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Linda's lack of exposure in Mexico might have something to do with this, I suppose, but the real problem is that there is a certain inflection, which is a matter of how passing notes are modulated in "riffs" and long notes are trilled, which are characteristic of ranchera music, which is entirely different, using the scale differently and emphasizing different syncopations, than that which American country and western singers use, and this is what gives the music its flavor. Well, not to take anything from either of the two, it might be pointed out that Lucha Villa certainly remains more popular than either of the two - when it comes to the tastes of actual Mexicans who grew up with ranchera music. One gets the impression, really, that people first found out about Lola from reading the liner notes of Linda's first album of this genre, and they very dutifully checked her out, and they knew that it would be irreverent to the point that Linda herself would no doubt strongly disappove if anyone were to be so brash as to put her name above Lola's, but since these newly created aficcionados of ranchera music did not quite so dutifully go and check out Amalia Mendoza, Chayito Valdez, Lucha Villa, or any of another maybe dozen or so real ranchera singers that can think of just right off hand who deserve consideration here, suddenly the pantheon of the giants of the genre are Linda and Lola, and that's it. Comparing her to Lola Beltran seems like the fun thing to do, but it is not quite appropriate, in my opinion. It is close to being the case, but it is still not so. Linda does a pretty good job of interpreting these songs, and a lot of that has to do with her Mexican heritage, but it is stretching things to think that she is really a Mexican interpreting the music of her native land, because that is not quite the case. Whatever else Linda may have done in her life, she somehow manages to dig her toes into the true country soil of Old Mexico. Lola still strikes me as a city person trying to sing country.
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After reviewing a batch of Lola's work this morning, I can't imagine her ever having such an effect on me. For example, from her "Tata Dios," which wrenches me to tears every time I hear it, to the mock seriousness of her "El toro relajo," which is always worth a good laugh. His rendition shoots Lola's down the drain.īy contrast, Linda's emotional range is both subtle and immense. As it happens, I heard the latter song on the radio a few days ago by a male artist. For example, It is quite disconcerting to hear Lola back to back on "Ya No" and "Me equivoque contigo"-songs which should be very different in emotional tone sound all too similar. With all of her musical excelence, Lola has a dreadful sameness from song to song-even songs which should be handled quite differently. Linda has a much broader emotional range. Not having listened to Lola for quite some time, I went through a stack of stuff from both Linda and Lola to refresh my ear. Last night as I was browsing the reviews of this record, I got curious about the various comparisons to Lola Beltran. Whatever else she may have sung in her career, I find in Linda's Mexican singing the authentic flavor of Old Mexico. And now Linda Ronstadt carries on the true Mexican tradition in her later work. I always thought the real spirit of Mexican music was better represented by such as Las Hermanas de Alba. She sounds too urbane and too international to me-in the manner of Catarina Valente. I have always wondered about those who praise Lola Beltran as the "great" Mexican singer. I am not a Mexican, but I have circulated for years in the Mexican parts of Los Angeles, and I have travelled throughout Mexico, enjoying the native musicians on street corners and in parks and cafes.