If I could only find the words

In the early years of rock and roll, female singers, musicians and songwriters were the exception. Men dominated the picture, just like in most professions at the time.

By the Seventies, it was a new dawn, and women made big inroads into the charts as singers and songwriters, and as musicians as well. By the Eighties, they weren’t just acoustic, they were electric, fronting full rock bands. That progress has continued into the ’90s and beyond.

In honor of the late Ruth Bader Ginsburg, and in honor of talented women everywhere, this edition of “Hack’s Back Pages Lyrics Quiz” centers around lyrics from songs written and/or performed by female artists of the ’60s, ’70s and ’80s. Many of the 20 songs selected make reference to the ongoing battle for women’s rights.

Can you identify the song and/or the artist? Jot down your answers, and then scroll down to see the answers and find if your memory bank still serves you. Feel free to let me know how well you did in the comment section, or via email (bhhack55@gmail.com). Enjoy!

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1 “When my soul was in the lost and found, /You came along to claim it…”

2 “Lovers forever, face to face, /My city, your mountains, stay with me, stay…”

3 “We love our lovin’, but not like we love our freedom…”

4 “I’ve packed my bags, I’ve cleaned the floor, /Watch me walkin’, walkin’ out the door…”

5 “Still, I’m glad for what we had, and how I once loved you…”

6 “Well you’re the real tough cookie with the long history of breaking little hearts like the one in me…”

7 “But every night, all the men would come around, /And lay their money down…”

8 “My pretty countryside had been paved down the middle by a government that had no pride…”

9 “Prove that you love me and buy the next round, /Oh Lord, won’t you buy me a night on the town?…”

10 “But I rehearsed those words just late last night /When I was thinking about how right tonight might be…”

11 “Coast to coast, L.A. to Chicago, western male, /Across the north, and south to Key Largo, love for sale…”

12 “And don’t tell me what to do, /Don’t tell me what to say, /And please, when I go out with you, don’t put me on display…”

13 “I never did believe in miracles, /But I’ve a feeling it’s time to try…”

14 “Go on now, go, walk out the door, /Just turn around now ’cause you’re not welcome anymore…”

15 “When the truth is found to be lies, /And all the joy within you dies…”

16 “They just use your mind and they never give you credit, /It’s enough to drive you crazy if you let it…”

17 “A friend who taught me right from wrong, and weak from strong, /That’s a lot to learn…”

18 “Go on, get out, get out of my life, and let me sleep at night…”

19 “And you won’t need no camel, no no, when I take you for a ride..”

20 “You keep playing where you shouldn’t be playing, /And you keep thinking that you’ll never get burned, hah!…”

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Answers:

1 “(You Make Me Feel Like) A Natural Woman,” Aretha Franklin, 1967

Songwriter extraordinaire Carole King wrote this women’s anthem and eventually recorded her own version, but it was the late great Aretha, the Queen of Soul, who made the song a hit, reaching #8, her fourth of five Top Ten hits in 1967. She had been stuck doing torch songs and show tunes on Columbia, but once she switched to Atlantic, the R&B hits came fast and furiously.

2 “Leather and Lace,” Stevie Nicks, 1981

After six years with Fleetwood Mac, helping to transform the former British blues band into a pop music sensation, Nicks took the solo plunge in 1981 with her “Bella Donna” album. It sold many millions, thanks to “Edge of Seventeen,” “Stop Draggin’ My Heart Around” and this charming duet with Don Henley that reached #6 on the charts. The twosome had an affair, but they weren’t “lovers forever, face to face”

3 “Help Me,” Joni Mitchell, 1974

Generally regarded as the finest female songwriter of her generation, and one of the finest songwriters, period, Mitchell has always been more interested in her artistry than fame and fortune. Consequently, many of her albums and singles charted modestly or poorly despite their high quality. This breezy single from the brilliant “Court and Spark” LP was her only Top Ten hit.

4 “Would I Lie to You?”, Eurythmics (Annie Lennox), 1985

Lennox and partner Dave Stewart formed the Eurythmics as a techno-pop duo but eventually evolved in a more rock/R&B direction. This hard-driving rock tune was a Top Five single for them in the U.S., one of three in 1985 from the album “Be Yourself Tonight.” Lennox sings about catching her man cheating and leaving him for good, which ties in nicely with her duet with Aretha Franklin, “Sisters Are Doin’ It For Themselves.”

5 “It’s Too Late,” Carole King, 1971

After a brilliant career in the Sixties as a songwriting duo with her husband Gerry Goffin in New York, King divorced and moved to L.A. in 1970, where she teamed up with Toni Stern to write most of her iconic “Tapestry” album. “I Feel the Earth Move” and “So Far Away” were also hits, and her own version of “You’ve Got a Friend” got airplay, but this song about an amicable breakup topped the charts for five weeks in June-July 1971.

6 “Hit Me With Your Best Shot,” Pat Benatar, 1981

Benatar wasn’t the first woman to front her own rock band, but she was one of the best early successes. She came out of Brooklyn to take the country by storm in 1980 with her second LP, “Crimes of Passion,” which included the Top Ten hit “Hit Me With Your Best Shot.” According to the songwriter, Eddie Schwartz, the song title is meant to be metaphorical rather than literal.

7 “Gypsys, Tramps and Thieves,” Cher, 1971

A Sixties icon as part of Sonny and Cher, she weathered a fallow period before working with producer Snuffy Garrett to record her first solo #1 single “Gypsys, Tramps and Thieves,” with lyrics that covered adult topics like racism, teenage pregnancy and prostitution. Cher has gone on to become the only artist, male or female, to chart a #1 single in six consecutive decades.

8 “My City Was Gone,” The Pretenders (Chrissie Hynde), 1984

A product of Akron, Ohio, Hynde moved to London in the mid-’70s and embraced both punk and New Wave genres. She formed The Pretenders there and began a career as one of the most badass female rockers of all time, writing hard rock and melodic tunes alike. On their third LP, “Learning to Crawl,” you’ll find “My City Was Gone,” an autobiographical song she wrote upon her return visit to Akron after years away.

9 “Mercedes Benz,” Janis Joplin, 1971

Janis came to the forefront at the Monterey Pop Festival in 1967 when she was singing with Big Brother and the Holding Company. By 1970 she was touring with The Full-Tilt Boogie Band, and recording her third album, “Pearl,” which included Kris Kristofferson’s “Me and Bobby McGee,” her only #1 hit. The a cappella throwaway, “Mercedes Benz,” a spoof on consumerism, would be the last track she ever recorded.

10 “Anticipation,” Carly Simon, 1971

For the longest time, I couldn’t hear this song without thinking of the Heinz ketchup TV commercials that used it. It was Carly’s second big hit, with lyrics she wrote about the excitement she felt as she waited for her date to arrive (who happened to be Cat Stevens that night!). The song reached #13 and was the second of ten Top 20 hits she charted throughout the 1970s, most of which she wrote or co-wrote.

11 “Smooth Operator,” Sade, 1984

Born in Nigeria and raised in England, Sade seemed to come out of nowhere in 1984-85 with her single, “Smooth Operator,” from the album “Diamond Life.” She wrote the lyrics about a fashionable ladies’ man who is actually a devious, jet-setting criminal. Every studio album she has ever released reached the Top Ten in the U.S. and also did well throughout Europe, the UK, Canada and Australia.

12 “You Don’t Own Me,” Lesley Gore, 1964

This early feminist anthem spent three weeks lodged at #2 on the US charts in early 1964, kept from the top spot by The Beatles’ US debut single, “I Want to Hold Your Hand.” Gore had been only 16 when “It’s My Party” had been a chart-topper, and by the time she was 19, she chose to give her career a rest and attend college, a bold move in the finicky world of pop music. Gore died in 2015 at age 68.

13 “You Make Loving Fun,” Fleetwood Mac (Christine McVie), 1977

When Fleetwood Mac was making the multi-platinum “Rumours” LP, Stevie Nicks and Lindsey Buckingham were breaking up, as were Mick Fleetwood and his wife Jenny. John and Christine McVie had just recently divorced, and Christine was already writing songs like “You Make Loving Fun” about her new boyfriend, the band’s lighting director. McVie’s songs have often been the band’s biggest singles, including “You Make Loving Fun” at #9.

14 “I Will Survive,” Gloria Gaynor, 1979

Although it was written by two men, “I Will Survive” came to represent the women’s movement during its battles for equality in the late ’70s and ’80s. It was actually released as the B-side of Gaynor’s single, but disc jockeys discovered it and played it relentlessly, turning it into a #1 song. Unfortunately, Gaynor’s success was short-lived, as the disco era was ending, but you can still hear the song in karaoke bars every night.

15 “Somebody to Love,” Jefferson Airplane (Grace Slick), 1967

The San Francisco Sound, as it came to be known, included, most famously, Jefferson Airplane and Grateful Dead. The Airplane had multiple vocalists but founder Marty Balin and especially Grace Slick were at the forefront. On songs like “Somebody to Love,” written by Slick’s brother-in-law, her powerful voice rings out above a solid rock tune about our universal need for love.

16 “9 to 5,” Dolly Parton, 1980

Parton had worked long and hard making a career for herself as a country singer, including one successful foray into the pop charts, “Here You Come Again” in 1977. In 1980, she was tapped to co-star in the working women comedy film “9 to 5,” and she wrote and sang the title song as well, which became a huge #1 hit on pop charts. Parton has established herself as a trailblazer for education and women’s rights in the years since.

17 “To Sir With Love,” Lulu, 1967

Marie McDonald McLaughlin Lawrie, better known as Lulu, enjoyed a successful career as a singer and an actress in her native Great Britain, but in the U.S., her fame is mostly limited to her work on the Sidney Poitier film “To Sir With Love.” In addition to playing a part as a high school student, she sang the title tune, which rocketed to #1 and was the best-selling song of the year in the U.S. in 1967.

18 “You Keep Me Hangin’ On,” The Supremes (Diana Ross), 1966

This Motown track by the Holland-Dozier-Holland songwriting/producing team is one of the best of The Supremes’ catalog, and rivals “Respect” as a song about women needing to rid themselves of the problematic men in their lives. As always, Diana Ross sang lead vocals, and within a year, she would have lead billing as well, which translated into a huge solo career a few years after that.

19 “Midnight at the Oasis,” Maria Muldaur, 1974

In the Greenwich Village folk scene in the early ’60s, Maria D’Amato was a regular, and sang with a jug band that included her eventual husband Geoff Muldaur. By 1972, she was on her own and recorded her first solo LP, which included “Midnight at the Oasis,” the track many fans have told her was responsible for their pregnancies because of the slyly suggestive lyrics about a love affair in the desert.

20 “These Boots Are Made For Walking,” Nancy Sinatra, 1966

Frank’s daughter surely had connections to score a record deal, but her biggest hit came from her friendship with country/pop singer Lee Hazlewood. He wanted to record his song himself, but Nancy convinced him it would be less harsh coming from a woman. “Boots” became her signature song, and took on a new life as a song about women fighting back against male oppression.

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Well, let me tell you that it hurts so bad

Periodically, I use this space to pay homage to artists who I believe are worthy of focused attention — artists with an extraordinary, influential, consistently excellent body of work and/or a compelling story to tell.  In this essay, I examine the woman who helped pioneer the marriage of country and rock, shone a light on the unrecognized works of struggling songwriters, proudly sang music that celebrates her Mexican roots, and was the first of the pop stars to revitalize interest in the jazz pop of the Great American Songbook:  Linda Ronstadt.

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I remember once reading a great line in the critique of a new album by some amazing singer (I think it was Annie Lennox), and the critic said this:  “Her pipes are so outstanding, I think she could sing me the New Jersey phone book and I’d still love it.”

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Linda Ronstadt has recorded such a broad variety of music in her 40-year career, and done so in such convincing fashion, that I wouldn’t have been the least bit surprised if she had indeed attempted to sing the phone book, or a cookbook, or a history book.  Good grief, she has successfully wrapped her voice around so many genres — from country ballads to traditional Mexican rancheras, from New Wave rock to Sinatraesque torch songs, from Motown classics to Southern California folk rock — there’s no reason to think she couldn’t have found a way to make even textbooks sound melodious.

“I don’t think there’s anybody who has tried more different styles and nailed it than Linda has,” said her longtime musical collaborator Bonnie Raitt.  John David Souther, Ronstadt’s one-time paramour and cherished friend, added, “Her range is huge, and there’s not too many people who can pull it off the way she has.”  The great Dolly Parton put it this way:  “Linda can literally sing anything.”

Or, more accurately, she used to be able to sing anything.  In 2011, Ronstadt chose to retire from the business, and although she didn’t say so at first, it was because she was suffering from what was first diagnosed as Parkinson’s disease but is, in fact, a Unknown-147degenerative malady called Progressive Supranuclear Palsy (PSP), which robbed her of, among other things, the ability to control her vocal cords.

She withdrew from any public appearances, but by 2018, when asked to participate in a documentary about her life and career, she relented, and the result, “Linda Ronstadt:  The Sound of My Voice,” is a thoroughly enthralling video journey, narrated largely by Linda herself.  I strongly recommend you seek it out to re-familiarize yourself with her and learn more about her remarkable life.

Ronstadt came from a Tucson, Arizona, family of music lovers.  “My father had a lovely baritone voice and loved Mexican love songs,” she recalled.  “My mother was big on Gilbert and Sullivan.  My brother was a soprano soloist in a church choir when he was a boy.  My sister was a Hank Williams fanatic.  My aunt preferred classical music and opera.  So I was fortunate to have all these different influences, and I soaked them up like a sponge.

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Linda at home, 1962

“We sang all the time.  We sang at the dinner table, we sang in the car, we sang with our hands in the dishwater.  It was kind of isolated living on a 10-acre ranch outside Tucson, so we had to make our own entertainment.  The radio was my best friend.  We picked up plenty of amazing music.  We got Louisiana Hayride. We got ’50s pop radio.  We got plenty of songs from south of the border.  I loved them all.”

At age 15, Ronstadt started a vocal group with her brother and sister they called The New Union Ramblers, performing at community get-togethers and school events.  But her sister married young and started a family, and her brother became a police officer, so Linda decided to head out on her own to pursue her musical dreams.

In the early ’60s, the place where everything seemed to be happening was Los Angeles, so she headed to the West Coast at 18, split the $80 rent with two roommates in a Santa Monica beach cottage, and started frequenting the various venues where people with similar interests hung out.  The beatnik dives.  The Ashgrove, famous for traditional folk artists.  The clubs on the Sunset Strip.  And, of course, the Troubadour.

At first she waited tables and washed dishes — “I had no problem with that, I’d been doing it my whole life” — and performed in The Stone Poneys, a trio with musician Kenny Edwards and songwriter Bobby Kimmel, just acoustic guitar, mandolin and three voices.  “We practiced every day and played out whenever we could,” she recalled, “and it was a pretty eclectic mix of songs we would try, even back then.”

In 1965, when The Byrds took Bob Dylan’s folk song “Mr. Tambourine Man,” added jangly electric guitars and a rock beat and made it the #1 song in the nation, “all the record labels scurried around looking for new acts,” Ronstadt said.  “Everyone wanted to try to define what it was going to be, this cross-pollination of country, pop and rock.”

The Stone Poneys had cut a couple of demos, including a charming country tune written

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Linda in Malibu, 1966

by Mike Nesmith of the Monkees called “Different Drum.”  Capitol Records heard it and liked the song but not the arrangement.  “They wanted to re-cut it,” she noted, “and we were thrilled, but then we showed up at the studio and everything changed.  They had an orchestra in there!  I’m thinking, ‘This is not the way I envisioned it,’ but it’s a good thing they didn’t listen to me because it became a big hit.”

Capitol offered a record deal, but not to The Stone Poneys.  The deal was for Linda as a solo singer.  “Kenny headed off for India, and years later played bass and guitar on several of my albums.  Bobby started McCabe’s, a combination guitar store and music venue that’s still a Santa Monica landmark.  Meanwhile, I was essentially a harmony singer with no material.  People thought I was brave…but I was nervous.”

It wasn’t long before Ronstadt was making appearances on “The Johnny Cash Show” and “The Glen Campbell Goodtime Hour,” and sat with Dick Cavett and Johnny Carson, despite the fact that her early albums didn’t sell well.  On her 1969 debut, “Hand Sown…Home Grown,” she leaned away from folk and more toward country and rock, and radio stations weren’t sure what to make of her.  Same goes for “Silk Purse” (1970) and “Linda Ronstadt” (1972), which had diverse song lists that ran the gamut from Hank Williams’s “Lovesick Blues” to the Goffin-King oldie “Will You Still Love Me Tomorrow,” and from Jackson Browne’s “Rock Me on the Water” to Livingston Taylor’s “In My Reply.”

Because she wasn’t a songwriter, Linda made it her business to keep her ear to the ground in order to discover the great new songs being played on Open Mic Night at The Troubadour.  “What a treasure trove that place was,” she recalled with a sigh.  “Kris Kristofferson.  James Taylor.  Tim Hardin.  Laura Nyro.  Neil Young.  JD Souther.  Joni.  Jackson.  Elton John!”

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Ronstadt performing at The Troubadour with Jackson Browne (left) and The Eagles’ original lineup

The Troubadour was also where she met the guys who would constitute her first touring band:  A drummer from the band Shiloh named Don Henley and a guitarist from Longbranch Pennywhistle named Glenn Frey.  The two bonded on that tour and ended up amicably parting ways with Ronstadt so they could start their own group you may have heard of:  The Eagles.

Ronstadt had strong opinions about the songs she wanted to record, even if the record label didn’t always agree.  “I loved singing upbeat R&B tunes like “Rescue Me,” but I also wanted there to be room for some of the superb young songwriters I was hearing, like Randy Newman (“Sail Away”) and Henley and Frey (“Desperado”),” Ronstadt said.  “And it took me until my fifth album before I could convince anyone to let me record Anna McGarrigle’s ‘Heart Like a Wheel.'”

Speaking of which, it was her 1974 LP “Heart Like a Wheel” that really put Ronstadt on Unknown-144the map.  As I see it, it was a perfect storm — the right singer at the right time, with the right songs and the right producer.  Peter Asher became her manager and regular producer, taking tunes like Clint Ballard’s “You’re No Good,” Lowell George’s “Willin’,” Phil Everly’s “When Will I Be Loved,” James Taylor’s “You Can Close Your Eyes” and McGarrigle’s title cut and turn them into polished gems that radio program directors ate up.  “Heart Like a Wheel” reached #1 on both the Pop and Country charts.

This began a five-year string of chart-topping LPs (“Prisoner in Disguise,” “Hasten Down the Wind,” “Simple Dreams,” “Living in the USA”)  that made her the undisputed queen of country rock…or was it pop rock?…in the Unknown-143’70s.  On the singles charts, the songs that performed best for her were remakes of well-known hits (Buddy Holly’s “That’ll Be the Day” and “It’s So Easy,” Chuck Berry’s “Back in the USA,” Smokey Robinson’s “The Tracks of My Tears” and “Ooh Baby Baby”), but frankly, I always found myself more drawn to the gems by up-and-coming songwriters Ronstadt championed, like Karla Bonoff (“Someone to Lay Down Beside Me,” “Lose Again”) and Warren Zevon (“Poor, Poor Pitiful Me,” “Hasten Down the Wind,” “Carmelita”).

She defied conventional wisdom several times in her career.  The first time was in 1978 R-1473431-1338954045-8748.jpegwhen she covered newcomer Elvis Costello’s New Wave tune “Alison,” then recorded three more Costello songs on her first real departure, the rock album “Mad Love,” which featured lots of electric guitars and even a synthesizer.  Her gamble had mixed results; the album reached #3 on the pop charts but failed to chart at all on the country charts.  In fact, Ronstadt never made a dent in the country charts as a solo artist ever again.

But no matter, as she had other fish to fry.  First she turned heads by starring in the Broadway production and film version of “The Pirates of Penzance,” of all things, winning great reviews and a few award nominations.

Then came her boldest move.  Ronstadt had always admired the works of George and Ira Gershwin and Hoagy Carmichael (cynically disrespected by young hipsters as “elevator Linda-Ronstadt-Whats-New-1983-music”) and wanted to do a whole album of that kind of material.  “She decided this was what she wanted to do, and more important, was authentic at doing,” said Souther.  “She was told, ‘No, don’t do this, it’ll ruin your career.’  But she did it anyway.”

To my ears, the trio of albums she recorded with Nelson Riddle and His Orchestra in the 1980s was possibly the finest singing Ronstadt ever committed to vinyl.  The way she curls her voice around “Someone to Watch Over Me” or belts out “What’s New” is simply magnificent, better, even, than her pop rock chart-toppers.  Millions of music lovers agreed with me; “What’s New” reached #3 in a year dominated by Michael Jackson’s “Thriller” and Men at Work’s “Business as Usual.”  Time magazine calling it “one of the gutsiest, most unorthodox and unexpected albums of the year.”

Said Linda in 2005, “I was so focused on folk, rock and country that I got a bit bored and felt the need to branch out, and this would be the first of many hikes down roads not typically taken.  I now realize I was taking a tremendous risk, and that (label honcho) Joe Smith’s opposition was a matter of him looking out for the company, and for me.  But when it became apparent I wouldn’t change my mind, he gave in, adding, ‘I love Nelson images-86so much!  Can I please come to the sessions?’  When the albums became successful, Joe congratulated me.  I resisted the urge to tease him and say ‘I told you so.'”

Her handlers also attempted to dissuade her from her equally radical left turn toward the Latin music of her childhood in 1987.  It proved less popular, at least on the mainstream charts, but “Cancions de mi Padre” broke records in the Spanish-speaking markets and brought Ronstadt much inner happiness.  “That music is anchored in my blood, in my soul,” she said.

Next came “Trio,” a hit-and-miss collection of country tunes with Dolly Parton and Emmylou Harris that had been in the works since they first attempted recording together in the late ’70s.  As you might expect, it topped the country charts but also PartonRonstadtHarris,jpgreached #7 on the pop charts (which sparked “Trio II” seven years later).

In 1988, while attending a New Orleans concert by the great Aaron Neville, Ronstadt was singled out and invited to the stage to sing with him, and they both felt it went so well that they agreed to record four songs together, which proved to be the highlights of her next hit LP, “Cry Like a Rainstorm, Howl Like the Wind.”  Barry Mann and Cynthia Weil’s Grammy-winning “Don’t Know Much” rightly snared most of the attention but, as usual, Linda wisely saved space for several fine new songs by Jimmy Webb and Karla Bonoff.

Her popularity began to wane a bit in the 1990s.  She failed to match the chart success she’d achieved thus far (“Feels Like Home” fared best, stalling at #75), but the LPs featured a wide range of beautiful interpretations of forgotten or ignored gems such as Burt Bacharach’s “Anyone Who Had a Heart,” Goffin-King’s “Oh No Not My Baby,” Tom Petty’s “The Waiting,” Brian Wilson’s “In My Room,” Bruce Springsteen’s “If I Should Fall Behind” and Bob Dylan’s “Just Like Tom Thumb’s Blues.”  Her final release, “Hummin’ to Myself” (2004), revisited the American Songbook catalog with subtle beauties like “Cry Me a River” and “I’ll Be Seeing You.”

images-88As she gradually lost her ability to sing, Souther said, “To have this marvelous instrument that could hold the notes, hit the notes, shape the notes, and then to no longer have it…it must have been quite a reckoning.”

But as Asher put it, “I know of no one who could handle that kind of difficult adjustment in a more logical and thoughtful and intelligent way than Linda.”

At first Ronstadt was despondent about it, but soon grew philosophical.  “I lost a lot of different colors in my voice  There’s a lot of things you do in singing, you turn your voice to different planes to make different sounds, and gradually I couldn’t do any of that anymore.  Singing is really complex, and I was made most aware of that by having it vanish.  I still sing in my mind, but I can’t do it physically.”

“You know, I’m grateful for the time I had.  I got to live a lot of my dreams, and I feel lucky about that.”