Happy 40th Anniversary to Linda Ronstadt’s tenth studio album Mad Love, originally released in February 1980 (note: the album’s specific release date is not available).
Over the last few weeks, I have immersed myself in anything and everything Linda Ronstadt. Whether it be interviews, album reviews or even the recently released documentary Linda Ronstadt: The Sound of My Voice. One thing that has become incredibly apparent to me is that her canon of music is as diverse as the genres she so defiantly challenged and ultimately conquered throughout her career. A feat, regardless of gender, few have been able to achieve.
This diversity, stretching from her beginnings in country and rock through to pop, Latin and everything else in between, was probably best displayed on Mad Love, an attempt at new wave. Ronstadt’s tenth album was a massive departure from her previous format of “SoCal” country meets rock, which had worked brilliantly up until its precursor Living In The USA (1978), but now demanded something fresher. Long-time producer Peter Asher (who produced or co-produced Ronstadt’s six previous albums) and Ronstadt decided that Mad Love might just be the breath of fresh air they were looking for, and they were right.
Now, when you think of new wave, you think of bands like A-Ha, The B-52’s, Depeche Mode and Elvis Costello. Linda Ronstadt, the pitch perfect singer of hits like “You’re No Good,” “When Will I Be Loved” and “Blue Bayou,” isn’t the first name to enter one’s mind when talking New wave. But like everything up until this point in Ronstadt’s career (and let’s be honest here, everything that she went onto achieve afterwards too), Ronstadt turned any doubts about her musical exploration into concrete assertions that she too could and would conquer this new musical path.
Interestingly enough, this album saw Ronstadt cover three of Costello’s songs (“Party Girl,” “Girls Talk” and “Talking in the Dark”), something that Costello himself had been quite vocal about in his disapproval. This disapproval started when Ronstadt covered Costello’s “Alison” for her previous album (Living In The USA) and continued with the trio Ronstadt selected for Mad Love. In an essay Costello recently penned applauding The Sound of My Voice, he described his scrutiny of Ronstadt’s curiosity with delving into something new as “suspicious, territorial and, at times even a little hostile.” He adds, “To say the least, I lacked grace.”
Unfazed by Costello’s criticism, Mad Love debuted at #5 on Billboard’s album chart which at the time, was a first for any female artist and yet another accolade the then 30-something singer added to her ever growing list of accomplishments. Ronstadt was one of the pioneers in breaking down the barriers many female performers were forced to endure at the time. While her creative and professional decisions proved successful, they were also incredibly insightful for the singers who followed in her footsteps.
Three official singles were released from Mad Love, all with varying degrees of success. The perfect catalyst for Ronstadt’s entrance into new wave, the album’s lead single “How Do I Make You” was written by the legendary Billy Steinberg (co-writer of songs like “Like A Virgin,” “True Colors” and “So Emotional” to name a few) and reached the top ten in various countries. Her cover version of Little Anthony and the Imperials “Hurt So Bad” followed, reaching #8 on the Billboard Hot 100 and was the album’s biggest seller. The third and final single to be released was “I Can’t Let Go,” which quietly reached #31 on the charts.
Whilst Mad Love has been labelled as new wave for the most part, Ronstadt still managed to remain true to her rock roots with songs like “Look Out For My Love” and “Justine.” When you think about it, what is new wave really? Most would say that it encompasses a wide range of styles like pop, rock, disco, mod and even electronic, but essentially it is rooted in the punk rock era that epitomized the mid to late ‘70s. Given all this, was it such a far-flung feat for a singer like Ronstadt, a woman whose roots were firmly in rock herself, to tackle a genre like new wave? No. And yes. No, because of all of the above. And yes, because punk rock was all about spontaneity, something that the incredibly articulate and perfectionist Ronstadt was not.
On the flip side, maybe this was Ronstadt’s strength—her ability to deliver and execute music flawlessly. Let’s be honest, she got the best of the best when it came to Mad Love, including a Neil Young song (“Look Out For My Love”), not to mention working with music legends like Mark Goldenberg (Cher, Pointer Sisters), Chip Taylor (Writer of “Wild Thing” and countless other hits) and, of course, Billy Steinberg. Even her backing singers on this venture were of the highest caliber, including the legendary Rosemary Butler and the late Nicolette Larson.
Forty years later and Mad Love remains a testament to true artistry and following your gut when all those around are telling you not to. Although Ronstadt no longer sings, her legacy is not just her immense canon of work, but one of a woman who fearlessly defied all of the rules and did what she wanted, when she wanted, how she wanted and in the most exquisite manner that only she knew how to pull off.
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