Being the supreme female vocalist of her generation and making a succession of notable albums which returned monumental sales figures, as the 70s drew to a close Linda Ronstadt must have asked herself the question of how long she could keep adhering to a formula that had brought untold success before it became spent.
On switching from Capital Records to Asylum in 1973, the label formed by L.A music scene titan David Geffen 12 months earlier and home already to songwriting sensation Jackson Browne and her former road band the Eagles, Ronstadt proceeded to record a run of classy, critically acclaimed albums showcasing her extraordinarily resonant voice – that said, her farewell to Capital had been the brilliant ‘Heart Like A Wheel‘ LP, arguably the pick of her recorded output to date.
In conjunction with manager/producer Peter Asher, one half of 60s English pop duo Peter & Gordon, Ronstadt selected material originating from Motown, folk, or pop from a bygone era which she transformed into a sophisticated brand of country/soul probably best described as ‘Ronstadt rock’ given its vocal majesty and pristine production.
The picture was completed by covering great songs by the likes of Neil Young, James Taylor, J.D. Souther, Lowell George, Karla Bonoff and more latterly those by burgeoning genius Warren Zevon.
That Ronstadt (born Tuscon Arizona 15/7/1946, but an emigre of Los Angeles since the mid-60s) could continue making such records for an adoring audience was undeniable. After all, during the same period Elton John had been routinely making the same album year on year – but from her excellent 2013 autobiography ‘Simple Dreams‘ there is a clear sense her artistic integrity was nudging Ronstadt toward new horizons.
The first inkling she was approaching a crossroads is apparent on ‘LIVING IN THE USA‘ (September 1978).
Across this admirable album there are more impressive renditions of Zevon and Souther compositions, an energetic 60s pop hit cover and delicate take on an Elvis standard – but such familiar fayre now stands beside tracks coming from such diverse sources as Hollywood musical maestro Oscar Hammerstein and new wave heavy hitter Elvis Costello.
Yet even in drawing on vastly spread wells for supply, the record remains a cohesive piece due to Ronstadt’s peerless singing. If the ten-song set proved beyond doubt she could sing anything, the cover, Linda attired in baseball jacket, shorts and roller skates (opposed to the flowing dress/robe of ‘Hasten Down the Wind‘ and ‘Simple Dreams‘) showed she could wear anything and look sexy – and with that point made, onto the music.
Once again working with established sidemen Dan Dugmore (guitar/pedal steel), Waddy Wachtel (guitar), Don Grolnick (keyboards), Kenny Edwards (bass) – more often than not L.A. session ace Russ Kunkel does the drumming – Ronstadt and her gang lead off with a sprightly run through of ‘Back in the USA,’ singer and lead guitarist Wachtel particularly reveling in Chuck Berry’s ode to Stateside living and things missed when travelling overseas:
‘Did I miss the skyscrapers, did I miss the long freeway/From the coast of California to the shores of the Delaware Bay/ You can bet your life I did/Till I got back to the USA‘.
While the backing track could be any fast-paced Bob Seger number of the era, emphasising again how smitten he was with Berry, the strident vocal is unmistakably Ronstadt, her performance a beguiling mix of beauty and belligerence.
Considered an ‘old’ song by 1978 standards, Chuck penning this celebratory piece in 1962, it was still almost thirty years the junior of ‘When I Grow Too Old to Dream‘ an Oscar Hammerstein composition (with lyrics by Sigmund Romberg) that first came to prominence in the 1935 film musical ‘The Night Is Young.’
By late-70s standards the lyrics seemed dreamily innocent – with the passage of time they now sound (to me) touchingly poetic, Ronstadt giving them a suitably tender reading. Her rich tones are also put to superb use on ‘Ooh Baby Baby‘, Ronstadt turning a memorable 1965 Motown hit for The Miracles into a sumptuous slice of full-bodied R & B.
Elsewhere her interpretation of Souther’s ‘White Rhythm & Blues‘ takes it from country-rock to a haunting torch ballad, the jazz overtones of the electric piano and atmospheric background sax (played with great aplomb by David Sanborn), add to to the late hours effect, her remarkable range emphasised in the poignant lyrics of the bridge:
‘Close your eyes, sleep away all your blues/I’ve done everything but lie/Now I don’t know what else I can do.’
Emerging from opposite sides of the Atlantic, but each writing with devastating clarity and purpose, Costello and Zevon were the most accomplished lyricists to emerge in the past two years. Making his mark with ‘My Aim Is True‘ the brilliant debut album Costello released in 1977, ‘Alison‘ taken from that record, was a perfect hard-edged ballad for Ronstadt, her version fleshed out by more sublime saxophone work by Sanborn and harmonies by her former bandleader Andrew Gold.
At the time Costello made some disparaging remarks about this rendition of his song and three others written by him Ronstadt chose to record for her next album – comments he tempered once the royalty cheques started rolling in.
Through Jackson Browne, who had produced either fully or in part the first two albums Zevon had recorded for Asylum, Ronstadt had become aware of what rich pickings there were in his catalogue. She gives the emotive ‘Mohammed’s Radio‘ a different twist by singing it as a third-person observer rather than character in the story, the gospel element of the song accentuated by soaring harmony vocals from Shirlie Matthews and Pat Henderson – Linda lamenting the downtrodden lives being lived in the poorer quarters of L.A:
‘Everybody’s restless and they got no place to go/ Someone’s always trying to tell them something they already know/ So their anger and resentment flow.’
Having lost Zevon to cancer in 2003 and with Ronstadt no longer able to sing due to battling a degenerative condition diagnosed in 2009 as progressive supra-nuclear palsy, popular music is greatly diminished without his superlative songwriting and her vocal virtuosity.
An early 60s success for both New York soulstress Doris Troy (who co-wrote the song) and UK pop band The Hollies, ‘Just One Look‘ is distinguished by its strident piano work and resplendent background vocals, its obvious pop hit sensibilities surely noted by Bruce Springsteen who appears to have subsequently written ‘Hungry Heart‘ in its image.
For the second track with ‘dream’ in the title, Linda and the band sink their teeth into Little Feat showstopper ‘All That You Dream.’ Unlike the side one ‘dream’ song, the propulsive side two opener has a lyric awash with 70s cynicism, the distorted pedal steel guitar effects adding to the world-weary ambience – not there is anything tired or hesitant in her vocal delivery, Ronstadt reveling in the opportunity to evoke the sound of a group close to her heart.
Exquisite looks, a superlative vocalist and no hesitation in naming Little Feat as ‘my favourite rock and roll band,’ this a lady of wealth, glamour and taste – hence the famous Willie Nelson quote:
‘There are two kinds of men in this world. Those with a crush on Linda Ronstadt and those who have never heard of her.’
The final two songs bring things to a close in a heartfelt, if slightly low-key fashion. The piano arrangement used for the Eric Kaz ballad ‘Blowing Away‘ is not too far removed from the Eagles ‘Wasted Time‘ and while her voice takes on an air of vulnerability in singing lines such as ‘I’ve been romanced, dined and danced/Crazy Nights and wild times/But my life has its mystery/Love is blind and cannot find me,’ like Sinatra she conjures vivid images.
Finishing with a plaintive take of ‘Love Me Tender,’ the Presley classic had been in her live repertoire since his death the previous year. Accompanied by Wachtel on acoustic guitar and Grolnick at the organ, Ronstadt commendably resists the temptation to over-sing, the song given room to breathe in ensuring its impact.
Her ninth album, ‘Living in the USA‘ was released to approving reviews, racing to Number One in the US charts with ‘Just One Look‘ and ‘Ooh Baby Baby‘ becoming effortless hit singles.
Proving her last LP of the decade, on the next ‘Mad Love‘ (1980) she took even more chances, several tracks having the new wave pop inflections of Blondie and The Pretenders, her short-cropped hair style indicative of this change in emphasis.
Meeting with a mixed response from the critics and by Ronstadt standards modest sales, it served to make ‘Living in the USA‘ the last in her first series of top rank albums (more would follow with the ‘Trio‘ recordings in tandem with Dolly Parton and Emmylou Harris and peerless Great American Songbook collections to name just two more future threads).
Back in September 1978 positive approval for ‘Living in the USA‘ was found closer to home for this listener than the pages of Rolling Stone magazine. While the song in question cannot be named with any certainty, on hearing it my dad said something along the lines of ‘That girl can sing, I thought it was Ella Fitzgerald for a second – certainly a cut above that usual shouting you listen to.’
That was always Linda Ronstadt – a cut above.
LINDA RONSTADT – ‘LIVING IN THE USA‘ (Released September 18 1978):
Back in the USA/When I Grow Too Old to Dream/Just One Look/Alison/White Rhythm & Blues/All That You Dream/Ooh Baby Baby/Mohammed’s Radio/Blowing Away/Love Me Tender;
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NEIL SAMBROOK is the author of ‘MONTY’S DOUBLE‘ – an acclaimed thriller now available in paperback and as an Amazon Kindle book.
‘There are two kinds of men in this world. Those with a crush on Linda Ronstadt and those who have never heard of her.’
I’ve heard that he was speaking of Emmylou Harris, and in fact only this very morning quoted it to a colleague – it’s my first day back in the office and I’ve spent the past week very happily listening to Emmylou.
Both ladies of course are are radiant and transcending….
Hello David – hope you are well;
“There are 2 Kinds of Men in This World…Those who have a crush on Linda Ronstadt and those who have never heard of her.” -Willie Nelson.
I took the above quote from Wikipedia so cannot vouch for its absolute authenticity, but agree it could apply to either radiant and transcending lady equally well.
What a way to spend the past week, listening to Emmylou – my next few days will be spent doing the same!!
Stay safe and well.
Regards
Neil