Linda Ronstadt’s supergroup on You Can Close Your Eyes
To be one of the greatest singers of all time, Linda Ronstadt didn’t achieve it by accident. She poured her heart and soul into her craft, achieving world-class status, yet she maintained a clear preference: the spotlight before the studio. While she was a marvel on the microphone, she often found the process of recording to be less than ideal, preferring to be on stage first, ensuring that her performance felt pure and unadulterated.
This preference meant she was slow to embrace the studio trickery. For songs like When Will I Be Loved or You’re No Good, which thrived on immediate audience interaction, she felt it was better to wait until she was truly ready to translate those feelings into a recorded sound. She sought the purest expression of her voice, avoiding unnecessary overdubs in the early stages of her career.
Fortunately, her journey was supported by incredible talent. The quality of her albums was intrinsically linked to the songwriters she worked with, and she was fortunate to collaborate with some of the most impeccable minds in the Laurel Canyon scene, including JD Souther and Randy Newman, who provided the perfect framework for her melodies.
When Ronstadt did venture into the studio, she was guided by voices of immense skill, who knew exactly where the track needed to go. This collaborative approach ensured that her recordings were rich in depth and authenticity, rather than simply polished for mass consumption.
One of her signature songs, You Can Close Your Eyes, stands out as a perfect example of this artistic synergy. The track wasn’t just a song; it became a celebration of the musical family that surrounded her. Ronstadt sought to bring these friends into the fold, turning the recording session into a joyful reunion.
The result was a true supergroup affair, featuring members of the legendary Eagles. Glenn Frey and Don Henley contributed guitar and drums, weaving their expertise into the song’s fabric. The session also brought in other cherished friends, including Timothy B. Schmit on bass, along with manager John Boylan on guitar and producer Tony Asher on backing vocals.
While the song itself didn’t attempt to reinvent the musical wheel, it offered a beautiful testament to the bonds forged in the music world. It felt like a genuine family affair, a collective thank-you for elevating her status in the California rock scene.
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