The Front Cover

This is the companion album to the volume I reviewed last week. It basically gathers Linda’s most salient recordings at the time when her sound began diversifying in earnest. As I explained at the end of my review of Elvis Costello’s “Extreme Honey”, when that happens an artist might not make the best choices as regards which songs he or she ends up performing, and the way these are recorded. That was the case with Linda’s albums throughout this particular period, and as such this compilation has the merit of bringing the very best from those years that could be termed a bit spotty.

The album bears some hard-rocking numbers in the form of “How Do I Make You” and “Can’t Let Go”. The latter is a song which was made popular by The Hollies, as it is another song: the tender “Just One Look”. The album likewise includes covers of Buddy Holly’s “It’s So Easy” and Chuck Berry’s “Back In The USA”, both songs that (at the very least) equal the original renditions.

Other covers include “Blue Bayou” and “Tumbling Dice”. I like these versions, but I must admit that (in both cases) better live renderings exist.

Besides, a young Warren Zevon contributed “Poor, Poor Pitiful Me”, and the album closer is the powerful “Someone To Lay Down Beside Me”, a song that rivals previous compositions like “Long, Long Time” in terms of emotional intensity.

If you read the review of the previous volume, you already know the way I feel: it is out of the question to get one volume and not the other… but if you had to choose, I would advice you to go for “Greatest Hits I”. I wouldn’t sleep easy on it, because it means you would be deprived from a phenomenal set of recordings. It is just that the first volume would fuel your interest even more than this particular album. That is why I would go for it. Then, buy this one. I can guarantee no person “can’t let go” of Linda if he or she becomes acquainted with her like that. She is such a unique performer that I feel your introduction to her music must be as focused as possible, and that is the best way I can think of doing it. What do other fans think? Please, do let us know in the comments!

Would I recommend purchase of this compilation: Yes (but buy Volume I first)

Do I feel like digging deeper into her catalog after listening to it: Yes

The Front Cover

Linda Ronstadt’s first major collection of hits surfaced in 1976. It was to be followed by a second volume in 1980. Between them, they give you a good overall insight into a woman that set records in the history of contemporary music, and that showed that women could be up there in a scene predominantly occupied by male performers.

The first volume has 12 songs, including the number 1 hit “Long, Long Time”, Linda’s first country hit (a phenomenal cover of “Silver Threads And Golden Needles”) and also her first hit ever when she was part of the Stone Poneys. The song is called “Different Drum” and it is an enjoyable ditty that tells of the different wavelengths of love and how complicated it can be adjusting to each other’s frequency. Something we all can relate to, actually.

The compilation starts in the best possible way with “You’re No Good”, and it closes with “Track Of My Tears”. These are two songs that have a true thematic bond, as the ending of romantic relationships is studied from opposite extremes. It is as if the rest of the album provided us with additional material and then it is up to us to arrive at our own conclusions, and determine what is the point in loving someone that when crossed means we will begin loving ourselves a little less as a result.

Linda’s ability to cover other artists, and turn the songs inside out with her heartfelt renditions until the listener can’t conceive another person but Linda Ronstadt could ever sing that particular piece manifests itself throughout the record. She covers Neil Young (“Love Is A Rose”, a mandolin-driven number) as well as The Everly Brothers’ perennial “When Will I Be Loved” and Buddy Holly’s “That’ll Be The Day”. Of course, she also sings The Eagles’ “Desperado” in her usual all-or-nothing fashion.

It is a bit hard to conceive this album without its companion volume, but if I were really hard-pressed I think I would pick “Greatest Hits I” over “Greatest Hits II”. I feel this volume is more consistent from start to finish, whereas its successor has some better individual moments. But I would be deeply sorry if I had to make that choice. Also, note that a recent CD reissue (2007) has brought the two volumes together in the same disc. I advice you to pick that one immediately if you ever come across it.

Would I recommend purchase of this compilation: Yes

Do I feel like digging deeper into her catalog after listening to it: Yes

A Young Linda Ronstadt

The number of female figures in music today makes it a bit difficult for members of younger generations to wholly grasp the impact Linda Ronstadt had through several decades before other figures such as Britney Spears, Jessica Simpson and who knows who else came along. I am not going to discuss the merits of such performers – all I am going to say is that many of them are not artists but mere entertainers. Linda, on the other hand was, is and will always be not just an artist but a person who promotes art in its purest form, and that has opened a door into music that shows the way to female artists in an industry where roles are sadly (and constantly) painted in black and white.

Born in 1946 in a family that loved music and that actively encouraged its children to immerse themselves in such a form of expression, Linda was to become the first female artist to release a full country album, and eventually the highest paid woman in music. She initially devoted herself to country and folk, and as a result many people associate her with just those genres. That happens all the time, sadly, and with artists ranging far and wide. The truth is she has had a career that took her through rock, pop, Mexican songs, musicals and anything that was not a mere fad or a trend. She always knew where things were at musically, and her ability to perform songs written by others might as well be her most cherished asset. She has introduced younger generations to the works of composers going as far back as the ‘50s, and put those recordings across in a way that does showcase the spark of the original composer while fitting her own artistic vision minutely.

I hope the reviews I am publishing shortly will give you a good idea about how to approach her catalog. I am reviewing the “Greatest Hits I” & “Greatest Hits II” packages first, and then her regular studio albums. In the meantime, you will find her first country hit below along with a cover of Cat Stevens’ “The First Cut Is The Deepest”.