Tag Archives: Linda Ronstadt

Random Reflections

Reflecting on: Trio by Dolly Parton, Emmylou Harris, and Linda Ronstadt

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My last reflection was on a Linda Ronstadt solo album, and I promised the next would be on this record, for the trio of Ronstadt, Dolly Parton, and Emmylou Harris is receiving a well-deserved star on the Hollywood Walk of Fame.

Release date: 1987

Style: traditional country

People Who Might Like This album: fans of any of these three artists’ solo work, fans of any female group with three-part harmony

Standout Tracks: “The Pain of Loving You,” “hobo’s Meditation,” “Wildflowers,” “Those Memories of You,” “Telling me Lies”

Reflections: What a joy it was to revisit this record; I hadn’t listened to this in full in many years. As mentioned in the last reflection, Linda Ronstadt has been a really important artist to me personally, and she’s the reason I loved the Trio albums in the first place. Parton and Harris have been more important to country music, but it was Ronstadt whose music I loved first. Even to this day, I am not nearly as familiar with the discography of Emmylou Harris as I should be or as I’d like to be. This album, though, surpasses anything any of them could have done on their own, for it takes three already outstanding voices and puts them together in three-part harmony that can only be described as chilling.

Ironically, as I’ve been listening to this album, I’ve also been giving the new self-titled El Coyote record multiple spins. I should have a review on that project soon, but what I keep coming back to with the trio is that groups like El Coyote and others that are carrying on this tradition of three-part harmony in these modern days overwhelmingly lean toward the folk end of the spectrum. That’s no disrespect to any of these groups or to folk music, but there’s something about hearing Parton, Ronstadt, and Harris singing in perfect harmony with fiddle and steel and country chords supporting them that’s just beautiful and irreplaceable and hard to find in 2018. And to those that discount Linda Ronstadt as a singer of pop and rock who only crossed over into country briefly, this record and the other Trio material should solidify her place in country music history. It doesn’t get much more traditional than the Ronstadt-led “Hobo’s Meditation,” a song penned by Jimmie Rodgers.

It is true I came to appreciate these records first because of Linda, but each of the three has a highlight on this album. “The Pain of Loving You” is an excellent tune led by Emmylou Harris, and the Dolly Parton-penned “Wildflowers” is another standout. More than their individual highlights, though, this record is about the magic of these voices together, an album that none of them could have made without the others. It’s hard enough to write duets, let alone songs that fit three voices. Then, it’s difficult to make sure the voices all blend well, and care must be taken to ensure that each element of the harmony can be heard. They do all this perfectly, and bring character to these songs that none of them could have achieved on their own. Their star on the Walk of Fame is well-deserved, and this album has earned its iconic place in country music history.

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https://www.youtube.com/watch?v=8aHcDD3H964

Random Reflections

Reflecting on: Linda Ronstadt–Simple Dreams

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It is a happy coincidence that this reflection comes the week of Dolly Parton, Emmylou Harris, and Linda Ronstadt being granted a star on the Hollywood Walk of Fame, and yes, in honor of that distinction, the next one of these will be on the Trio record released by the three of them in 1987. But even as iconic as Parton and Harris are to country music, it’s Ronstadt who’s been important to me, and she deserves her own piece. It’s been a long time coming, and this coincidence only makes it more necessary.

Release Date: 1977

Style: vintage pop, soft rock, and traditional country

People Who Might Like This Album: fans of Whitney Rose’s blend of country and vintage pop, fans of the vocals of Courtney Marie Andrews and First Aid Kit

Standout Tracks: “Blue Bayou,” “Carmelita,” “Tumbling Dice,” “Poor, Poor Pitiful Me,” “Old Paint”

Reflections: Before we had crossover stars like Faith Hill and Carrie Underwood, and before we had Americana types like Whitney Rose and First Aid Kit reimagining this blend of classic country and vintage pop, there was Linda Ronstadt. She’s often overlooked by the country industry because she was the opposite of someone like Faith Hill, making pop rock albums and then crossing over into country instead of starting in the country format. But Linda Ronstadt records are more country by far than anything we’d call pop country today, probably than anything we’d have called pop country twenty years ago. I’ll get to more of why she deserves her spot in the Country Music Hall of Fame as much as the one she’s earned in the Rock ‘n’ Roll Hall of Fame when I talk about Trio, but for now, it’s the pop rock aspect that I want to focus on more.

That’s because it’s the rock side of Ronstadt I knew and loved first. I’ve talked before about how I didn’t come to country music until I was in school. That came from my grandma’s car radio. My parents listened to classic pop and rock, and my earliest memories of music are of this style. Linda Ronstadt is the first singer I can remember listening to and the first artist I loved. It was years later that my grandma introduced me to the trio, and later I did come to associate her with country, but it was the pop and rock stuff that initially made me fall in love with her music. But as a country fan through and through, I came to appreciate those Linda Ronstadt albums later in life for having as much songwriting substance and crying steel guitar as any country record. I came to understand that Linda Ronstadt is one of those rare artists who transcends genre, whose voice cannot be contained or limited to just one style.

It’s that voice and her ability as an interpreter which should make any music fan a fan of Linda Ronstadt. Courtney Marie Andrews gave me chills the first time I heard her sing “How Quickly Your Heart Mends” because the resemblance to Ronstadt is uncanny, and anyone who knows anything at all about Andrews will understand that that’s a high compliment to Linda because Courtney’s voice is one of the best in modern country and Americana music. Sometimes, First Aid Kit can sound like two copies of Courtney Marie Andrews, and their blend of pop, rock, and country hearkens back to Linda Ronstadt’s style as well.

As for this particular album, I chose it because it has my favorite Linda Ronstadt song, “Blue Bayou,” which reached the top three on the pop, adult contemporary, and country charts and is just a timeless, beautiful song. It’s where anyone should start with Linda’s music. Her different styles are showcased well on this record, from the staunchly country “Old Paint” and “I Never Will Marry,” a duet with Dolly Parton that became a top ten country hit and foreshadowed the magic of Trio, to the slightly Latin-influenced “Carmelita” to the pop rock cover of the Rolling Stones’ “Tumbling Dice.” Modern country fans who loved Terri Clark’s “Poor, Poor, Pitiful Me” may not know that this was originally a Linda Ronstadt hit, but Linda’s version was the first I heard and the first I loved.

These reflections are meant to be short, and I’ve just written many more words than I intended to about her, but it speaks to the love I have for Linda Ronstadt and the importance her music has had in my life. She’s an artist who wasn’t trapped by genre lines, but rather than blending them all into something unrecognizable, she just stayed true to all of them and interpreted each style excellently. She’s an artist any serious fan of music should appreciate and check out, and Simple Dreams is a great place to begin.

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https://www.youtube.com/watch?v=PNY2FQ9ufxo

Reviews

Album Review: Courtney Marie Andrews–May Your Kindness Remain

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Rating: 7.5/10

One of my greatest joys in 2016, an intermittent and strange year for Country Exclusive, was the discovery of Courtney Marie Andrews, She’s an artist who could rightly be called more folk rock than country but whose style and songwriting transcend genre classification in the same way of Linda Ronstadt, an artist Andrews channels quite a bit vocally. IN fact, it’s the voice that captures you first with her, some kind of wonderful cross between Ronstadt, Joni Mitchell, and something all her own that draws you in and leaves you hanging on every word until you’re also captured by her stories and melodies. As mentioned, 2016 was an odd year for the site and for me personally, and there was a lot of music I heard but just never had the time or energy to review; if I found the strength within myself to write about something that year, many times it was special. Andrews’ album Honest Life blew me away from cover to cover and received one of the few perfect ratings I’ve ever handed down here. So needless to say, I was incredibly excited to hear that she’d be bringing us new music, and while this doesn’t capture me on the level of her previous record, it’s still a pretty solid album from Andrews.

It does take awhile to really hit its stride, though. It’s true that Courtney’s voice is as powerful as ever, and the way she bends syllables to add extra emotion is just fantastic and something that seems to be completely inherent and unique to her as a vocalist. She’s got a knack for writing within the sweet spot of her vocals as well, bringing out high notes that display her raw emotion and intensity. All of that is there from the outset, but the lyrics fall a little short. The title track is the only standout of the first three, with its gentle advice to let our kindness outlive our physical beauty and remain even when our money is gone. This one has some really unnecessary electric guitar in the middle that frankly distracts from it and just seems overdone, but this is still nice lyrically and melodically. You kind of forgive the production choice and hope for a better one on the next song. But “Lift the Lonely from My Heart” and “Two Cold Nights in Buffalo,” though both better in terms of production, just don’t stand out or make much of an impression lyrically. They’re not bad, but they’re not living up to the standard Courtney Marie Andrews has set for herself, and three songs into this record, I am a little disappointed.

That all changes in the heart of the album. Here, Courtney reminds me exactly what she’s capable of with several incredible songs. The piano and heart-wrenching delivery of “Rough Around the Edges” set the backdrop for this tale of a character with whom we can all probably empathize on some days. Andrews’ attention to detail in this song serves to paint a startling picture of a person who’s been hit hard by life and barely hanging on; every line serves a purpose, from the dishes in the sink to the curtains being drawn and the TV constantly being on but not really being watched, to the fact that she doesn’t even feel like answering her phone for anyone today. Courtney’s knack for portraying the downtrodden continues with “Border,” as she sings of a man coming to America for freedom and a new life and reminds us, “you cannot measure a man until you’ve been down the deepest well.” I love the experiments with production they took here, as this one veers toward a more atmospheric rock style that really works for this track. And then “Took You Up” arrives, the definite crown jewel of this album. This again is the story of downtrodden people just trying to get by, but this is a story of love outlasting all and surviving when money is tight and times are hard. Courtney Marie Andrews’ genius vocal ability really adds to this song, as it’s her unique inflections which draw out all the emotion in this simple track. Put this in the hands of another singer, and it’s an average love song, but with Courtney, it’s a gem on this record. “This House” serves as a follow-up to this song, relying on all those details again to paint a portrait of a home filled with laughter and love even if it might not be, to use Courtney’s words, “much of a house.” And for all you strict traditionalists/purists out there, although Courtney Marie’s work does lie more in the folk rock realm, this song is very solidly three-chord country.

The problem with this album, though, is its inconsistency. After these four excellent songs, we have “Kindness of Strangers,” the least memorable thing on the entire project. It still speaks to the lonely and forsaken, saying that some days, it takes the thoughtfulness of strangers just to get by, but in some ways, it’s simply echoing themes that we’ve already heard presented better earlier on the album. “I’ve Hurt Worse” gets us back on track with a sarcastic look at a toxic relationship and how we sometimes love and stay with people we know aren’t right for us because we think we don’t deserve any better. The melody here is absolutely beautiful, and there’s a nice, almost Celtic flavor to the instrumentation. “Long Road Back to You” hearkens back to the themes of distance and coming home to loved ones so often explored on Andrews’ last album, closing the record elegantly.

Overall, this is a solid effort. Its greatest problem is inconsistency because rather than being solid all the way through, it’s a record of highs and lows. When Courtney hits the mark, these songs are incredible. Her gift for portraying and empathizing with the downtrodden is similar to what we saw from Brandi Carlile’s recent album, and her ability as an emotive interpreter is unparalleled. Unfortunately, unlike her last record, this one does have some forgettable moments lyrically. However, even the lesser songs in that respect are elevated by her melodies and especially by her talents as a vocalist, so it’s still a really nice album. Also, I’m probably being a bit unfair to it because I’m judging it at the high standard to which I hold Courtney Marie Andrews, and in that respect, it falls a little short. But this is still a good record with some standout songs, and many will find a lot to enjoy here.

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Reviews

Album Review: Courtney Marie Andrews–Honest Life

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Rating: 10/10

Before I say anything, credit to trigger of Saving Country Music for bringing Courtney Marie Andrews into my life and now to my pen. There is a reason we do this–not to point out all the bad in the mainstream, but to introduce new and deserving artists to the world, to provide a platform for people seeking good music to find it. Enter Courtney Marie Andrews, a 25-year-old singer/songwriter from Phoenix, Arizona, and her latest album, Honest Life I will say two things about this record; firstly, it is not a country record, but more a folk record, with elements of country, rock, and pop mixed in, and secondly, it is the best album I have reviewed to date.

The album opens with “Rookie dreaming,” and the first lines immediately hold my attention and introduce the great songwriting that will be present throughout this entire album. “I was singing with the choir on the train. I was a traveling man, I did not yet have a name. I was a 1960s movie, I was a one-night love story, I was a you’ll never see me again.” This song features nice piano and acoustic guitar, and Courtney’s voice reminds me of an excellent cross between Joni Mitchell and Linda Ronstadt. The style resembles Ronstadt too, with the blend of country, folk, and rock that was Linda’s signature. “Not the End” is a love song in which Andrews sings from a hotel bed where she is “dreaming up every memory” to feel closer to someone she loves. “I didn’t think it was possible to lose you again, so won’t you hold me and tell me that this is not the end.” If you didn’t hear Joni Mitchell in the opener, you certainly will here; the emotion and phrasing in Courtney’s voice is closer to Mitchell’s than anything I have heard.

“Irene” adopts a more folk/pop rock sound; here, Courtney gives advice to a woman named Irene, including “keep your grace” and “don’t go falling in love with yourself.” It is universal in that it is relatable to everyone, but also could be specific to anyone who hears it. “How Quickly Your Heart Mends” is the moment where you will recall Linda Ronstadt the most; here, a woman is “hiding out in the bathroom of this bar,” devastated that her ex is acting like they never met. She put on the dress he loved, and now she feels like a fool and can’t believe he is ignoring her–“go on, and leave with your new friends, how quickly your heart mends.” The piano and steel really stand out on this track. “Let the good One Go” is another heartbreak song, this one about a woman missing someone she apparently let go. She thinks about calling him and wonders if he thinks about her, saying, “Oh you will know, when you’ve let a good one go.” The light instrumentation on this song brings the emotion and lyrics to the forefront. “Honest Life,” the album’s title track, is another simple, acoustic song that feels very personal to Courtney. “All I’ve ever wanted is an honest life, to be the person that I really am inside, to tell you all the things that I did that night. Sometimes it just ain’t easy to live an honest life.” The songwriting is excellent on this whole album, but it may be the best here–ask me tomorrow, and I might change my mind.

The next three songs explore distance from those you love, similar to the theme introduced in “Not the End.” In “Table for One,” Courtney arrives in Ohio after a trip from Houston–the verses would suggest it might be on a tour–feeling lonely and ready to go home. “You don’t wanna be like me, this life, it ain’t free, always chained to when I leave.” This one is stripped down too and lets the lyrics and Courtney’s voice shine. “Put The Fire Out” brings back the piano and is closer to the sound of “How Quickly Your Heart Mends.” Here, Andrews sings from a plane, as she flies home to reunite with her loved ones and put her rambling life behind her. “I am ready to put the fire out. There’s a place for everything, and I think I know mine now.” This was the first one I heard from Courtney, and I’ll post it here because it should lead you to the rest of this record. “15 Highway Lines” is a similar song, but this one is focused on reuniting with the one you love after time apart;–“13 hours till I see you. Flying all around this world so you can see me too.” It really captures the love, pain, and hope unique to long-distance relationships. The album closes with “Only in my Mind,” another excellent song in which the narrator paints pictures of life with someone she loves, but these pictures are only in her mind, as the relationship has ended. It seems to be mainly her fault it is over, or at least she believes this. It’s another one that captures the emotion perfectly and closes the album brilliantly.

If you haven’t figured it out, this album is special. It isn’t strictly country; it’s a unique mix of folk, country, pop, and roc, with the perfect production for each track. It is one of those rare albums that defies and transcends genre lines and just speaks for itself. Courtney Marie Andrews has a voice you will not soon forget, recalling Joni Mitchell and Linda Ronstadt, yet still unique. The songwriting on this album is nothing short of brilliant. It’s simple and complex at once. This album is both the poetry of Jason Isbell and the relatability of Vince Gill. It is raw and honest and real, and everyone should absolutely hear it.

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