Linda Ronstadt's biggest hit singles during her incredible run of success in the 1970s tended to be covers of well-known tracks. On her albums, however, she devoted a lot of space to songs from writers she admired, many of whom hadn't yet broken through to the mainstream.

This list could be a lot longer because Ronstadt always sought out the best material, much of which came from heavyweight writing talents. Let's look back at her interpretations that gave these writers an outstanding showcase.

Ronstadt's first solo album painted her as a country artist, but on her self-titled 1972 sophomore effort, she started to branch out and find the multi-genre formula that would prove to be so successful for her. Jackson Browne released his debut solo record, which included "Rock Me on the Water," the same month the Linda Ronstadt record came out. The version by Ronstadt also includes contributions from Eagles Glenn Frey (guitar) and Don Henley (drums). (Remember they had played in Ronstadt's backing band for a while.) The most notable instrumental contribution here, however, came from Sneaky Pete Kleinow on pedal steel.

Anna McGarrigle teamed up with her sister Kate to release a wonderful debut album in 1976. But Anna's lovely "Heart Like a Wheel" received plenty of exposure two years earlier when it appeared as the title track for a Ronstadt album that topped the Billboard charts. That was the first Ronstadt album that was solely produced by Peter Asher, and that combination proved to be gold for the next several LPs. When the McGarrigle sisters released the song, their harmonies were all over it. Ronstadt is solo much of the time on her take, but she does get some vocal support in certain sections from Maria Muldaur, who had scored a bit hit in her own right the previous year with "Midnight at the Oasis."

Souther, who passed away last month, was not just a frequent collaborator with Ronstadt on several records, but he was also romantically involved with her for a stretch. There are several Souther gems sprinkled throughout her catalog, but "Prisoner in Disguise," the title track off Ronstadt's 1975 album, is just breathtaking. You get a sense of Souther's singing ability here, as he rises with her toward the end of the bittersweet track in stunning harmony. One other key member of the Ronstadt team that contributes here: Andrew Gold, who would score hits on his own like "Lonely Boy," delivers the tender piano that underpins the song.

Ronstadt clearly had an affinity for Zevon's unique blend of sweet and sour as a writer, as she recorded four of his songs in a three-year period. And it was a big help for Zevon, because his 1976 self-titled record, while critically acclaimed, didn't do a ton of business. Those royalties rolling in from Ronstadt clearly helped him at a critical time. We chose "Carmelita" out of those tracks. The slightly Tex-Mex feel is right up Ronstadt's alley. Plus, there's something about Ronstadt, with her crystalline, powerful voice, getting down and dirty with Zevon's seedy, down-on-their-luck characters, that makes this one stand out.

On the one hand, Ronstadt did a big solid for Costello in recording his material, as it took him a while to gain his footing as an artist in the U.S. But she struggled a bit to find her way into his songs, which makes it the one case on this list where her admiration for a writer didn't quite match up with her own artistic strengths. This was especially true with the new wave-flavored Costello material on her 1980 album Mad Love. "Alison," an empathetic ballad found on Living in the USA in 1978, is a much better fit, especially with a jazzy little saxophone part from David Sanborn adding some flavor.