山本リンダ予人的印象就基本是分为两截，前一截是师出遠藤実的ミノルフォン（Minoruphone唱片）时期，大搞扭三捏四造作唱腔的Cutie-Pop，如今回望60年代Cutie风潮，也完全具备占据一大山头的代表性；后一截是跳槽到CANYON后由阿久悠+都倉俊一强强联手打造的Action Glamour时代，舞台形象跟吐字一样奔放热烈，为同两人创造的Pink Lady神话（此“神话”我倒是不以为然，姑且叫商业神话）铺开路道。山本リンダ唱腔的可塑性之强，除了大体体现在迥然相异前后两时期外，散落在数十首单曲作品里的一些细碎光芒，走近一看还真是钻石。
《
トンボのメガネ》可以说是Minoruphone/HARVEST时期的最后Cutie Pop作，却是她生涯里最迷幻一曲——开头几小节的Wah-Wah效果配合大段口吃似的衬词，遠藤実指导的娇嗲咬字在中板进行之下得到更强体现。
同年的《
涙は紅く》紧挨着前曲，是她极少运用的演歌歌谣唱法，曲风是筒美京平在六七十年代交界时处运用娴熟的“七十年代初女性歌谣”；她本来并不像同类风格最具代表性的奥村チヨ、渚ゆう子及安倍律子等人那么擅长此类风格，但听这位当初被视为Minoruphone下第一号Pop歌手的姑娘（Minoruphone的早期基本方向是演歌）使劲模仿靠近，效果倒是别具一格。
时隔一年跳槽CANYON后，首单曲《
白い街に花が》如果没有搞错，应是与传统抒情金手三木たかし的首度合作，在此曲后大名作《どうにもとまらない》《狂わせたいの》《狙いうち》等大变身Action Glamour似机关枪一般连发，无论是被谈及还是收入推广性精选，这CANYON时代第一弹、简约感伤的欧陆民歌风《白い街に花が》都成了被遗忘的珍珠，这也是今天四曲里唯一一首音源来自黑胶。
《
真赤な鞄》是上面提及的一系列大热快歌后突然推出的第二首大人抒情French Pop作（前一作是低龄向的《きりきり舞い》），疑似伊集加代子（Singers Three）骤雨般的scat后引出的，是一个无奈的私奔故事。然而即使是私奔，也刻意强调作为女人的自主性。从曲到配器到词皆高度完整的这一曲，有了与其他著名曲目的对比映衬，注定是山本リンダ歌唱生涯里一个晃眼的highlight。
To mention Yamamoto Linda, the two basic impressions of her must come out to be the 1st: the Cutie-pop era at Minoruphone Records in late 1960s, under her teacher Endo Minoru -- and the 2nd peak of her star days, so-called Action Glamour style at Canyon Records in Early 1970s, under the combo of famous lyricist Aku Yu and composer Tokura Shun'ichi. The versatile talent of Linda's singing, can be more shown from some less-mentioned or even underrated singles over the two eras above.
First song, "Dragonfly Glasses" is the very last Cutie-pop single of her in Minoruphone/HARVEST days, yet remained the most acid track over her entire singing life. The wah-wah effect and twistedly stammering scat lines added more personality to her original fawning and cooing style.
"Tears Became Red" is the following single to the previous one, which featured enka-kayo style that she scarcely used. In comparisons with those several "early 70s enka kayo girls" who did better in this field, she tried very hard to follow, though unnatural and strained, the result is cute in its own performing way.
Released in the next year was the very first single after she moved to Canyon Records, named "Flowers in White Town", which might be the first collaboration with composer Miki Takashi. This song is totally forgotten in 90% of Linda reissue compilation stuffs, due to that it's such a slow and sad ballad in the old Russian folk way, before her monster hits of fast tempo songs like "どうにもとまらない", "狂わせたいの", "狙いうち" etc. which made her the queen of early 70's pop stage. This is the only song today coming from vinyl rip.
After the bunch of fast tempo hits mentioned above, "Pure Red Bag" is the 2nd single of her French-pop works. Right at the beginning came the big shower of scat probably by Ishu Kayo (of the chorus group "Singles Three" fame), it's a story about the desperate decision of a lady, leaving home with lover to another place for a new life. Tokura Shun'ichi's talent from his school days in Britain, brought the song with fabulous elegancy.
山本リンダ／トンボのメガネ
トンボのメガネ Single
1970年3月 / YA-22 HARVEST
词曲/遠藤実
编曲/小野昭一 | 
山本リンダ／涙は紅く
涙は紅く Single
1970年 / YA-31 HARVEST
作词/橋本淳
作编曲/筒美京平 |
山本リンダ／白い街に花が
白い街に花が Single
1971.10.06 / A-78 CANYON
作词/山上路夫
作编曲/三木たかし | 
山本リンダ／真赤な鞄
真赤な鞄 Single
1974.04.10 / A-213 CANYON
作词/阿久悠
作编曲/都倉俊一 |
