Life Goes On, yeah, that is a song I wrote. Here is a little info on some of the songs on this cd. Crested Hens is a song that is dear to me. A good friend performed this song and it just hit me. That same good friend passed away at a young age. He was instrumental in me getting the Roland V Accordion FR7X. Thank-you Ron Lankford.
Cowboy Tango, well that was an inspiriation I got because I know a "cowboy" band that gets way too much publicity. Anyhow, I thought they needed a tango.
Drowning In A Sea Of Black Gold is of course about the Gulf oil spill. Hopefully mother nature has recovered.
Even When I'm Right, I'm Wrong, well that is how I was feeling one day so a song was born.
Jasmine Flower was given to me by a Chinese friend of mine. It was popular during the Olympics in China.
El Huateque is a Cumbia. I sometimes perform where there are a lot of Spanish speaking people and this is one song they enjoy and I enjoy playing.
All Night Diner I heard somewhere and thought it was just a great swing tune.
Good Morning Blues is another song I heard somewhere and really liked so I learned it, my version.
So that is a brief summary of some of the songs on this CD.
Hope you enjoy it.
Below is an article in a local newspaper released in 2010 in conjunction with the Big Squeeze held at the Orange County Fairgrounds in Costa Mesa California. Read it, you may learn something new about me. Thank-you and remember you can download my entire albums or just individual songs here on cdbaby.
Costa Mesa, CA (September 23, 2010)---Seal Beach resident Linda Herman may live in Leisure World, may make her living performing ballroom dance music for senior citizens, and has played a decidedly old-school instrument, the accordion, for 50 years.
But don’’t think for a moment that the 58-year-old Herman is a novice when it comes to technology. She plays a Roland-V Fr7x, a digital accordion that, Herman says, is the most technically advanced accordion ever made. By using MIDI technology——basically a process that enables instruments to talk to each other——Herman runs her Roland through a sound module that enables her to create more than 200 sounds on her accordion.
Herman is one of the featured performers at The Big Squeeze, the 2nd Annual Orange County Accordion Festival, slated for October 10, 2010 at the Orange County Market Place in Costa Mesa.
““I can do just about anything,”” said Herman, who first began playing an electronic accordion in the mid-80s but just bought her latest Roland six months ago.
““There are so many options, from the sound of thunder and strings to drums and guitar. And, of course, it can sound like an accordion. It really is an amazing instrument. It really makes me a one-person band. It’’s absolutely revived my interest in playing the accordion.””
It’’s not that Herman has put down the accordion often since she first learned to play at age 8. Though she has had occasional side-jobs, from selling airplane parts to working for an investment firm, she’’s made her primary living the past 40 years on the accordion.
““It is unusual for a musician to earn a living just by playing the accordion,”” she said ““And the fact I am a woman doing it is even more unusual. I count myself very fortunate.””
Herman was exposed to the accordion when a door-to-door salesman knocked on her family’’s front door on their farmhouse near Cedar Rapids, Iowa. Her parents were of Czech origin and Herman believes something about the instrument must have reminded her father of that heritage. ““Either that, or he was looking for something to occupy an 8-year-old farm girl,”” she said.
““But I loved it. I loved my teacher, the program and just never put the thing down. The program took me to California, New York City, Japan, and Europe.””
At age 16, she played her first professional gig: a New Year’’s Eve dance.
For years she was based in Iowa, playing accordion in a seven-piece polka and big band led by drummer Glen Kelley. The band played across the Midwest, including the Surf Ballroom in Clear Lake, Iowa, the last venue Buddy Holly played before his fatal airplane crash.
In 1984, she and Kelley moved to Los Angeles and began playing what Herman calls the ““senior circuit,”” basically ballroom dance clubs and senior centers. After Kelley passed in 1999, she went solo.
Though she’’s performed on cruise ships, at Nevada casinos and accompanied variety acts on tours across the country, these days she performs mainly in southern California, including the Breakfast Club in Los Feliz, where she has performed for 15 years, and the San Gabriel Elks, where she has played for 20 years.
Though Herman can play multiple styles on the accordion, her forte is ballroom dancing. ““That’’s how I’’ve been able to make my living on the accordion for so many years,”” she said.
But ballroom dancing isn’’t just reserved to big band music or waltzes. ““Basically, ballroom dancing includes everything from the foxtrot and rumba, to swing and country and western line dancing. It’’s not just Glenn Miller,”” she said.
Herman estimates her repertoire includes 2,500 songs ranging from the 1920s to contemporary rock songs. ““Basically, if it has a danceable beat, I can rearrange it and play it on the accordion,”” she said.
The vast majority of her tunes are cover songs, but she has written a few original songs, such as ““Ode to the Sutliff Bridge,”” which she wrote in 2008 about a 110-year-old bridge near her hometown in Iowa. The bridge had been partially destroyed by a flood. After Herman wrote the song and posted it on YouTube, it was used to help galvanize support to restore the bridge.
The song most people around the world have heard her play, however, is ““Anchors Aweigh.”” That’’s what she performed in 1987 when she lucked into her highest profile gig to date: a 32-second stint on Johnny Carson’’s weekly late-night talk show.
The occasion was a half-hearted salute to a huge trash barge that hauled the same load of trash along the east coast of North America in the spring of 1987. The barge’’s inability to find a site that would allow it to unload its contents made international headlines.
““Carson thought that since it wasn’’t getting a USO show, he’’d do a musical salute. So, he hired me, a dancer and a singer, to be in the band,”” she said.
When Herman showed up for the taping, she didn’’t know what song she was going to play. ““But I got together with (bandleader) Doc Severinsen and he asked me if I knew ‘‘Anchors Aweigh’’. I figured it out pretty quick and that’’s what we played. It was great fun.””
Herman, who is quite active when not playing the accordion——she plays golf, hikes, backpacks and bowls——realizes that many traditional accordionists don’’t view electronic versions as truly authentic. But she makes no apologies.
““Most traditional players are purists and they might claim that any accordion that can make all these sounds isn’’t a real accordion,”” she said. ““But it is so versatile and I can get so creative with it. Plus, being a solo performer, it’’s really given me the ability to make my living by doing what I love. So I think it’’s great.””
Herman will be doing what she loves during her one woman dance band show at 2:30 p.m. at The Big Squeeze and is among 40 accordionists and musicians gathering to present the ““squeeze box’’s”” cross cultural appeal and adaptability into a variety of music genres. She will play a selection of ballroom dance numbers as well as perform in tribute to Ron Lankford, a beloved accordionist in the music world and representative for the Roland Corp. who passed away earlier this year.
““He (Ron) always tried to help anyone who needed it with the Roland Accordion. He put his playing career second to promoting the V Accordion. Yet he always respected the acoustic accordion but thought there was a place for the Roland. I don't think he can ever be replaced. He was a true class act,”” said Herman about Lankford.