'Heart Like a Wheel'

[the Scribe]

“Heart Like a Wheel”—Linda Ronstadt (1974)
Added to the National Registry: 2013
Essay by Cary O’Dell
Original album Original label Peter Asher

ALBUM: www.youtube.com/playlist?list=PLClyGElsduLZrBeDhJJiMdpRF-r3kC5C5

Linda Ronstadt’s 1974 album “Heart Like a Wheel” was her third as a solo artist. And though she had previously enjoyed some chart success with the group The Stone Poneys (their recording of “Different Drum” was a hit in 1967) and achieved some success as a solo artist in 1970 with the song “Long Long Time,” “Heart Like a Wheel” is considered her breakthrough album and, to some, her career masterwork.

Considering Ronstadt’s “Heart” success, musically and commercially, it is not surprising that it was this album that also marked the first time Ronstadt had worked with music producer extraordinaire Peter Asher.

Asher, a former performer (he was the Peter in Peter & Gordon), began managing and producing other performers in late 1960s. One of his first clients was a young troubadour named James Taylor. In the early ‘70s, after an introduction by Taylor’s sister, Kate, Asher began managing and producing Linda Ronstadt.

Once joined up with Ronstadt, Asher and the California-based singer soon became something of a dynamic duo. “Heart” marked the beginning of a long and extraordinarily successful collaboration; every subsequent album Ronstadt would ever record with Asher—all 13 of them--would eventually be certified either gold or platinum.

Since her debut on vinyl with the Stone Poneys and as a solo act via her early albums “Hand Sown…Home Grown” (1969), “Silk Purse” (1970) and “Linda Ronstadt” (1972), Ronstadt had been working steadily in pushing the country genre toward the pop mainstream. And the musical contents of “Heart Like a Wheel” would continue in that vein. The album featured covers of songs by Hank Williams, Paul Craft, and Phil Everly.

The album also contained songs written by Paul Anka, George Lowell (of Little Feat fame), and James Taylor. But, for Ronstadt, the key and defining track of the album—in fact, to her, its reason for being—was the title tune, the plaintive ballad “Heart Like a Wheel” written by Anna McGarrigle.
In her 2014 autobiography, “Simple Dreams,” Ronstadt recounted her first exposure to the song while in the back of a taxi cab in New York City:

At dawn, Jerry Jeff [Walker] and I shared a cab back uptown. Jerry’s face was barely visible in the gray light when he turned to me and said, “I heard these two sisters from
Canada sing at the Philadelphia Folk Festival. They wrote a beautiful song you should hear.” He bent his head low, closed his eyes, and softly sang for me all that he could remember of the song….

It felt like a bomb had exploded in my head. Even in those few lines I could tell that the song, both plainspoken and delicate, had a highly original approach to describing the deadly peril of romantic love…. It rearranged my entire musical landscape.

The song “Heart Like a Wheel” would become the closing track of side one of the album.

As would become the norm for Ronstadt’s career, the rest of the album shows a careful ear for song selection and a complete aversion to anything that could be considered album “filler.”

Two of the album’s selections became major hits when released as singles. The lead off track, “You’re No Good,” written by Clint Ballard, Jr. and previously recorded by Dee Dee Warwick and Betty Everett, became, via Ronstadt’s version, a major hit. That song’s tough, declarative title and Ronstadt’s full throttle delivery (which included a wail or two) certainly directed the singer towards a rock audience and stood in contrast to Ronstadt’s then resounding (and accurate) wholesome image.

The album’s follow-up single was equally successful. Phil Everly’s “When Will I Be Loved” had been a hit for the Everlys back in 1960, rising up to number eight on the Billboard chart. Ronstadt’s version, however, performed even better, going up to number two in early 1975.

A third single—actually “When Will I’s” b-side—“I Can’t Help It If I’m In Love With You,” written by Hank Williams, which teamed Ronstadt with her friend Emmylou Harris, became a success on both pop and country radio.

In her 2010 memoir, “Composed,” Rosanne Cash wrote of “Heart Like a Wheel’s” influence on her as a young singer/songwriter:

“Heart Like a Wheel” had profoundly affected me as a young girl, and I had studied it assiduously as a great example of a feminine point of view concept record, the best one since Joni Mitchell’s “Blue,” I thought, and equally important in the template I was creating for what I might do in my life. I especially admired [Ronstadt’s] thoughtful song selection, which resulted in a very well-balanced album….

In his liner notes for “The Best of Linda Ronstadt: The Capitol Years,” a Ronstadt compilation that was put out in 2006, Barry Alfonso stakes the success of the “Heart Like a Wheel” album on “[pulling] together the disparate influence and influences of Ronstadt’s music into a synergistic whole.”

Certainly, as mentioned earlier, the combination of Ronstadt, Asher and the country-rock genre would prove deeply successful; they would mine it spectacularly for the next several years until Ronstadt grew restless and began to explore other musical styles including new wave, American standards and Latin American music. It also proved highly influential. “Heart” and Ronstadt’s follow-ups to it solidified the California rock/country rock sound that would later become the milieu of the Eagles (who were once Ronstadt’s backing band) and, in time, become the template of almost all later contemporary country music.

In her (belated) 2014 induction into the Rock and Roll Hall of Fame, former Eagle Glenn Frey stated:

From the first rehearsal, I thought we were working on a style of music none of us had ever heard before. Two years later, people called it “country-rock.”

1974 was the first of many magic years in Linda’s career. When she found herself in a place that all artists dream of. When the producer, the material and the players all come together and something other-worldy happens in the recording studio. This was “Heart Like a Wheel.” An album for all time.

The haunting title track…Linda’s deceptively simple arrangement of “It Doesn’t Matter Anymore”…the Hank Williams classic “I Can’t Help It If I’m In Love With You”…and the smash “You’re No Good,” kept this album in the charts for 51 weeks. And Linda became a star.

Sonically, Ronstadt’s voice seemed to harken back to some of the singers of the Big Band Era where “pretty” and pleasing to the ear were a requirement. Unlike many other female vocalists of rock, there is no scratch in Ronstadt’s voice, no breathiness or rough-hewn edge. Hers is all tone but equipped with a full-bodied, robust sound and power that is pure rock and roll. Which is not to say that she cannot elicit great emotion from her stylings; she wrings a host of pain from both “Heart Like a Wheel’s” title track and from the album’s closing number “You Can Close Your Eyes.”

Eventually going double-platinum signifying sales of two million units, “Heart Like a Wheel,” as noted earlier, is considered by many to be Linda Ronstadt’s opus. Yet that’s certainly an arguable statement considering some of Ronstadt’s later, equally impressive output includes the albums “Simple Dreams” (1977), “Living in the USA” (1978), “Get Closer” (1982), and such latter career offerings as “Cry Like a Rainstorm, Howl Like the Wind” (1989), “Winter Light” (1993) and “Feel Like Home” (1995), not to mention her two “Trio” LP’s (1986 and 1994) which partnered her alongside Emmylou Harris and Dolly Parton.

Regardless, “Heart Like a Wheel” was certainly the album that delivered Ronstadt fully into the American mainstream and, even today, over 40 years after its making, it’s a recording that stands as a singular achievement, and a golden showcase for one of the most magnificent voices in the history of recorded music.

Cary O’Dell is with the Motion Picture, Broadcast and Recorded Sound division of the Library of Congress. He is the author of the books “June Cleaver Was a Feminist!” (2014) and “Women Pioneers in Television” (1997). He also served as assistant editor of “The Concise Encyclopedia of American Radio” (2009) and “The Biographical Encyclopedia of American Radio” (2010).

[MokyWI]

It was not Ronstadt’s third solo album, Heart Like a Wheel was her fourth. Heart Like a Wheel was not the first time she worked with Peter Asher either, her first time working w/Asher was on her previous (third) solo album, 1973’s Don’t Cry Now. Though I love Heart Like a Wheel, it being my favorite album of all time, not just Ronstadt albums. That being said, Don’t Cry Now is hardly a forgettable album, and it could be argued that without Don’t Cry Now’s modest success, Heart Like a Wheel might not have been the huge success that it was. Don’t Cry Now had created a huge buzz, much curiosity about what would come next. Don’t Cry Know was still charting a year after it’s release when Heart Like a Wheel dropped in late 1974.

[erik]

I think it could be said that Linda's albums kind of built on one another in succession over time. And I would agree that the success of Don't Cry Now, which was modest in comparison with what was to come but huge in terms of what she had done before, was what aided Heart Like A Wheel.

I would, however, point out one inaccuracy of the article that rob mentioned. "I Can't Help It" was not the B-side of "When Will I Be Loved?" (that would be "It Doesn't Matter Anymore"), but "You're No Good"; and to say the least, it greatly benefitted Linda's career to have such a huge two-sided smash, with the A-side topping the Hot 100, and the B-side just missing topping the C&W singles chart ("When Will I Be Loved?" went #2 pop and #1 C&W).

[Tony]

and the mofi SACD version is now available. I am waiting for my copy to come.

[the Scribe]

Dec 13, 2017 9:08:32 GMT -5 MokyWI said:

It was not Ronstadt’s third solo album, Heart Like a Wheel was her fourth. Heart Like a Wheel was not the first time she worked with Peter Asher either, her first time working w/Asher was on her previous (third) solo album, 1973’s Don’t Cry Now. Though I love Heart Like a Wheel, it being my favorite album of all time, not just Ronstadt albums. That being said, Don’t Cry Now is hardly a forgettable album, and it could be argued that without Don’t Cry Now’s modest success, Heart Like a Wheel might not have been the huge success that it was. Don’t Cry Now had created a huge buzz, much curiosity about what would come next. Don’t Cry Know was still charting a year after it’s release when Heart Like a Wheel dropped in late 1974.

I just woke up but wasn't Heart Like A Wheel Linda's FIFTH solo album?

People forget Eponymous (Linda Ronstadt) but it was my favorite album until Feels Like Home was released so I hold it close to my heart. (not that I didn't love all of her albums individually) LINDA RONSTADT was a near perfect album. It also spawned EAGLES!

www.youtube.com/playlist?list=PLukK-gctUJogom7Xx6qblBrIipmYnnjGc

[Deleted]

Not only a classic album but one of the few albums which holds together as a theme - the search for love and exploration of loss.. The segue from When Will I Be Loved which kicked off side 2 (remember album sides?) with a bang to Willin' is breathtaking - a plea for love and meaning followed by a deeper search for same...

[the Scribe]

Dec 13, 2017 16:02:18 GMT -5 @robertaxel said:

Not only a classic album but one of the few albums which holds together as a theme - the search for love and exploration of loss.. The segue from When Will I Be Loved which kicked off side 2 (remember album sides?) with a bang to Willin' is breathtaking - a plea for love and meaning followed by a deeper search for same...

Like the music inside the album COVER was a work of art!

[MokyWI]

My bad, of course it was her 5th solo album, I miss counted just like the person who wrote the review! I didn’t forget the self titled album that came before Don’t Cry Now, I am a big fan of that one as well. I miss counted.

[the Scribe]

Song Of The Day 3/20/2014: Linda Ronstadt - "Willin'"



Accidents of Adult Contemporary: In her country-rock years Linda Ronstadt actually did quite a bit of material that clashed with the table settings of the easy-listening crowd, but relatively few of them were hits. I had a few contenders to choose from, with a slight nod toward songs about controlled substances. My first choice was her version of "Carmelita" by Warren Zevon ("I'm all strung out on heroin on the outskirts of town"). For a minute I considered her very early cover of Waylon Jennings' "Mental Revenge" ("I hope that friend you've thrown yourself on gets drunk and loses her job"). Yes, this was the same person who gently serenaded a cartoon rodent back into the arms... er, claws of his family with James Ingram and bell synths.

I finally settled on her cover of Little Feat's "Willin'" from her 1974 album Heart Like A Wheel. Not so much because it paints her with a different palette, and not even so much because of the subject matter, which is the trucking industry. It's because of three words: "Weeds, whites and wine." And more because of the way they come about in this song, similar to how Little Feat did it, but even more -- how do we put this? -- let's say, emphasized. Verse ends, Linda sets up the chorus "And if you give me..." Then the band comes to a stop, there's a bowling ball sized pause, a brief moment of suspense, and then Linda's full-on, XXL-brassy, mildly apocalyptic bullhorn moment: "WEEEEED, WHIIIITES AND WIIIIIINE!" She does this twice. Linda had a fantastic voice, but in this moment it's almost like she traded places with Ethel Merman for a second.

The late Lowell George, who wrote "Willin'," mentioned this particular pop moment in an interview with Bill Flanagan mere days before he died: "Linda Ronstadt’s version of 'Willin’' is pretty good, except she gets a little bit 'WuhEEED, WuhHITES, AND WuhIIIIINE!' Linda was a little bit too on."

comments

I heard her sing it first, so IMO Linda's cover is better than original; but I really dislike spoken-word songs. You should have your hearing checked for uttering Linda's name in the same sentence as Ethel Merman. Oooof.....!

Luv ronstadt's live version at Lowell's memorial best of all. Check it out on youtube - it is heartbreakingly raw. Linda had the most intense clarity in her singing. How rare that seems now.

[Partridge]

My copies of the new Heart Like A Wheel SACD arrived today. Yes, I ordered two.

I posted some info about this on the main website: Linda Ronstadt Homepage

I put it on and gave it a brief listen. I couldn't hear the surround sound effect I was looking for, but then I remembered this is a stereo SACD, not a multi-channel one. I can't say that this is better than the reissue a few years ago that was redone by John Boylan. That is my favorite version that has been released.

Sometime during the Christmas/holiday season I'll give it a leisurely relaxed listening.

Also, I will note that I was disappointed in the numbered editions I received. I ordered this the very day it was announced eleven months ago but I ended up with 549/3000 and 645/3000.

[the Scribe]

reDiscover Linda Ronstadt’s ‘Heart Like A Wheel’

By Paul Sexton
November 12, 2017

Linda Ronstadt’s association with Capitol Records was already eight years deep when she released the album Heart Like A Wheel in November 1974. The relationship had embraced three albums with The Stone Poneys and four solo titles released as Ronstadt worked towards wider recognition, between 1969 and ’73. Now, at last, her breakthrough would arrive, and all of America listened.

1973’s Don’t Cry Now album, produced by JD Souther, John Boylan and Peter Asher, had made more strides than any previous Ronstadt record in the pop market, peaking close to the Top 40; its greater success was in the country genre, where it reached No.5. On Heart Like A Wheel. Asher took over the production on his own and steered the sophisticated crossover sound that would make Ronstadt a favourite of both FM and AM radio for years to come.

The album reflected Asher’s own background as a hit artist in the 60s, as one half of Peter & Gordon, alongside Linda’s rare ability to interpret British and American pop, the country, soul and folk flavours of her past, and the West Coast album sound, all with the same authoritative vocal distinction.



Linda Ronstadt Heart Like A WheelThe first single and opening track, released simultaneously with the album, was an update of Clint Ballard’s ‘You’re No Good’. First recorded by Dee Dee Warwick, it had been a soul hit for Betty Everett and was known to Asher for its hit British cover by The Swinging Blue Jeans. Early in 1975, Ronstadt’s version hit the top of the Billboard Hot 100. The very same week, in one of the sweetest moments of her career, the album replaced Ohio Players’ Fire atop the LP bestsellers, just as the single did the same to the soul group’s title track.

Linda’s follow-up single, a cover of The Everly Brothers’ ‘When Will I Be Loved’, nearly repeated the feat, reaching No.2 on the US pop chart. It was paired with the album’s rendition of Buddy Holly’s ‘It Doesn't Matter Anymore’.

But her versatility was greatly underlined by an LP that also acknowledged everything from the album rock of Little Feat’s ‘Willin’’, the singer-songwriter stylings of Souther’s ‘Faithless Love’ and James Taylor’s ‘You Can Close Your Eyes’, and Anna McGarrigle’s folk-inflected title track.

Ronstadt also kept her country audience happy with a reading of Hank Williams’ ‘I Can't Help It (If I’m Still In Love With You)’ and was even at home down at the soulful end of town, on Chips Moman and Dan Penn’s often-covered James Carr original, ‘The Dark End Of The Street’.

Heart Like A Wheel is one of 75 classic albums picked to celebrate the milestone that is Capitol Records’ 75th birthday and can be purchased here: udiscover.lnk.to/LindaRonstadt-HeartLikeAWheel

Join the celebrations with the Through The Decades playlist:



open.spotify.com/embed/user/capitolrecords/playlist/3uj96cM9ho4aWThvJji5ix

[the Scribe]

some top reviews:

Heart Like a Wheel
Linda Ronstadt
Capitol 11358
Released: December 1974
Chart Peak: #1
Weeks Charted: 51

Linda Ronstadt had her first hit, "Different Drum," in 1967, singing with a group called the Stone Poneys. She didn't have one again until "Long Long Time" in 1970. Though long acknowledged to be one of the best woman singers in pop, it wasn't until last year, with the release of her debut album on Asylum, Don't Cry Now, that her years of working toward mass recognition began to pay off. Heart like a Wheel, which concluded her prior commitment to Capitol, should guarantee her success.

After years of touring, Linda Ronstadt has developed into the rare artist who comes off even better live than on record. Last February, when she opened for Jackson Browne at Carnegie Hall, I was awed by her stage demeanor. She took immediate command of both her band and the audience and delivered a thoroughly enjoyable and professional set, a satisfying crosssblend of pop and country. One of the reasons Heart like a Wheel is so impressive, surpassing even the excellent Don't Cry Now, is its expansion of repertoire beyond country and folk-rock. It also joins Ronstadt to her ideal producer, Peter Asher, who, with Andrew Gold, has provided ten well-chosen songs with full, distinctive sound settings, notable for the variety and imagination of their instrumentation.

Linda Ronstadt - Heart Like a Wheel

The opening cut, Clint Ballad Jr.'s "You're No Good," displays Ronstadt's enormous potential as a white blues singer. Backed by Clydie King and Shirley Matthews, Ronstadt lets go with a soulful wail that comes as an exciting surprise. Back in the country vein, Ronstadt faithfully resurrects Hank Williams's "I Can't Help It if I'm Still in Love with You," singing harmony with Emmy Lou Harris against steel guitar and fiddle accompaniment by Sneaky Pete and David Lindley. The cut is a triumph of understanding and taste. Another highlight is J.D. Souther's "Faithless Love," perhaps the strongest ballad he's written to date. Its striking arrangement features Herb Pedersen on banjo and has Souther singing smooth octave-lower sevenths against Ronstadt's lead vocals -- not an easy harmony to pull off gracefully.

While the remainder of the album consists of good material by Paul Anka, Lowell George, Phil Everly and James Taylor, among others, all of it is overshadowed by the title song, written by Anna McGarrigle, whose "Cool River" was recently recorded by Maria Muldaur. A folk hymn, whose tune and lyrics are incredibly eloquent in their simplicity, "Heart like a Wheel" is a masterpiece of writing and arrangement, set by David Campbell as a formal chamber piece with piano, double bass, cello, viola and fiddle counterpointing dual vocals by Ronstadt and Maria Muldaur. The song lyric, which distills the themes of the album -- "And it's only love, and it's only love/That can wreck a human being and turn him inside out" -- also underscores the essence of Ronstadt's vocal personality. No other pop singer so perfectly embodies the Western mythical girl/woman, heartbroken yet resilient and entirely feminine in the traditional sense. There is a throbbing edge to Ronstadt's honey-colored soprano that no other singer quite possesses -- the edge between vulnerability and willfulness that I find totally, irresistibly sexy.
- Stephen Holden, Rolling Stone, 1/16/75.

Bonus Reviews!

One of the few ladies who has enjoyed equal success in the pop and country fields over a sustained period comes up with one of her finest LPs, from ballsy R&B to country to country blues. Ms. Ronstadt has a deceptive voice. At first listen she sounds like a little girl, yet she can handle almost anything well. Right now at the peak ot her popularity as far as personal appearances go, there is enough material here to keep her going strong on the country airwaves, lots at cuts for FM and MOR and, surprisingly, an AM possibility or two. Superb instrumentation throughout, excellent choice of songs and best use yet made of the artist's voice. Shifting of one musical genre to another is tasteful and works well, and her star as a stylist keeps growing. Best cuts: "You're No Good," "It Doesn't Matter Anymore," "Dark End Of The Street," "Heart Like A Wheel," "Willin," "Keep Me From Blowing Away."

- Billboard, 1975.

For the first time, everybody's sexpot shows confidence in her own intelligence. As a result, she relates to these songs instead of just singing them. It's even possible to imagine her as a lady trucker going down on Dallas Alice -- and to fault her for ignoring the metaphorical excesses of Anna McGarrigle's title lyric just so she can wrap her lungs around that sweet, decorous melody. A-

- Robert Christgau, Christgau's Record Guide, 1981.

Ronstadt's breakthrough album, and her most perfectly realized. Solid from top to bottom, featuring the title track, "When Will I Be Loved?," "Desperado," and "You're No Good." Essential. * * * * *

- Cub Koda, The All-Music Guide to Rock, 1995.

Heart Like a Wheel exemplifies Peter Asher's influential production style and Ronstadt's emotional brand of country-rock. In the poignant title tune, memorable duets and carefully chosen remakes, Ronstadt successfully walks the line dividing sadness from sappiness. * * * * *

- Elizabeth Lynch, Musichound Rock: The Essential Album Guide, 1996.

Further reading on
Super Seventies RockSite!: www.superseventies.com/spronstadt.html

It's easy to see what then-governor Jerry Brown saw in her -- Linda Ronstadt was so cute in her hot pants you didn't realize how talented she was, but this chart-topping pop-rock disc put her on the map. The superbly natural voice of the California '70s jumps from the speakers and wraps the songs around you in a style that is nonetheless mellow on a heartbreakingly beautiful album that, with the help of a whole lot of her friends, is 100% good. * * * * *

- Zagat Survey Music Guide - 1,000 Top Albums of All Time, 2003.

"There's no way that I can be objective and say one album is better than another," Ronstadt told Rolling Stone in 1978. "I never listen to them anyway." But millions of other people did, especially to this record, where she displays her vocal flexibility and rock grit on "You're No Good" and country twang on a cover of Hank Williams Sr.'s "I Can't Help It (If I'm Still in Love With You)." Collaborating with producer Peter Asher, Ronstadt blends quality oldies (the Everly Brothers' "When Will I Be Loved?") and hip songwriters of her era (Lowell George, Anna McGarrigle), gracing each composition with her golden voice.

Heart Like a Wheel was chosen as the 164th greatest album of all time by the editors of Rolling Stone magazine in Dec. 2003.

- Rolling Stone, 12/11/03.

Ten love songs rendered with great care and Laurel Canyon laid-back-ness, Linda Ronstadt's Heart like a Wheel sounds like it belongs next to the records singer-songwriters like Neil Young and Jackson Browne were making in Southern California in the early '70s. It's got the soothing background vocals, and crop-dusting acoustic guitars that could have flown in from an Eagles session.

But in almost every way, it stands apart from that scene. Where the singer-songwriters proffered their own visions, former Stone Poneys singer Linda Ronstadt didn't write any songs -- instead, she sought out little-known gems from emerging tunesmiths like Kate and Anna McGarrigle, who who wrote the title track. And where the songwriters usually aimed for a unified mood, Ronstadt goes the other way, covering long-discarded soul hits ("The Dark End of the Street") and chipper Everly Brothers pop ("When Will I Be Loved") as well as more delicate meditations about love and the human spirit ("Heart like a Wheel").

The writerly notions are held together by Ronstadt's assured, easygoing lead vocals. In contrast to the oft-wistful (or apologetic) songwriters, she sings with a steely authority, using delicate pencil-sketch shades to underscore her lyrics. The album opens with "You're No Good," the shout of betrayal that became her first number 1 single: Ronstadt belts it as though she wants to rattle the clock off the wall. Just when you get used to this firecracker persona -- she's the roar Helen Reddy needed for "I Am Woman" -- Ronstadt changes her tone dramatically, etching "Faithless Love" in a mood of dejection mixed with vulnerability. The temperament changes from song to song as Ronstadt shines a light on the faint shadows, moments she treasures that others might have missed. She sings in a way that can make you think she wrote the music, and in a sense she did: Even though some of these songs kicked around for decades, they're completely reborn when she sings them.

- Tom Moon, 1,000 Recordings To Hear Before You Die, 2008.

[rick]

[eddiejinnj]

I am glad that she was persistent because it is a classic. eddiejinfl

[rick]

[eddiejinnj]

Was this the survey where she had HLAW and The Very Best of on the list? If so it seems HLAW is lower on list. eddiejinfl

[rick]

Jan 19, 2023 17:02:31 GMT -5 eddiejinnj said:

Was this the survey where she had HLAW and The Very Best of on the list? If so it seems HLAW is lower on list. eddiejinfl

eddie, I tried to find that out. I figured that someone must have posted here yet-another of "Rolling Stone's" list of "The 500 Greatest Albums," etc., but couldn't find it here.

Am taking her at her word in the video (which may be a mistake) that "Heart Like a Wheel" is ranked #490 out of 500 albums. I do take umbrage that she is placing Chaka Kahn ahead of Linda. Harumph!

[eddiejinnj]

Life is perception!!!! eddiejinfl