Near the end of the song, Gold hammers out angry piano chords beneath Dan Dugmore’s sorrowful steel guitar lines, then comes back with a powerful guitar solo that is the instrumental topping for the quintessential Ronstadt performance. Realization and abject resignation in the second verse turn into frustration by the third (“When you say you tried/And you know you lied/My hands are tied”), which elicits the final, desperate plea of the title. The song’s theme summons from Ronstadt myriad emotions midway through the first verse, she is befuddled - not yet wanting to admit what is going on in her life: Ultimately, there is the Ronstadt-Gold song, “Try Me Again.” As in “Love Has No Pride” and “Long Long Time,” something precious is at stake here. She simply allows the beauty of this well-structured song to speak for itself. She doesn’t battle the instruments she doesn’t strain for high notes. She sounds at peace with herself as she sings of foolish lovers who don’t take the time to discover love’s true meaning.
Ronstadt’s interpretation is extraordinarily subtle, sly and witty. Swirling electric piano figures and a barely audible mandolin establish an irresistibly exotic ambiance. Ry Cooder’s “The Tattler” is one of the album’s two gems. Her reading could be tougher, but the music behind it - particularly the solo sparring between guitarists Andrew Gold and Waddy Wachtel - has enough bite to overcome the vocal shortcomings. The version of “That’ll Be the Day” included here neither alters my feelings for nor threatens the Buddy Holly original. I’ve always appreciated Ronstadt’s good-natured approach to her remakes of rock ‘n’ roll oldies. And in a few instances it’s as good as anything Ronstadt has done. Worse still, one verse of an immaculately beautiful reggae song, “Rivers of Babylon,” is ruined by being used as a prelude to “Give One Heart.” No amount of sweetening can rescue lyrics as inane as “That’s the paradox of I love you” or “If your baby loves you right/You can have skyrockets any old night.” A rock & roll bridge has been punched up, which only makes things worse by forcing a scream from Ronstadt as she tries to move up the scale. Orleans couldn’t salvage it, nor can Ronstadt. The album’s only other major mistake is John and Johanna Hall’s “Give One Heart,” one of the worst songs - reggae or otherwise - I’ve heard. When she is joined on the chorus by Don Henley (of the Eagles) the impact of the song’s touching and mystifying lyric is completely blunted by the beauty of the harmonizing.įlashback: Stevie Nicks and Other Badass Women Pay Tribute to Linda Ronstadt at the 2014 Rock and Roll Hall of Fame Here, strings and Andrew Gold’s impersonal piano accompaniment take the song all the way out of the danger zone, and Ronstadt’s carefully articulated, stodgy vocal belies her misunderstanding.
#HASTEN DOWN THE WIND. PLUS#
In the original version, stinging, venomous guitar lines plus ethereal guitar solos accentuated Zevon’s weary vocal. While it is certainly not in a league with her masterpiece, Heart like a Wheel (and I’m beginning to believe its perfection occurs but once in an artist’s career), Hasten down the Wind is nonetheless representative of Ronstadt redivivus, of Ronstadt, the sensitive, introspective stirring we have admired all these years.Īside from the inclusion of two innocuous songs - “Lo Siento Mi Vida” and Karla Bonoff’s “If He’s Ever Near” - the album’s problems are fairly well exemplified by the totally wrongheaded interpretation of the Warren Zevon-penned title song, which delineates the chilling tale of a lover’s indecisiveness. This is Linda Ronstadt’s tenth album (including the three made with her first group, the Stone Poneys). Think instead of a gifted singer - perhaps our most gifted - who has given us (arguably, I admit) some 40 memorable songs but failed, and miserably so, to connect with much passion on her last album, Prisoner in Disguise. When I say welcome back, don’t think of John Sebastian’s awful song, or the equally awful television show it introduces.
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