Emmylou Harris Red Dirt Girl

Emmylou Harris - Red Dirt Girl (2000) {Nonesuch}
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© 2000 Nonesuch Records / WEA | 79616-2
Country / Alternative Country / Progressive Country

On her 29th album, Emmylou Harris continues the evolution from innocent folkie to present day renaissance woman. Alternately sparse and lush, Red Dirt Girl can be seen as a companion piece to 1995's Wrecking Ball with the production credits going to Malcom Burn (who previously worked with Harris engineering and mixing Wrecking Ball). Here, drum loops and middle eastern melodies nestle in comfortably next to warm guitar work and Harris' gently wavering voice.

There's something just the slightest bit comic about calling an Emmylou Harris album Stumble into Grace. While Harris has always sounded as if both earthly and spiritual grace were created with her in mind, when she sings, it seems she can no more stumble than a dolphin can be taught to walk on dry land. Stumble into Grace finds Harris following in the same creative path she began to pursue with Wrecking Ball and Red Dirt Girl, which is to say that the influence of her country-influenced material is more felt than heard as she dips her toes into the spectral and atmospheric accents of folk, indie pop, and world music…

Emmylou Harris is an artist whose body of work is so consistently strong one could almost pull 20 songs at random from her catalog, string them together, and end up with a pretty listenable disc – which suggests that the real choices in putting together a "best of Emmylou" album has as much to do with what not to include as what should be on hand.

Emmylou Harris is an artist whose body of work is so consistently strong one could almost pull 20 songs at random from her catalog, string them together, and end up with a pretty listenable disc – which suggests that the real choices in putting together a "best of Emmylou" album has as much to do with what not to include as what should be on hand.

In 1995, Emmylou Harris made a decisive break with her creative past, recording the album Wrecking Ball with producer Daniel Lanois and abandoning the traditional country purity of her best-known work for lovely but spectral musical landscapes and exploring her muse as a songwriter in a way she had never attempted before. After Wrecking Ball, Harris recorded three albums in which she made the most of her new creative freedom and honed her impressive gifts as a songwriter, but All I Intended to Be, her first new release in five years, finds her reaching back toward a sound and style that recall the country and folk influences of her earlier work. But All I Intended to Be is clearly the work of an artist who is looking to the past entirely on her own terms, and with the lessons learned since 1995 clearly audible at all times…

Emmylou Harris with Spyboy feat. Buddy Miller - Live In Germany 2000 (2011) {Immortal}
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© 2011 Immortal / IMC Music | IMA 104176
Country / Americana / Contemporary Country / Country-Folk

12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. Few in pop or country music have achieved such honesty or revealed such maturity in their writing. In this 2000 concert, Emmylou Harris combined tasteful choices from her early repertoire with newer work, often her own compositions, backed by the band she called Spyboy, which featured the hard-working guitarist and singer Buddy Miller.

Recorded at the Gibson Amphitheatre in California on June 28, 2006, Real Live Roadrunning features live renditions of all of the cuts from Mark Knopfler and Emmylou Harris' collaboration of the same name, as well as solo cuts from each and Dire Straits classics like "So Far Away" and "Romeo & Juliet."…

Emmylou Harris - All I Intended To Be (2008) {Nonesuch 7559-79928-5}
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© 2008 Nonesuch Records / Warner 7559-79928-5
Country / Alternative Country / Country Rock / Contemporary Country

In 1995, Emmylou Harris made a decisive break with her creative past, recording the album Wrecking Ball with producer Daniel Lanois and abandoning the traditional country purity of her best-known work for lovely but spectral musical landscapes and exploring her muse as a songwriter in a way she had never attempted before. After Wrecking Ball, Harris recorded three albums in which she made the most of her new creative freedom and honed her impressive gifts as a songwriter, but All I Intended to Be, her first new release in five years, finds her reaching back toward a sound and style that recall the country and folk influences of her earlier work. But All I Intended to Be is clearly the work of an artist who is looking to the past entirely on her own terms, and with the lessons learned since 1995 clearly audible at all times.