteen years or so.
When, of all people, Mort Shuman wrote ‘Machines’, I wonder did he intend it to sound like this. Given that this and Manfred Mann’s versions are all drums and bongos and such leans towards a “yes”.
Lothar & The Hand People first and foremost had a killer name. Immediately uncomfortable sounding. On first look, you could’ve mistaken them as one of the San Francisco bands, which indeed I did for a while. Being on Capitol Records blindly reinforced the possibility, as the label seemed to lean west coast when it came to domestic signings. Indeed, the band were New York based, and who knows, may have stumbled on ‘Machines’ at The Brill Building. It’s possible.
Supposedly one of the first electronic rock bands to use Moog in the lineup, as with Silver Apples, seems they set the stage for Suicide a few years down the line. Lothar in fact refers to the band’s theramin as opposed to a member.
‘Machines’ got a lot of late night AM radio play summer ’68. All things were leaning underground, as the genre was called, and many of the major market Top 40′s were programming the sound of youth culture at night. Nowadays, US pop radio just swims as hard against that tide as possible.
It’s how I heard it – and only ever heard it via the transistor radio under my pillow until snatching a copy in a shoe store running some kind of tie-in with one of the local Top 40′s. Buy a pair, get a free single. I was having none of that. Sweet talked about fifteen 7′s out of a peer working the register.
Never liked Liverpool bands. No, that’s wrong. Never liked Merseybeat. I may be mixing up adjectives here though. Sorry Liverpool. Most of The Swinging Blues Jeans singles are good, particularly ‘Don’t Make Me Over’ and ‘Rumours, Gossip, Words Untrue’. They were Merseybeat, I guess. And if The Applejacks or The Cryin’ Shames fall into Merseybeat, then they shouldn’t.
A band that did get that Merseybeat tag were Brian Poole & The Tremeloes. Never followed them, yet once The Tremeloes lost Brian Poole, things got way more updated in keeping with the times. They co-existed alongside the formula pop The Love Affair and The Marmalade, which was fine by me.
It was surprising to hear their first few singles all over the US airwaves and see them in the charts. As time went by (’68 – ’70), the quality of releases stayed high, but the US airplay didn’t. Without reason or logic, The Tremeloes were forced into my ‘I’m pissed off these bands don’t get radio play’ column.
I could name a few of their singles that could have been, should have been. And I’m surprised Epic didn’t use their muscle to turn the momentum from downward to upward. But they didn’t.
‘(Call Me) Number One’ should have been just that. Great Mike Smith production and when the song delivered one more hook than most other songs can muster, another freaking one swings round at you. Try counting them yourself.
Listen: We Have Explosive (7″ Edit) / The Future Sound Of London FSOLExplosive.mp3
May ’97 in London had a few really rainy, cold days. You’d have sworn it was February. Perfect, just as England should be.
I know, I was there. I think it was a trip to hear the new Primal Scream album, maybe meet with them about releasing it through Columbia via Creation Records’ deal with us. And just by coincidence, The Cramps were playing two nights at The Astoria….just by coincidence. Working at major labels, where the entire senior staff were asleep at the wheel musically, did have it’s benefits.
‘We Have Explosive’ had peaked at #12 a few weeks earlier, and was still all over Radio 1. Can vividly remember shivering in Gary Crowley’s car, as he unsuccesfully atempted to coax heat out of the dashboad, on our way to Jakes from the Sony Building, via Marble Arch on a nasty day in nasty traffic, and this one lifting the mood 1000%.
Not only one of the best artist names ever, turns out FSOL were also tops at documenting a precise musical snapshot of that very moment in time.
She was on one of those fund drive, non profit shows, where you can get some 8 CD set of the ‘golden age’ for a $150 pledge, and then there were a bunch of other 60′s acts playing for a mummified audience to hawk the whole shabang.
The Association were on too. They sounded great, but ouch did they look awful.
Jackie DeShannon on the other hand, sounded and looked beautiful, classy, deservedly confident. Did all the hits, which sadly totaled two (‘What The World Needs Now Is Love’, ‘Put A Little Love In Your Heart’). In her day, she was churning out singles, for years really. Signed to Liberty and part of the now romantic LA record business which included Phil Spector and Jack Nitzsche, many times the songs were not her own.
There were a patch of Bacharach/David releases. Some were a bit over-written, too many parts, and not so memorable at the time (‘A Lifetime Of Loneliness’ comes to mind). This was never the case with those she had a hand in writing. Doesn’t matter, fact is, they all sound classic now.
Jim Lahat told me Jackie DeShannon made her first UK trip in ’07, stopped by the BBC for an interview, and was a total class act. She sure looked it the other night.
And when she wrote a smash, she really would hit it out of the park: ‘When You Walk In The Room’. Hard to believe her version charted for only one week in January ’64, peaking at #99.
Fact: Phranc is a special artist. Artist as in art, you know, paint and stuff; as well as music. Go see any of her exhibitions, she’s tremendous. Buy her pieces or just give her money. She deserves it. Musically, we crossed paths when Chris Blackwell signed her to Island. I was her A&R person, and we hit it off big time. Let me tell you, in addition to all creative assets, she’s kind, fair, honest, generous, a friend for life. I love her.
Didn’t take long to realize she was in fact a real live protest singer (“Take Off Your Swastika’, Bloodbath’ – see video below). Who was doing that then (’91) or even now? And a pop writer all at once.
Never could appreciate most female singer/songwriters. Basically, if they weren’t as powerful lyrically and vocally as Joan Armatrading, I just couldn’t be bothered. All the Jewels of the world should have been exterminated. White girls moaning that their boyfriends had left them. Really, they should’ve just finished nursing school and proceeded with their true calling.
But Phranc is none of that. She is brave, and touching, and controversial. Oh yeah, and fucking funny as hell. Example – her self introduction live: “I’m Phranc, with a P H and a hard C”. Get any of her albums, they’re terrific.
Marc Marot, who ran Island UK, really liked the Phranc stuff when I played it for him on a London visit. He not only agreed to release the album (POSITIVELY PHRANC), but also to issue a single. He did it up right, full colour picture sleeve, B side from the previous album, promotional tour. It’s a great double sider, and not an easy one to find. A perfect single.
Infamous Carole King (did you know she married one of The Myddle Class) / Gerry Goffin classic. Like many of their compositions, ‘Oh No Not My Baby’ was recorded by a whole bunch of folks. Cher, Manfred Mann, Fontella Bass, Dusty Springfield and Dee Dee Warwick amongst my favorites.
The US hit version went to Maxine Brown (#24, 1964). Unfortunately, most of her singles for Wand (Pye International in the UK for this one), as well her duets with Chuck Jackson, achieved undeserved low Billboard pop chart peaks, Bubbling Under The Hot 100 entries or non hits whatsoever. Hence, their place in every last Northern Soul price guide.
As with most of her work for the label, Cissy Houston and The Sweet Inspirations provided backups. It had to have been a magical time around the New York studios that catered to the RnB sessions in those days. Seems a day didn’t pass without a classic being recorded, just think of all the unreleased, forgotten songs.
Worth getting: BEST OF THE WAND YEARS, a flawless cd comp from Ace UK with the usual amazing booklet. The details will have you drooling.
Listen: The Witch Queen Of New Orleans / Redbone RedboneWitch.mp3
Just a hunch here, but having worked at Columbia, Epic’s sister label, I’m betting the culture at those two companies in the 90′s and early 21st century was one that had prevailed back when Redbone were signed and molded for success. Keep it commercial. Even when they didn’t think they were doing just that….they were.
The marketing angle of a Native American band, named Redbone, was probably a bit risky, but could go off. Just polish it and get it onto the radio….it can happen. Now admittedly, the band’s music incorporated R&B, cajun, jazz, tribal, and Latin. Still, it always had a safe sheen to it.
Opinions on this will be extreme, but I’ll go to my grave believing that’s how the company saw The Clash. Punk that could be polished. It sure is how I saw them.
I recall when MTV had a daily interview/music show for a while. This would have been around the late 80′s, maybe early 90′s. No, I don’t recall it’s name. But one afternoon, The Ramones were the guests so I went along with them to the taping (Marc Almond was on that day as well). Band plays song, sits for interview like on Leno or whatever, then plays another song. That was the program’s format. It was quite good fun and really loud, with the audience full of fans.
One of the questions they asked Joey: “So you brought punk to England in ’76 and met the The Clash?”, implying that something about that meeting inspired The Ramones. His response was quick and simple “No, they met us”.
Sums it up perfectly, including my outlook on The Clash: corporate punk. Perfect for the CBS Records group.
And likewise, I’m sure Redbone would have, could have been way more earthy and dirty in the recordings, packaging and imaging if left to their own devices. Pick up an early album or two and just look at those song titles. They tell it all.
I’ve never met Redbone, or had conversation about them with anyone even remotely connected to the band. But my speculation is they were produced in every sense of the word, until the band, through the years, just gave in and went along. Eventually it paid off, hitting it out of the park with ‘Come And Get Your Love’, which I do love by the way, good pop single. Nonetheless, sadly the thing that was special about them was gone, and they comfortably blended into the assembly line of mainstream formula rock, which in two short years, would start to crack and crumble.
But the early singles, ‘The Witch Queen Of New Orleans’ being one, hint at a much darker sound and cryptic lyric that was still allowed to spill through a bit in the beginning.
Ok, so a follow up single isn’t always better than the hit preceding it, as was maybe the case with ‘Up To My Neck In High Muddy Water’. It’s hard to top ‘Different Drum’. In fact, Linda Ronstadt never did. At least I don’t remember her doing it, possibly due in part to my general lack of interest toward country leaning music back then.
‘Different Drum’ was indeed another story though. It became a radio staple not long after Jefferson Airplane’s somewhat similar sounding ‘White Rabbit’, and at the same time as both ‘Itchycoo Park’ by The Small Faces and ‘Zabadak’ from Dave Dee, Dozy, Beaky, Mick & Tich.
‘Different Drum’ felt a bit psychedelic, even though it wasn’t. Maybe it was by association. Nick Venet was the producer and his work covered many genres. As a Capitol in house employee, seems he was handed all their youth culture signings of the day, thus slotting The Stone Poneys sessions between The Leaves, Lothar & The Hand People or Hearts & Flowers. It was one of many historic times at the Capitol Tower.
Listen: Up To My Neck In High Muddy Water / Linda Ronstadt & The Stone Poneys StonePoneysUpToMyNeck.mp3
Long before Simon Cowell, the ruthless corporate machine gnawed it’s way through bands, carving out the superstar for investment and mainstream marketing, leaving the other members to survive somehow. As when Clive Davis butchered Big Brother & The Holding Company for Janis Joplin, so too, it seems, did Capitol decimate The Stone Poneys for the asset now known as Linda Ronstadt.
‘Different Drum’ by The Stone Poneys was literally still on Billboard’s Top 100 when ‘Up To My Neck In High Muddy Water’ was released as Linda Ronstadt & The Stone Poneys. Housed in a full color sleeve, big things were expected. The record stalled at #93, but the setback was only temporary. She skyrocketed. It’s a great single despite the misery.
Linda Ronstadt was particularly critical of The Ramones, having gone to CBGB’s, catching an early performance and trashing them the very next day in a local New York paper. It was a hurtful moment that they talked about on occasion. So when Elektra threw a rather lavish party for her in New York, upon release of a successful new album, CANCIONES DE MI PADRE, the mischievous idea of inviting the band was impossible to resist and they were happy to attend.
We all met at Paul’s Lounge on 3rd and 10th, now a drug store, for a drink, then proceeded uptown to the event. Monte of course came along, Michael Alago and Arturo Vega did too. Everyone cleaned up on designer Mexican food, the album theme being traditional Mexican folk songs, and waited patiently for her to make the rounds, greeting her guests. The moment when she turned towards our table was classic, but it was too late to turn back. Obviously, she’d not been forewarned. Her look was priceless. DeeDee smiled and stared very menacingly, John just glared. Joey, after about five or ten seconds, decided to break the silence with “So Linda, long time no see”.
Nervously: “How are you guys doing?”
“We’re fine” replies John before she’s even finished her last word.
Incredible singer, successful artist but at that moment, Linda Ronstadt was stumped. Wincing, she backed away and slithered into the crowd.
