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24 Apr 2017

Dennis Linde "Dennis Linde" 1973 US Country Folk Rock:

Dennis Linde  "Dennis Linde" 1973 US Country Folk Rock: Songwriter for Elvis Presley…recommended..!
Dennis Linde, songwriter: born Abilene, Texas 18 March 1943; married Pam Beckham (one son, two daughters); died Nashville, Tennessee 22 December 2006. 

With its chugging tempo, which owed a lot to the swamp rock of Creedence Clearwater Revival and Tony Joe White, and “I’m just a hunk-a-hunk-a burnin’ love” ad lib at the end, “Burning Love” - written and originally demoed by Dennis Linde - became one of the best songs in the Elvis Presley repertoire of the Seventies and a mainstay of his live set in the Aloha from Hawaii period. 

“Burning Love” was first released commercially, along with three other Linde compositions, by Arthur Alexander on the eponymous album the country-soul pioneer made for Warner Brothers in Memphis in late 1971. Alexander and Linde had both become staff writers at Combine Music, joining the likes of Kris Kristofferson, Billy Swan and Wanda Jackson on the books of the Nashville-based publishing company. 

Alexander’s version of “Burning Love” was quickly eclipsed by Presley’s, which made the Top Ten on both sides of the Atlantic and narrowly missed the No 1 spot in the United States in October 1972. 

Linde had already issued a solo album, Linde Manor, on the Mercury subsidiary Intrepid in 1970, and parlayed his success as a songwriter into a new deal with Elektra (Dennis Linde, 1973) and then Asylum (Trapped in the Suburbs, 1974), though his most critically acclaimed release was Under the Eye for Monument (1977). 

However, though his well-crafted, vivid lyrics and uptempo material also worked in the blues, pop and rock idioms (as demonstrated by the Top Ten hit Shakin’ Stevens scored in the UK in 1984 with the Linde composition “A Letter to You”), he was best known for the hit songs he wrote for country stars such as Roger Miller (“Tom Green County Fair”, 1970), Don Williams (“Walkin’ a Broken Heart”, 1985, co-written with Alan Rush; “Then It’s Love”, 1987), Garth Brooks (“Callin’ Baton Rouge”, 1993), the Dixie Chicks (“Goodbye Earl”, 1999) and Alan Jackson (“The Talkin’ Song Repair Blues”, 2005). 

Something of a recluse, Linde was tagged “Nashville’s best-kept songwriting secret” and hardly ever attended any show-business ceremonies though he made a rare public appearance in 2001 when he was inducted into the Nashville Songwriters Hall of Fame alongside the Everly Brothers, one of the many acts he had worked with over the years. 

Born in Abilene, Texas, Linde (pronounced LIN-dee) grew up in San Angelo, Texas, Miami and St Louis and was given a $14 guitar by his grandmother in his teens. He quickly worked out the basic chords he needed to play the standards of the day. In the Sixties, he combined a day-job delivering dry-cleaning with gigs with the cover bands the Starlighters and Bob Kuban and the In-Men, until he lost his driving licence for six months after collecting too many speeding tickets. “How much time can you kill when you can’t drive around? So I started writing songs,” he recalled. 

Drawing on the influence of writers such as Mark Twain, J.D. Salinger and John Steinbeck, composers such as George Gershwin and Cole Porter and the rock'n'rollers Little Richard and Fats Domino, Linde developed the quirky, idiosyncratic, individual style which would lead him to write colourful hits such as “Bubba Shot the Jukebox” and “It Sure is Monday” for the country singer Mark Chesnutt, and “Queen of My Double Wide Trailer” for Sammy Kershaw, another country star, in the early Nineties. 

In 1969, Linde moved to Nashville and came to the attention of Bob Beckham, who was at the time running Combine Music. He joined the publishing company and placed “Long Long Texas Road”, his first major country hit, with Roy Drusky the following year. Linde found his niche at Combine, and flourished alongside writers and artists like Mickey Newbury and Dolly Parton. He married Beckham’s daughter and greatly increased the profitability of the company through the worldwide success of “Burning Love”. 

Presley recorded two more Linde compositions - “For the Heart” and “I Got a Feelin’ in My Body” - and the songwriter did some guitar overdubs on three tracks the King cut during sessions at the Stax studio in Memphis in 1973. 

Though Linde would set himself challenges like writing a series of songs starting with each letter of the alphabet - which explains why his catalogue includes puzzling titles like “X Marks the Spot” and “Zoot Suit Baby” - his outlook and approach remained unpretentious. “If you can last through the down spells and don’t get wiped out by the up spells, you can stay there. And that’s what I want to do,” he said……..Pierre Perrone………… 

Songwriter Dennis Linde remained a fixture of the country charts for decades, penning blockbusters for everyone from Elvis Presley to the Dixie Chicks. Born March 18, 1943, in Abilene, TX, Linde spent much of his adolescence in St. Louis, first picking up the guitar at the age of 15. During the late ‘60s, he played in the St. Louis band the Starlighters, driving a dry-cleaning delivery truck by day. When speeding tickets cost him his license and his day job, Linde turned to songwriting, relocating to Nashville in 1969 to join the Combine Music staff (which also included Kris Kristofferson, Mickey Newbury, and Wanda Jackson). Linde scored his first major hit a year later when Roy Drusky cut his “Long Long Texas Road.” He also signed a solo deal with Mercury’s Intrepid imprint, issuing his debut effort, Linde Manor. 
In 1972, Elvis scored his final number one hit with “Burning Love,” launching Linde to the forefront of Nashville songwriters. The attention earned him a deal with Elektra, which released his self-titled sophomore record in 1973. Trapped in the Suburbs appeared on the label’s Asylum subsidiary the following year, and in 1978 Linde signed to Monument to release his fourth and final solo disc, Under the Eye. He continued his commercial success during the mid-'80s, writing hits for Kenny Rogers (“Goodbye, Marie”), Gary Morris (“The Love She Found in Me”), Don Williams (“Walkin’ a Broken Heart”), and Eddy Raven (“I’m Gonna Get You”). 

However, Linde’s finest work emerged during the following decade, when he unleashed his mordant wit on songs for Mark Chesnutt (“Bubba Shot the Jukebox”), Joe Diffie (“John Deere Green”), and Shenandoah (“Janie Baker’s Love Slave”) – in 1993, he was named the Nashville Songwriter Association’s Songwriter of the Year, and in 1994 earned BMI’s Songwriter the Year honors. 
Linde made national headlines in 2000 when the Dixie Chicks scored with his bleakly witty “Goodbye Earl,” the controversial tale of an abusive husband killed by his long-suffering wife. He returned to the upper reaches of the country charts in 2005 with Alan Jackson’s “The Talkin’ Song Repair Blues.” 
~ Jason Ankeny, All Music Guide. 
~ Posted by Lizardson………… 

Linde was a country singer-songwriter, but like his contemporaries John Hartford, Mickey Newbury, Billy Swan and Terry Allen, a lot of his music doesn’t sound particularly country, in that he doesn’t mind mixing up the genre, turning it on its head and bringing in other styles that he likes (Oddly, or perhaps not, Elvis covered most of these guys). Linde, like many country singer-songwriters, started off as a songwriter working for a label (country is probably still the only music where a person can have a career as a non-jingle writing songwriter) and wrote hundreds of songs, though his own recorded output is quite small (six or so albums I think) 

Notoriously reclusive and a bit nutty (like John Hartford I believe, or Jerry Jeff Walker) Linde is a magical songwriter – his songs cover all the familiar country themes (women, alcohol, infidelity) but not in familiar ways. He also tackles (like some of his contemporaries) subjects not normally covered in traditional country music – modern living, freaky individuals, alienated outsiders, and the state of the world generally. His songs rarely fail to interest and he as a singer isn’t too bad either. This was his second album and released after Elvis had the hit with “Burning Love” – to cash in on some of the songs success. That’s not to say the album was rushed though I suspect some of the songs had been sitting around for some time waiting to be recorded by Linde. Also, the songs on this LP aren’t particularly country though they have a country feel – perhaps “alt country”? 

As an aside, without going too far off track, the affect Elvis had on little known songwriters / performers when he covered their songs is underestimated. Even a album track on a Elvis LP, let alone a single, was worth millions to a struggling songwriter. It is often mentioned that on some occasions (certainly not always or commonly) the songwriter had to give up part of the publishing rights to have Elvis record his song, but I hasten to add Elvis wasn’t involved in that. If Elvis heard a song that he wanted to cover he just passed the request down the line. If the song was brought to Elvis then I assume the publisher thought it was justified in a percentage of the rights as they plugged the song to Elvis and he otherwise wouldn’t have heard it. Steve Earle tells the tale (true or not) of one of his songs which was up for recording at an Elvis date in late 77 – he was young, probably on his third wife and needed cash. The date for recording though was August 16, 1977 unfortunately … Elvis’ death date. Earle had to wait another 6 years before he could scrounge enough money to record. Whether the practice of giving up partial song rights is “moral” or not is one question but the reality is if you don’t want to give up any of the publishing rights more power to you, but 100% of nothing is …. nothing. 

Listening to this album after all these years I think I “get” the rest of the album…. and it is a minor classic. This album has many strengths: great well written songs (again like a lot of country songwriters of this era the songs are “honest” – brutally at times), stellar musicians, and it’s on the Elektra label (anything on Elektra in the 60s and 70s is worth a listen I reckon: David Ackles ,Tim Buckley, The Butterfield Blues Band, The Dillards ,The Doors, Jimmie Dale Gilmore , Love , MC5 , Phil Ochs , Roy Orbison ,L eon Redbone , Charlie Rich, Mark Spoelstra ,The Stooges ,Tom Waits to name a few).Elvis loved Linde’s quirkiness and did three Linde songs (that they know of). Dennis Linde also did some overdub work on some Elvis stuff in the 70s and also demoed for him on an aborted 1977 session……………. 

Hello, I Am Your Heart 2:58 
Ridin’ High 3:33 
I Had A Dream 3:14 
The Longer You’re Gone 3:25 
East St. Louis Nights 3:59 
Dr-31 2:57 
Don’t Leave Me Here All Alone 2:36 
Some Songs 2:26 
All I Want To Do Is Be Your Man 2:36 
Burning Love 3:00 
Just A Song 3:40 

johnkatsmc5, welcome music..





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