Linda Ronstadt: “Hand Sown … Home Grown”


Linda Ronstadt - Hand Sown Home Grown
Linda Ronstadt – Hand Sown Home Grown

Linda Ronstadt Hand Sown … Home Grown

Hand Sown … Home Grown is the debut solo studio album by American singer songwriter Linda Ronstadt, released in March 1969 through Capitol Records. Produced by Chip Douglas of the Turtles, the album saw Ronstadt take a decisive turn away from the folk rock of The Stone Poneys toward country and rock. Among others, Hand Sown… features covers of songs by the Flying Burrito Brothers and Bob Dylan and a song written by fellow Stone Poney Kenny Edwards, who would go on to perform in her band through the 1970s.






Baby, You’ve Been on My Mind” (original title: “Mama, You Been On My Mind”)

Bob Dylan



Silver Threads and Golden Needles

Dick Reynolds, Jack Rhodes



“Bet No One Ever Hurt This Bad”

Randy Newman


“A Number and a Name”

Tom Campbell, Steve Gillette



Only Mama That’ll Walk the Line

Ivy J. Bryant, Earl Ball



“The Long Way Around”

Ken Edwards



“Break My Mind”

John D. Loudermilk



I’ll Be Your Baby Tonight

Bob Dylan



“It’s About Time”

Chip Douglas



“We Need a Whole Lot More of Jesus (And a Lot Less Rock & Roll)”

Wayne Raney



“The Dolphins”

Fred Neil


Linda Ronstadt
Linda Ronstadt

Rolling Stone Review: Linda Ronstadt: Hand Sown…Home Grown

This is a distinctive, if not unique, approach to country music as rock. As the jacket admits humorously, the attempt here is not at “purity,” but rather something looser, less self-conscious. The record was made in L.A., and borrows from country pop mainly the idea of “orchestration” — a succession of riffs that try to keep the song “moving” from place to place; the arrangements are loud, but orderly, with drums (sometimes reminiscent of Presley) up front.

Linda Ronstadt was lead singer for the Stone Poneys, a nice group that, however, offered only pale backing for her voice. Lots of girl singers have big voices; hers is remarkable more for its control and subtlety. “Intelligent” is a strange way to describe a voice, but it fits; she can, within a song, change more than its physical structure, can twist simple words to fit delicate emotions.

The music is lush, perhaps country psychedelic; the rougher edges of the latter have been smoothed, sometimes, as on Fred Neill’s “Dolphins,” too smooth. Both senses of “synthetic” are appropriate: note the fiddle riffs on guitar in “Silver Threads and Golden Needles,” and the Marlboro commercial sound (via Moog) on “Baby You’ve Been on My Mind.” The temptation to let the vocals do all the work is avoided; the backing is interesting, yet not crowded. There are no musicians listed on the cover, no attempt at proving authenticity, and the music frames a voice with more feeling for country songs than that of Judy Collins or Joan Baez, a voice a bit like Janis Joplin’s, but influenced more by June Carter and Patsy Cline.

She has several different voices, really, and uses her most down-home treatment on four very good cuts. On “We Need a Whole Lot More of Jesus (And a Lot Less Rock and Roll),” there is the best integration of instruments, particularly in the break. The vocal on this and on “The Only Mama That’ll Walk the Line” hints at humor without falling into self-parody, a temptation for rock singers doing country tunes. She obviously feels the music without entirely believing it; the former is, after all, in this arrangement, a rock song.

“Break My Mind” goes all out, nice and loud but tasteful. The vocal, especially in the refrain, is pure, un-selfconscious — she uses few tricks, employing resonance with restraint. “Silver Threads and Golden Needles” is perfect for this kind of arrangement, and probably could still sell a lot of copies as a singe. For obvious reasons, “I’ll Be Your Baby Tonight” is hard to do, and the band tries a little too hard; it is really a much looser song. But the lead guitar and particularly the harmonica are superb, the latter really getting into the laziness of the song.

Nice, loud “good-time,” country-styled rock. Finger-popping time.

By Rolling Stone
May 3, 1969