Frenesi

Personnel includes: Linda Ronstadt (vocals); Gilberto Puente (acoustic guitar); Yomo Toro (tres); Jeff Beal (strings); Joe Rotondi (piano); Luis Conte (percussion).
Engineers: Nathaniel Kunkel, George Massenburg, Shawn Murphy.
Recorded at Skywalker Sound, Marin County, California in March 1992.
Personnel: Monica Trevino, Juan Almaguer (vocals); Gilberto Puente, Bob Mann (acoustic guitar); Yomo Toro (tres); Joseph Edelberg, Greg Sudmeier, William Klingelhoffer, Nina Flyer, Katheryn McElrath, James Shallenberger, Ruth Freeman, Sharon O'Connor, Jim Dukey, Jenny Amador, David Kadarauch, Roxann Jacobson, Virginia Price-Kvistad, Irene Sazer, Adrienne Duckworth, Rebecca Sebring, Ronald Erickson, Clifton Foster, Jeff Beal, Jeremy Cohen , Deborah Henry, Martha Rubin, Deborah Bellamy, Stuart Canin, Nathan Rubin, Mark Summer, John Tenney, James Hurley (strings); Joe Rotondi, Jr. (piano); Pancho Roman, Jose Hidalgo, Luis Conte, Orestes Vilató, Armando Peraza, Walfredo de los Reyes (percussion).
Audio Mixer: George Massenburg.
Recording information: Skywalker Sound (03/1992); Skywalker Sound (07/1991).
Photographer: Robert Blakeman.
Translators: Gail Rogers; Mercedes Dalton; Evita Puente.
Arranger: Ray Santos.
Having established herself as a hugely successful singles artist and pop-rock diva in the 1970s, Linda Ronstadt changed her focus after 1982's GET CLOSER. From there, she explored her own musical obsessions. After releasing two well-received sets of classic pop songs and ballads, she recorded a series of albums that mined her Spanish/Mexican heritage, beginning in 1987.
FRENESI, released in 1992, is the third and final installment in Linda's "Latin phase." Sung entirely in Spanish, but with accompanying English lyric sheet, this is a collection of cha-chas, rhumbas, and boleros, with impeccable backing by the Ray Santos Orchestra and numerous other musicians: percussionists, a three-man vocal trio, and the 28-member Skywalker Strings. Ronstadt's effortless singing, precise phrasing and that signature aching moan are very much in evidence. With her clarion voice floating above percolating Latin percussion, subtly swelling strings and Spanish guitar, the sound is lush, dramatic, and undeniably romantic. These are songs of passion, and she sings them that way. Most of these, with the possible exception of the classic "Perfidia," will be unfamiliar to listeners not well versed in Latin styles, but FRENESI is a worthy and accessible effort.