You will be redirected back to your article in seconds

Tribeca Film Review: ‘Linda Ronstadt: The Sound of My Voice’

A portrait of Linda Ronstadt salutes one of the most enthralling pop stars of the 1970s, whose voice soared above the hurly-burly around her.

Rob Epstein, Jeffrey Friedman
Linda Ronstadt, Jackson Browne, Emmylou Harris, Don Henley, Aaron Neville, Dolly Parton, Bonnie Raitt.

1 hour 35 minutes

Official Site: https://www.tribecafilm.com/filmguide/linda-ronstadt-the-sound-of-my-voice-2019

There’s a lot of talk these days about empowerment in the music industry. “Linda Ronstadt: The Sound of My Voice,” directed by Rob Epstein and Jeffrey Friedman (“The Celluloid Closet”), is a no-frills documentary that tells the enthralling story of one of the most powerful women in the history of pop music, and the movie is a testament to how different empowerment once looked, yet how potent it still was. When you watch Beyoncé’s “Homecoming,” there’s hardly an atomic particle onscreen that doesn’t vibrate with power. Every costume stitch, every twist and strut of the marching-band members, every triumphant booty shake, every now-hear-this lyric — it’s all about an exultant freedom that’s not being asked for, or even demanded. It has been achieved.

Contrast that with the song that put the 21-year-old Linda Ronstadt on the map. The year was 1967, she was a member of the L.A. folk-rock trio the Stone Poneys, and the song was “Different Drum,” which didn’t sound, on paper, like a recipe for empowerment. It was written by Michael Nesmith of the Monkees, and it had already been recorded the year before, in a bluegrass version. The Monkees’ TV producers turned it down, and when the executives at Capitol Records heard the Stone Poneys’ version, they turned it down too — with good reason. It was jauntier than the version we now know, and it didn’t work at all.

Ronstadt was invited back into the recording studio to do a softer, sweeter version, complete with orchestra. The result? One of the most incandescent pieces of pop music ever recorded. And if you want to talk power — emotional power, vocal power, woman power — it’s there in every plaintively surging note of Ronstadt’s performance. Nesmith originally wrote the lyrics from a man’s of point of view; the song was a guy justifying his desire to stray (“I’m not in the market for a girl who wants to love…only me”). But Ronstadt’s version flipped the genders, and she performed it in a voice at once imploring and defiant, wistful and liberated. When she sang, “All I’m saying is I’m not ready,/For any person, place, or thing to try and pull the reins in on me-e-e-e-e,” it was the announcement of a new way of seeing. Ronstadt’s voice yearns and crests with a freedom that never forgets its pain. She breaks your heart and heals it at the same time.

From that moment, the record company saw that she was born to be a solo artist. The astonishing thing about “The Sound of My Voice” is that it captures the life and career of a rock ‘n’ roll star who never looked back, never apologized, never compromised, virtually never made a wrong move, and made it all seem effortless. Linda Ronstadt strode across the stage of the 1970s, a rock world still so dominated by men that despite the trails blazed by such artists as Janis Joplin and Grace Slick, when Ronstadt made it onto the cover of Rolling Stone for the first time (in 1975), in a silk-dress-falling-off-the-shoulder shot by Annie Leibovitz, it was considered a revolutionary change of pace.

In the ’70s, Ronstadt had a girl-next-door-in-cutoffs earthy sexy country winsomeness that had the benefit of projecting, more or less, who she was. She was a bit like a movie star, with a pout that came naturally, and she never fussed much over her image (bangs, hoop earrings), because what she was selling was the full-throttle expressiveness of her singing.

A lot of the songs she did were covers, but even when you knew the originals, Ronstadt had an uncanny way of making them her own, whether she was reconfiguring the hard-charging bravura of the Everly Brothers’ “When Will I Be Loved,” the lady-killer melancholy of the Eagles’ “Desperado,” or the teenage erotic-romantic bliss of Martha and the Vandellas’ “Heat Wave” (which for some reason — music rights? — isn’t in the documentary). Cameron Crowe, interviewed in the movie, says, “When you become that sharp of a song stylist, you get authorship, in a way.” And that’s exactly right. Who cares who wrote and originally recorded “Blue Bayou,” even if it was Roy Orbison? When you hear Ronstadt’s version, it’s as if you’re hearing the only version.

“The Sound of My Voice” is laced with colorful stories. We meet the Linda who grew up on a ranch in Tucson 40 miles from the Mexican border, and carried a ripe sense of her Hispanic heritage, even though a lot of her fans had no idea of it — maybe because, as Jackson Browne points out, her last name sounded Germanic. In Los Angeles, she hung out at the Troubadour, where she thought the Doors were a great band who should ditch their atrocious lead singer, and at every point she carved out her destiny, approaching the record producer John Boylan on a whim and going out on the road with a rough-and-tumble assemblage of macho rockers, like Glenn Frey and Don Henley, who roomed together on tour with her and discovered that they chimed as songwriters.

Ronstadt moved into a beach house with J.D. Souther, shot off her mouth about politics with enlightened ferocity even when she was warned not to, and committed the ultimate act of anti-cliché pop-star behavior by refusing to be a diva. She simply asked for what she wanted, and generally got it. Peter Asher, the former Beatles associate who became her producer, talks about how he orchestrated “You’re No Good” to sound like the Beatles (the layered churn of the guitars), and it remains one of her defining tracks — a rejection of victimhood steeped in ominous experience.

Epstein and Friedman, making a return to documentary features after their adventurous docudramas, “Howl” and the criminally underrated “Lovelace,” steer “The Sound of My Voice” away from prickly personal byways, though they do drop in on Ronstadt’s made-for-media-gossip relationship with California governor Jerry Brown. The movie is mostly content to be a portrait of Ronstadt the artist, and it’s more than satisfying on that front. Dolly Parton, Emmylou Harris, Karla Bonoff, and Bonnie Raitt provide testimonials to Ronstadt’s independence and her extraordinary chops, and the movie finds a special value in the bold turns she made beginning at the end of the ’70s, when her star was dimming — I don’t mean to be cruel about it, but it was.

She starred in the New York Shakespeare Festival production of Gilbert and Sullivan’s “The Pirates of Penzance,” just because she wanted to. She did an album of standards, seeking out Frank Sinatra’s legendary velvet-strings arranger Nelson Riddle, as well as an album of Spanish songs that became the top-selling Spanish-language album ever recorded. And while I confess that at the time I didn’t know what to make of Ronstadt’s creative left turns, and more or less ignored them, I saw only later on that they were inspired. Ronstadt was following her bliss, making music of rare delicacy, putting her days as a pop star behind her because only a fool would try to stretch that out forever.

The one downbeat note the movie sounds is that due to her struggle with Parkinson’s disease, Ronstadt can’t fully sing anymore. At least, not in the way she once did. There’s a scene at the end in which she appears, still beautiful, with her hand trembling, and sings in her living room with a mariachi trio, and it will bring tears to your eyes, because the gift is still there — in her phrasing, in the crystal purity of her tone. Linda Ronstadt had a voice so majestic that, amid the hurly-burly of the 1970s, it soared above everything around it. It was a voice as clear as a bell, as charged as an engine, and one that expressed so much, a voice that could love, fight, caress, declare, cajole, wound, and heal. A voice that turned power into splendor.

Tribeca Film Review: 'Linda Ronstadt: The Sound of My Voice'

Reviewed at Tribeca Film Festival (Movies Plus), April 26, 2019. Running time: 95 MIN.

Production: A CNN Films release of a CNN Films, PCH Films, Telling Pictures production. Producers: James Keach, Michele Farinola, Rob Epstein, Jeffrey Friedman. Executive producers: Amy Entelis, Courtney Sexton.

Crew: Directors: Rob Epstein, Jeffrey Friedman. Camera (color, widescreen): Nancy Schreiber, Ian Coad. Editors: Jake Pushinsky, Heidi Sharfe, Veronica Pinkham. Music: Bennett Salvay, Julian Raymond.

Cast: Linda Ronstadt, Jackson Browne, Emmylou Harris, Don Henley, Aaron Neville, Dolly Parton, Bonnie Raitt.

More Music

  • Jagged Little Pill Broadway

    Hot Shows and Viral Campaigns Put a New Spin on Broadway Cast Albums

    Mixtapes, YouTube videos, dedicated playlists, ancillary products, viral marketing, epic chart stays. These are buzzwords you expect to hear from a record label discussing Cardi B or Beyoncé. Instead, this is the new world of a very old staple, the Broadway original-cast recording. Robust stats tell the tale: Atlantic’s “Hamilton” album beat the record held by Adele’s [...]

  • Santino Fontana Tootsie Broadway Illustration

    'Tootsie' Star Santino Fontana on the Challenges of His Tony-Nominated Dual Role

    Santino Fontana is doing double duty on Broadway this year. The “Tootsie” star scored his second Tony Award nomination this month for his hilarious portrayal of struggling actor Michael Dorsey and Dorothy Michaels, the female persona that Dorsey assumes to win a role in a play. The musical, based on the 1982 comedy starring Dustin [...]

  • Kanye West Slams Liberals for ‘Bullying’

    Kanye West Slams Liberals for ‘Bullying’ Trump Supporters in David Letterman Interview

    The Daily Beast today published a preview of David Letterman’s interview with Kanye West — which addresses music, fashion, West’s late mother and of course his much-criticized support of President Trump — on his Netflix show, which begins streaming next Friday, May 31. The article praises the hour-long session as “not only one of the [...]

  • Richard AshcroftThe Ivors, London, UK -

    Richard Ashcroft Talks About ‘Emotional’ Legal Battle Over ‘Bittersweet Symphony’

    On Thursday, nearly 22 years after the Verve’s “Bittersweet Symphony” was released, singer Richard Ashcroft announced that the Rolling Stones’ Mick Jagger and Keith Richards assigned to him the songwriter royalties and rights from the song, which samples one of their compositions, and removed their writing credits. The songwriting royalties and rights had been assigned [...]

  • Flying Lotus Flamagra

    Album Review: Flying Lotus’ ‘Flamagra’

    Veteran DJ/producer/artist/rapper Flying Lotus operates in a sort of netherworld between electronic, hip-hop, jazz and funk, without being particularly anchored in any earthly genre. He’s signed to the electronic label Warp, is the nephew of jazz great Alice Coltrane and the grandson of Marilyn MacLeod (cowriter of Diana Ross’ hit “Love Hangover”), and has worked [...]

  • Singer Adam Levine performs with Maroon

    Adam Levine Leaves 'The Voice' After 16 Seasons

    After 16 seasons on “The Voice,” Maroon 5 frontman Adam Levine will not be returning to a coach’s chair when the NBC singing competition series begins its 17th edition in the fall. Levine has been a coach on the show since its inception in 2011. He will be replaced next season by Gwen Stefani. “Voice” [...]

  • Snapchat

    Snap in Talks to License Music to Let Snapchat Users Embed Songs in Posts

    Snap wants to up Snapchat’s music game. The company has been in negotiations with music companies including the big three — Sony Music Entertainment, Universal Music Group and Warner Music Group — to license song catalogs for the Snapchat app, according to two industry sources familiar with the talks, confirming a Wall Street Journal report. [...]

More From Our Brands

Access exclusive content