Read Linda Ronstadt’s Emotional Letter Celebrating 50th-Anniversary Reissue of ‘Prisoner in Disguise’

Fifty years after Linda Ronstadt’s Prisoner in Disguise came out, the Rock & Roll Hall of Fame inductee is looking back at the album that further cemented her reputation as a ‘70s pop superstar and supreme song interpreter, as Mobile Fidelity Sound Lab reissues the set.

Ronstadt’s major breakthrough had come earlier in the year with her seminal Heart Like a Wheel album, her first set to reach No. 1 on the Billboard 200. Prisoner in Disguise was also top five, reaching No. 4.

Ronstadt brought her powerhouse, supple vocals to the Peter Asher-produced album, whether it be on her tender version of Dolly Parton’s “I Will Always Love You” (the two later came together with Emmylou Harris for the revered group Trio), as well as a gorgeous interpretation of Smokey Robinson’s “Tracks of My Tears” and spunky, upbeat take on Martha and the Vandellas’ “Heat Wave,” which reached No. 5 on the Billboard Hot 100.

The 180-gram, 45RPM two-LP vinyl set is available for order now via mofi.com and was mastered from the original analog master tapes.

In a letter obtained by Billboard, Ronstadt writes, “It’s hard to believe that it’s been [50] years since the initial release of my sixth solo album, Prisoner in Disguise. Thinking back over that half-century, there are several things that stand out in my memory.”

The letter serves almost as a time capsule of the history of Southern California rock and the incredible singer/songwriter community that she surrounded herself with in the ‘70s, whether it be Don Henley and Glenn Frey, who were in her band before leaving to found the Eagles, or upon first hearing the title track, written by J.D. Souther.

Ronstadt also recalls her reaction to Robinson’s “Tracks of My Tears” and reveals her secret feelings for the former Miracle: “I’m a soprano, and Smokey has a beautiful, soprano-like voice and sings in my keys, so I could easily sing along with him on the radio. This made me to want to record the song. Four years before that, when Don Henley and Glenn Frey were first in my band, we played a gig at Disneyland on the same bill as the Staple Singers and Smokey and the Miracles. In between shows, we all joined in a backstage poker game to help pass the time, but I admonished Glenn, an aggressive card player, not to win against Smokey because I had a crush on Smokey and I was afraid he wouldn’t like me if he lost too much money to my guitar player.”

In addition to addressing the now legendary singer/songwriters who contributed tracks, including Neil Young, James Taylor, Jimmy Cliff and Lowell George, Ronstadt gives special credit to a source of support who was left out of the original liner notes: “I also remember one special friend – Alfred Bear. That was the name I gave to the three-foot teddy bear that Peter Asher installed in the vocal booth for me during the sessions for the project. I recall that I was distraught about something at the time, probably some guy. I guess you could say that Alfred would qualify as a support animal, for he was certainly a great comfort to me. Sadly, his name did not make it into the original credits, but I’m taking this opportunity to correct that right now. Thank you, Alfred.”

In 2021, Ronstadt, who was diagnosed with Parkinson’s Disease in 2012, sold her recorded music assets to Irving Azoff’s Iconic Music Group. The deal formed a partnership between Iconic and Ronstadt and her business team — including manager John Boylan and Janet Stark — to market her catalog and preserve her legacy in the digital era. 

Below is Ronstadt’s letter in full:

It’s hard to believe that it’s been fifty years since the initial release of my sixth solo album, “Prisoner in Disguise.” Thinking back over that half-century, there are several things that stand out in my memory.

I remember being very glad to get a demo from my friend Neil Young, and I was immediately taken with a song called “Love is a Rose.” It became the opening track on the album. Other great songwriters, including James Taylor, Dolly Parton, Jimmy Cliff, Lowell George, Anna McGarrigle, and the Motown trio of Holland, Dozier, and Holland, contributed wonderful songs I couldn’t wait to sing. My good friend, Emmylou Harris, came on board to sing a duet on the country classic, “The Sweetest Gift.”

I remember hearing “Tracks of My Tears” and falling in love with Smokey Robinson’s amazing vocal. I’m a soprano, and Smokey has a beautiful, soprano-like voice and sings in my keys, so I could easily sing along with him on the radio. This made me to want to record the song. Four years before that, when Don Henley and Glenn Frey were first in my band, we played a gig at Disneyland on the same bill as the Staple Singers and Smokey and the Miracles. In between shows, we all joined in a backstage poker game to help pass the time, but I admonished Glenn, an aggressive card player, not to win against Smokey because I had a crush on Smokey and I was afraid he wouldn’t like me if he lost too much money to my guitar player.

I remember recording the album’s title song, a beautiful ballad written by John David Souther. I sang the opening verse with just JD on acoustic guitar, later joined by Andrew Gold on piano, and finally, a gorgeous string and woodwind arrangement by David Campbell. Listening to it now, I am struck mostly by JD’s utterly original harmony vocal. He had an uncanny knack for picking out just the right notes to add poignancy or irony to the story.

I also remember one special friend – Alfred Bear. That was the name I gave to the three-foot teddy bear that Peter Asher installed in the vocal booth for me during the sessions for the project. I recall that I was distraught about something at the time, probably some guy. I guess you could say that Alfred would qualify as a support animal, for he was certainly a great comfort to me. Sadly, his name did not make it into the original credits, but I’m taking this opportunity to correct that right now. Thank you, Alfred.

Lastly, I’d like to add a sincere thank you to all the remarkable people who helped me record this album, with a special thanks to everyone who listened.