Simple Dreams' second side is better paced and begins with the song, "Blue Bayou," that caused me to compare Ronstadt to Billie Holiday. "I Never Will Marry," the great traditional tune to which Dolly Parton's backwoods harmonies add a gorgeous dignity, should become her signature: it frames her independence and loneliness with enormous restraint and power. The lines "Everything seems to spin all around/But I can't see/Whether it happens/With or without me" unite emotional and philosophical confusion dramatically, and Ronstadt sings them as if she wrote them. She gets Eric Kaz' complex "Sorrow Lives Here" (Kaz, it seems, is getting ready to challenge Leonard Cohen as the world's most morose songwriter) just right. Souther's modestly self-pitying "Simple Man/Simple Dream" with a thorough sympathy for and understanding of Souther's message - that the lover of simple truths is easily ridiculed.
But that's a piddling complaint because it's a fine side. She's just a little too blue for comfort. That flaw, which was most obvious in Ronstadt's sober reading of Randy Newman's outlandish "Sail Away," is evident here on Warren Zevon's darkly ironic "Carmelita." When Ronstadt, going to meet a dealer, sings, "He hangs out down on Alvarado Street/At the Pioneer Chicken stand" without even a smirk, it sounds as if she doesn't know that a joke, however black, is being made.Īnd all the way through Simple Dreams' first side (which, except for the rousing opener, "It's So Easy," is made up of ballads), Ronstadt fails to step back and take a look at herself. What she lacks is the sense of humor and ironic self-effacement that made Holiday such an extraordinarily subtle and intelligent performer. Throughout Simple Dreams (in which Ronstadt and Asher wisely have scaled down the production), the singer evokes a bittersweet world of disappointments, fantasies and cheerfully brazen assertions. What Ronstadt's blossoming skills suggest is a kind of latter-day Billie Holiday, a woman whose singing constitutes an almost otherworldly triumph over the worst kind of chronic pain. Ronstadt had, quite simply, become rock's supreme torch singer. It doesn't quite make sense to call her highly charged performances relaxed, but certainly she was a lot less stiff than before. Given Karla Bonoff's red-hot, baldly emotional material ("Someone to Lay Down beside Me," "Lose Again," "If He's Ever Near"), she responded with her most personal - even visceral - singing. With Hasten Down the Wind, Ronstadt shed some long-lived inhibitions. She's always possessed that big, magnanimous voice, but it wasn't Heart like a Wheel that her interpretive and arranging skills (the latter, and perhaps both, due to the felicitous pairing with producer Peter Asher) fully emerged. The thing about Linda Ronstadt is that she keeps getting better, and we keep expecting more and more of her.
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