{"id":6807,"date":"2025-01-03T14:36:42","date_gmt":"2025-01-03T14:36:42","guid":{"rendered":"https:\/\/shindig-magazine.com\/?p=6807"},"modified":"2025-01-03T14:37:47","modified_gmt":"2025-01-03T14:37:47","slug":"issue-158-linda-rondstadt","status":"publish","type":"post","link":"https:\/\/shindig-magazine.com\/?p=6807","title":{"rendered":"Issue #159 \u2013 Linda Rondstadt"},"content":{"rendered":"

\u00a0<\/strong>Synonymous with their Michael Nesmith-penned 1967 smash \u2018Different Drum\u2019, THE STONE PONEYS never intended to make a chamber-pop masterpiece. LINDA RONSTADT would spend the next five years working hard to escape the hit record she loathed. <\/strong><\/p>\n

In this article extract HUW THOMAS picks up on the second album and\u00a0that<\/em> song<\/strong><\/p>\n

Portrait Henry Diltz<\/strong><\/p>\n

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Nik Venet gave The Stone Poneys sound a facelift for their second album, summer 1967\u2019s Evergreen Vol 2<\/em>. Kimmel and Edwards were somewhat sidelined as vocalists in favour of Ronstadt, though their increasingly Eastern-influenced songs remained on the menu. Tracks like \u2018I\u2019ve Got To Know\u2019 and \u2018Driftin\u2019\u2019 were lavished with stately baroque-pop arrangements, making our three chamber folkies sound like royalty. Venet\u2019s showpiece was \u2018Different Drum\u2019, a playful tune The Stone Poneys had half-inched from the Greenwich Village bluegrass group The Greenbriars Boys. The producer heard a cathedral in the song, speeding it up and encasing it in twinkly harpsichord and candied strings. Ronstadt, expecting to record the song with her bandmates, was mortified to find session players and an orchestra waiting for her in Capitol Studio B. \u201cI had no idea there was going to be all these musicians,\u201d she told NPR<\/em> in 2022. \u201cI didn’t know how to fit the phrasing in. It wasn’t the way I was used to singing it, so it really knocked me off my stride.\u201d<\/p>\n