Emmylou Harris

Item: Red Dirt Girl
Author: Steve Stockman

Red Dirt Girl

(2000)

Reviewed by Steve Stockman

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Label Nonesuch RecordsThe Phantom Tollbooth2000

alternative country americana folk rock

Emmylou Harris blew the music world away in 1994 when she teamed up with Daniel Lanois to record an album that was far removed from her country catalogue and set her up there with the greats of the century. It was a slow burn mood piece with the same soundscapes and atmospherics that made Bob Dylan's Oh Mercy such an elegant experience.

Since then Emmylou has seemed to be omnipresent as a backing vocalist for the likes of Ryan Adams, Vigilantes Of Love, Julie Miller, Lucinda Williams and Steve Earle to name a few. She has also released a live album, Trio 2 with Dolly and Linda Ronstadt and The Tuscan Sessions with Ronstadt again as well as being the driving force behind the magnificent Gram Parsons tribute Grievous Angel. And everything was blessed and received with thankfulness but I couldn't help wonder if it was all a delaying tactic. How could she follow Wrecking Ball?

Well the answer is here. It was always asking a lot and Emmylou has not played it all safe in the effort. Following an album where you choose some of the best writers ever like Dylan, Young, Earle and the McGarrigles and then pick the very best of those very best, by writing almost entirely all the tracks yourself is just making it all even harder. Harris was never renowned as a writer. In interviews Harris is saying that she was consciously trying to make it different by trying to write the most of it herself but ended up with so many songs that only Patti Griffin's "One Big Love" got covered.

So how do you follow Wrecking Ball when you decide to write the album yourself. Very well indeed. Remarkably actually. Emmylou's writing here is a very literary one and there are many great lines and every song stands up well to comparisons with Wrecking Ball. There is no higher compliment than that. Like a Red Dirt train it is a scenically Sunday afternoon pace that chugs and slows and slides along with drum box programming and constantly interesting backdrops from musicians of the expected high calibre -- Buddy and Julie Miller, Ruben Blades and Daryl Johnson to name but four. The opening "The Pearl" meanders in a complex way that sets out the stall of Lanois country with the French Canadians partner Malcolm Burn keeping it atmospheric, eerie and deep seated gorgeous. "Tragedy" sees the haunting backing vocals of Bruce Springsteen doing to a song what Harris usually does to others. "Bang The Drum" is for me the highlight as Harris conjures up that weird emotion of death where mourning and beautiful transcendent strength mingle in the bitter sweet tears of aching sadness and comforting hope.

Belief is a constant recurring theme. Biblical ideas of devils and angels and shepherds and Armageddon and eternity follow the most intriguing lines of purpose and thesis from "The Pearl," "We were always headed for eternity/Hoping for a glimpse of Galilee." This is a fine collection of songs for the pilgrims hymnal to sing on the journey.

Like growing up, and even admitting to, in growing old and realizing that you made many mistakes or at least second rate decisions in getting to the place where you are comfortable and confident with yourself you wonder whether Emmylou has many albums she now regrets when she listens to the undoubted genius and maturity of Red Dirt Girl.