Top 10 Stone Poneys Songs

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The Stone Poneys gave Linda Ronstadt her first national breakthrough while creating three distinctive albums that blended folk harmonies, country influences, and the emerging sound of Los Angeles folk rock. These ten songs revisit the trio’s finest recordings, from the intimate performances on their self-titled debut to the enduring success of “Different Drum.”

Feature Photo: Rob Bogaerts / Anefo, CC0, via Wikimedia Commons

The top 10 songs from the Stone Poneys peer into the discographic portfolio of a folk-rock trio that featured Linda Ronstadt as lead vocalist, Kenny Edwards as lead guitarist, and Bobby Kimmel as rhythm guitarist. From 1965 until 1968, these three talents delivered performances that paved the way for each band member to launch a successful career. Even at this early point, Ronstadt was establishing herself as a world-class performer who was destined to become a singing legend.

Sweet Beginnings

Before meeting Bobby Kimmel in 1960, Linda Ronstadt performed with her older siblings, Peter and Suzi, as the Three Ronstadts. At the time, she was a teenager touring with them in the Tucson, Arizona, area. In 1960, they met Bobby Kimmel and his band, the New Union Ramblers. The powerful impression the fourteen-year-old Linda Ronstadt made on the twenty-year-old Kimmel prompted him to remain in contact with her because he was determined to recruit her as a fellow band member. During this period, Kimmel befriended Kenny Edwards, and the two developed a working relationship. After Ronstadt finished school, she moved to Los Angeles and joined the two men to begin writing songs together.

Originally, the musicians intended to form a five-person group that would present a distinctive folk-rock sound. However, the roster was reduced to the trio that became the Stone Poneys. The name was inspired by Charley Patton’s 1929 recording “Stone Pony Blues.” The group deliberately spelled “Poneys” differently, and the name remained with the band throughout its three-year run.

During this period, an Ocean Park restaurant named Olivia’s earned a reputation for its food and its connection to musicians and music-industry figures. The Stone Poneys attracted early industry attention while rehearsing nearby. A proposed Mercury-related opportunity called for the trio to adopt a surf-oriented sound and change its name, but the musicians refused. The decision preserved their identity as they became favorites on the Los Angeles club circuit.

Signature Moves

As the Stone Poneys, the trio performed in some of the most notable clubs of the era, including the Troubadour in Hollywood. They also performed in Greenwich Village in New York and frequently opened for established artists such as the Chambers Brothers and Oscar Brown Jr. During this period, Linda Ronstadt often performed barefoot while wearing a miniskirt. The group’s manager, Herb Cohen, suggested in front of the musicians that Ronstadt was the only member with a realistic chance of earning a recording contract. Instead of following that advice, the Stone Poneys moved forward and signed with Capitol Records as a group. The trio briefly separated but reunited to pursue the career Kenny Edwards, Bobby Kimmel, and Ronstadt still hoped to build together.

Like Cohen, Capitol recognized Linda Ronstadt as a potential solo artist. However, producer Nick Venet believed she was not yet ready to move forward alone. Keeping the Stone Poneys together allowed each member to continue developing a personal niche as a performer. All three of the group’s albums were produced by Venet. The first, The Stone Poneys, was released on January 30, 1967. Its material leaned more heavily toward folk than rock, and Ronstadt was not always featured as the lead vocalist. The album received little attention, disappointing the musicians and contributing to another temporary breakup.

Tension

Convinced the Stone Poneys deserved another opportunity, Nick Venet approached Kenny Edwards about recording material that would be more commercially suitable for radio. During the sessions for Evergreen, Volume 2, Linda Ronstadt moved into a more prominent lead-vocal role while Edwards and Kimmel helped steer the music toward a stronger rock sound. Released in June 1967, the group’s second studio album delivered the commercial success everyone had hoped for. It produced the singles “One for One” and “Different Drum.” Although the first failed to chart, the second became the Stone Poneys’ first Billboard Hot 100 hit. Venet’s arrangement placed greater emphasis on Ronstadt’s vocal performance than on those of her two bandmates.

Although “Different Drum” was clearly the group’s most successful single, it also left a scar among the three bandmates. As the song’s popularity grew, the group was increasingly identified as Linda Ronstadt and the Stone Poneys. In some cases, the billing became the Stone Poneys featuring Linda Ronstadt. It was evident that Ronstadt’s star was shining much brighter than those of Kenny Edwards and Bobby Kimmel.

Additional tension developed because Linda Ronstadt and Bobby Kimmel were moving toward different musical tastes. This became one of the catalysts that pushed Ronstadt toward a solo career. During work on the Stone Poneys’ third album, Kenny Edwards departed for India shortly after the project began. That left Kimmel and Linda Ronstadt to fill the gap, but after a difficult touring schedule with the Doors, Kimmel also left the Stone Poneys.

Riding Forward

Now on her own, Linda Ronstadt moved forward with material better suited to her developing style. She recorded three Tim Buckley songs for the third and final album credited to the Stone Poneys. Released in 1968, Linda Ronstadt, Stone Poneys and Friends, Vol. III reflected a group whose original trio had already dissolved. Edwards and Kimmel were no longer active members by the time the album appeared, although the continuing contractual and financial complications surrounding the group remained part of Ronstadt’s difficult transition into a solo career.

Thanks to the popularity of “Different Drum” and her extraordinary vocal talent, Linda Ronstadt’s financial struggles did not last forever. In 1969, she released her first solo album, Hand Sown…Home Grown, beginning the recording career that would make her one of the most important singers of her generation. Ronstadt and Kenny Edwards began working together again in 1974 on recordings and concert tours, and their association continued for many years. Ronstadt later reunited with Bobby Kimmel to sing harmony on “Into the Arms of Love,” a song recorded by his group BK Special.

During the 1970s, the Pickwick label released the compilation Stoney End, credited to Linda Ronstadt and the Stone Poneys. It featured previously recorded material associated with the group, including “Let’s Get Together.” This was followed by Capitol’s 1974 compilation Different Drum, credited to Linda Ronstadt. That album combined Stone Poneys recordings with songs from Ronstadt’s early solo career.

From 1965 until 1968, the Stone Poneys became favorites on the West Coast. Aside from “Different Drum,” their national recognition remained limited as the music business increasingly focused its attention on Ronstadt. The resulting tensions sent Kenny Edwards, Bobby Kimmel, and Linda Ronstadt along separate musical paths. Ronstadt became one of the defining voices of 1970s rock, while Edwards formed Bryndle and later became an important guitarist, bassist, and harmony singer in Ronstadt’s band. Kimmel became McCabe’s Guitar Shop’s first official concert director in 1969 and helped establish its celebrated live-performance series.

Top 10 Stone Poneys Songs

#10 – Just a Little Bit of Rain

Originally recorded by Judy Henske in 1965, “Just a Little Bit of Rain” featured Linda Ronstadt delivering one of the strongest solo performances on The Stone Poneys. The Stone Poneys released their version in 1967, and it offered an early demonstration of the voice that would soon make Ronstadt a star. Before the group shifted toward a more commercially oriented sound, its music leaned heavily toward traditional folk harmonies, and this recording remains one of the debut album’s finest moments.

#9 – 2:10 Train

From 1967’s The Stone Poneys, “2:10 Train” featured a solo performance by Linda Ronstadt while she, Kenny Edwards, and Bobby Kimmel were still struggling to gain wider recognition as a Los Angeles folk-rock group. The song has been recorded by numerous bluegrass and folk artists, but Linda Ronstadt’s version remains a favorite among listeners. Her clear voice gives the recording the feeling of a train moving through the valley of an old Western town.

#8 – Wild About My Lovin’

When the Stone Poneys recorded their self-titled debut album in 1967, Kenny Edwards, Bobby Kimmel, and Linda Ronstadt frequently sang in harmony. “Wild About My Lovin’” was a folk and blues standard that inspired recordings by numerous artists. The Lovin’ Spoonful had already included the song on its 1965 album Do You Believe in Magic. The Stone Poneys’ version demonstrated the blend of voices that originally defined the trio while also revealing Ronstadt’s emerging power as a vocalist.

#7 – Back on the Street Again

From Evergreen, Volume 2, “Back on the Street Again” featured Linda Ronstadt singing harmony while songwriter Steve Gillette handled the lead vocal. Kenny Edwards and Bobby Kimmel were unhappy that Capitol kept them out of the session and did not tell them in advance that Ronstadt and Gillette were scheduled to record together. Whatever tensions surrounded the session, the resulting performance was stunning.

The Sunshine Company also recorded “Back on the Street Again” in 1967 and took its version to No. 36 on the Billboard Hot 100. The song addresses the lows that often follow periods of success. In retrospect, Ronstadt’s performance also seems to anticipate what was happening within the Stone Poneys. Although the group was still a trio in 1967, the people managing its career increasingly saw greater commercial potential in Ronstadt than in Kenny Edwards and Bobby Kimmel.

#6 – Stoney End

“Stoney End” was written and first recorded by Laura Nyro. Barbra Streisand later turned it into one of the best-known recordings of her early 1970s career. Before Streisand’s version became famous, Linda Ronstadt recorded the song for the 1968 album Linda Ronstadt, Stone Poneys and Friends, Vol. III. It was later included on the compilation Stoney End. Linda Ronstadt’s performance was hauntingly beautiful, and Ronstadt delivered the song with the emotional intensity that would become central to her solo work.

#5 – Some of Shelly’s Blues

In Canada, “Some of Shelly’s Blues” became a modest No. 94 hit after it was released as a single in 1968. The breakup song appeared on Linda Ronstadt, Stone Poneys and Friends, Vol. III, the third and final studio album credited to a group whose original lineup had already separated. Written by Michael Nesmith, “Some of Shelly’s Blues” highlighted the emerging singing style that would help shape Ronstadt’s career as a solo recording artist.

The Monkees recorded “Some of Shelly’s Blues” during the 1960s, although their version remained unreleased for many years. Nesmith later included the song on his 1973 album Pretty Much Your Standard Ranch Stash. The Nitty Gritty Dirt Band also recorded it, taking the song to No. 64 on the Billboard Hot 100 in 1971. Earl Scruggs and other artists have recorded their own versions.

#4 – Up to My Neck in High Muddy Water

“Up to My Neck in High Muddy Water” was released as a single from the 1968 album Linda Ronstadt, Stone Poneys and Friends, Vol. III. It reached No. 93 on the Billboard Hot 100. The Greenbriar Boys had previously recorded the song for their 1966 album Better Late Than Never! The Stone Poneys recording later appeared on Linda Ronstadt’s 1974 compilation Different Drum.

#3 – One for One

“One for One” was the first single released from the Stone Poneys’ second studio album, Evergreen, Volume 2. Although it failed to chart, it revealed the transition of the group’s musical direction from primarily folk music toward folk rock. It also marked the growing prominence of Linda Ronstadt as a lead vocalist. The American country-rock group Eggs Over Easy later recorded the song; that band also played an important role in the development of Britain’s early 1970s pub-rock scene.

#2 – So Fine

The Stone Poneys recorded “So Fine” during an early session before signing with Capitol Records. After “Different Drum” became a commercial success, Mike Curb’s Sidewalk label released the recording without authorization from the group or Capitol. The single was quickly withdrawn and became a collectible item for Linda Ronstadt fans. The Fiestas had previously turned “So Fine” into a major hit in 1959, reaching No. 3 on the Billboard R&B chart and No. 11 on the Billboard Hot 100.

#1 – Different Drum

After briefly separating for a second time, the Stone Poneys reunited under producer Nick Venet to record Evergreen, Volume 2. “Different Drum” placed Linda Ronstadt firmly in the lead-vocal spotlight. The edited single reached No. 13 on the Billboard Hot 100. Michael Nesmith wrote “Different Drum” in 1964 before joining the Monkees, and the Greenbriar Boys made the first released recording of the song. The Stone Poneys version became an oldies-radio favorite and remains one of Ronstadt’s most popular recordings.

Ronstadt’s performance reversed the gender of the song’s original narrator. The Stone Poneys had expected to record it as an acoustic folk ballad, but Nick Venet chose a more elaborate pop arrangement performed largely by session musicians. Kenny Edwards and Bobby Kimmel were not part of the hit single’s instrumental session. The arrangement and Ronstadt’s passionate vocal transformed “Different Drum” into the recording that introduced her voice to a national audience.