Linda Ronstadt: Heart Like A Wheel - 1974

 

Linda Ronstadt's big commercial breakthrough, although it didn't differ in style much from any of her other recordings. 

It was one of the first of Linda's that I was aware of - I remember the album's title, for some reason, no doubt from flicking through those record shop piles of album sleeves. What a pretty girl, my fifteen year-old self thought, quite rightly, she was a stunner. 

The album was largely made up of Linda's usual serving of contemporary, quiet, reflective country material, something that actually contrasted quite a bit with the chugging, bassy funk/rock-lite hit of the opener, You're No Good - another one that I recall from the time. I have to say that it is a really impressive track and I like it a hell of a lot. This is gutsy Linda at her best. She didn't just deal in country tear-jerkers, she could give it some.

We also got attractive re-workings of classics like the Everly Brothers' When Will I Be Loved and Buddy Holly's It Doesn't Matter Anymore. These two, along with You're No Good, are probably the album's cornerstones. It Doesn't Matter Anymore is slowed down to a walking pace soulful country lament. It brings out the essential, intuitive country influence that exists in quite a few of Holly's songs while When Will I Be Loved is delivered with a vibrant country rockin' breath of fresh air. I can't get enough of it - every time I hear it, I feel invigorated.

The gentle, quietly melodious Faithless Love is warm, evocative and sensual, like a warm Arizona evening breeze. James Carr's Dark End Of The Street is equally moving, full of natural, honeyed soul from Linda. She had an effortless beauty in her timbre and delivery that is most attractive. Listening to these numbers is a real pleasure. As I listen, I think "this girl had it, didn't she?".

Also covered impressively is Little Feat's Willin'. Linda does it in muscular, solid fashion, as you would expect. Quality country rock. She has shown her versatility in the way she adapts to several different songs, albeit within the basic country rock framework. This is one of the album's best cuts. 

The mournful title track is a Kate McGarrigle number (I remember her from being part of folk sisters Kate and Anna McGarrigle in the seventies). I love that subtle fiddle backing and the romantic piano. Sweet, moving stuff. 

Now for a slow trio to end the album. I Can't Help It (If I'm Still In Love With You) is classic steel guitar-backed lachrymose roadhouse country fare. Similar is Keep Me From Blowing Away. The mould is not broken, either, for the sleepy, warm tones of the closer You Can Close Your Eyes.

There is a youthful exuberance to the album's admittedly-short thirty-two minutes. It was critically-acclaimed, and generally acknowledged that it was the album on which Linda honed her voice considerably. It raised her above much of her contemporaries.

Personally, I have just played it twice through. It falls into that "little gem" category.

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