Tag Archives: Emmylou Harris

365 Days of Album Recommendations – Aug 17

Emmylou Harris – Red Dirt Girl


We knew her voice was a gift from the gods. And we knew the few songs she HAD committed to record were fine ones. And we knew Wrecking Ball was one of the best albums of her career.

And then came Red Dirt Girl.

Then came Red Dirt Girl, and the revelation that Emmylou Harris was an extraordinary songwriter.

She wrote or co-wrote 11 of these 12 tracks, and they all easily hold their own against anything coming from the otherwise oddly male-dominated Americana/Roots/Singer-Songwriter/Folk realm.

The title track itself is a story-song tour de force, and for my money, one of the best things she’s ever done, period. Which is saying a great deal, given her storybook career.

I’ve heard it said that the album’s production wields a heavy hand, and from other corners I’ve heard whispers that it’s an imitation of Lanois, without Lanois.

Interesting arguments, sure, but I come down firmly on the side of the album being just wonderful, just as it is.

It’s been one of my favorite albums for over a decade-and-a-half now, and I expect it will remain as such for a long, long, long time to come.

365 Days of Album Recommendations – April 20

Willie Nelson – Teatro


It’s of course the infamous 4.20 today, and I saw something pretty funny earlier—it read “It’s 4.20, make sure to leave cookies and milk out for Willie Nelson.”

Which of course reminded me of Willie Nelson, which of course reminded me of Willie Nelson’s actual greatest record, which is this one.

And yes, it’s Daniel Lanois again. With all the atmospheric ghosty-funky vibey things he does … but that’s not really what this album’s about. It’s about 3 things. It’s about having Emmylou Harris sing the LOW harmony. And it’s about ACTUALLY hearing Willie Nelson play HIS guitar the way HE plays it. And finally, it’s about these two cats:

Tony Mangurian – drums, percussion
Victor Indrizzo – drums, percussion

Because they’re the true secret weapons of this incomparable album. The gumbo funk they drop behind Willie’s spasmodically excellent Tex-Mex nylon angularities is just devastatingly tasty.

It’s a killer, killer album.

365 Days of Album Recommendations – Apr 12

Emmylou Harris – Wrecking Ball


As has happened with so many other remarkable artists, the Daniel Lanois factor resulted in a stunner of an album when he worked with Emmylou Harris to create this masterpiece.

All the atmosphere, the vibey-ness, the soundscapes, the subtle trash-can funks, the mystery, the sonic mythology—all the things we’ve come to associate with the Lanois touch all are here in spades. What’s different, is his collaborator.

When Lanois did what Lanois does with Dylan, with Chris Whitley, with Willie Nelson, with The Neville Brothers, he took a raw and funky sound, and gave it a kind of creepy grace. Here, however, his raw material was already rich with grace and mystery—the result is a kind of haunted elegance that transcends even his own propensities for drama and atmosphere.

As to Emmylou herself, she does what she does best, but better. She OWNS these songs; every one of them; deploying the cracked beauty of her lilting and plaintive red dirt twang in the service of a deeply compelling suite of songs. Highlights include her takes on Neil Young’s Wrecking Ball, Anna McGarrigle’s Goin’ Back to Harlan, and Lucinda Williams’ Sweet Old World. The stunner of stunners (and the only cut she takes a co-write on) is Deeper Well.

Emmylou launched a new era for herself with this album, an era we’d see hit full stride with her follow-up Red Dirt Girl, which marked her emergence as a songwriter to be reckoned with. But before you get there, get here.

On The Eve Of The Songwriter’s Showcase Finals, A List Of 23 Genius Songs We All Wish We’d Written, But Didn’t

Tuesday, May 5th, 7-10pm, Britannia

Tomorrow night, it’s the finals of the 13th Annual Songwriter’s Showcase (sponsored by Mars Studios, and hosted by the Britannia Arms in Capitola, CA), and I am to be a judge. Which is very exciting for me, and an honor I accept with the utmost seriousness.

Because said event is nigh, I have songwriting on the brain.

Now, in re: said event, based on what I know to date about the competitors, I think it is safe to say that we are not working with the broadest definition of singer-songwriter (i.e. anyone who sings a song they have written), but rather, we are operating within the more precise realm of the “Singer-Songwriter”; that is to say, within the folk-troubadour tradition. Operators within this space may claim as their ancestors and inspirations the likes of, say, Bob Dylan, Joni Mitchell, or Joan Armatrading; James Taylor, Jimmy Buffett, or Townes Van Zandt; Bill Withers, Billy Bragg, or Neil Young; Tracy Chapman, Dolly Parton, or Nick Drake; Elliot Smith, Patti Smith, or Carol King; Phil Ochs, Suzanne Vega, or Ben Harper; Greg Brown, Indie.Arie, or Bruce Springsteen; Kris Kristofferson, Sam Cooke, or Ani DiFranco, or even, yes, John Lennon and Jerry Garcia. This IS Santa Cruz County, after all.

The point being, there is singing a song one has written, and then there are “Singer-Songwriters.” For this event, I think it is safe to say we are considering the latter.

And so, bearing that in mind, I have elected, almost strictly for personal kicks, to assemble a list of some of the greatest songs (fundamentally — with just a couple stretches– in this mold) ever written, songs that you and I both wish we’d written, but didn’t.

With no apologies for what I’ve left out or what I’ve included, and in no particular order, I proffer the following:

1. Willie & Laura Mae Jones, by Tony Joe White.
Dear ALL aspiring political songwriters. This is how you handle racism in a song. Funkily, powerfully, honestly, and narratively. A masterpiece.

2. The Ballad of Hollis Brown, by Bob Dylan
Devasting. One chord. That is all.

3. Here Comes A Regular, by Paul Westerberg (The Replacements)
If you understand the difference between this and “Piano Man,” you’re on to something. If you don’t, you’re not.

4. Grandma’s Hands, by Bill Withers
Can YOU be this powerful, soulful, beautiful, muscular, and emotional, while singing about YOUR grandma? Yeah …

5. In the River, by Michael Been (The Call)
White gospel, from an 80s indie band. Incredible.

6. Straight To Hell, by Joe Strummer (The Clash)
Just an unbelievably great song; epic, monumental; spooky, depressing; vivid, political, social, emotional, gut-wrenchingly raw, pathotically weird and funny and sad and strange and perfect. And so cool …

7. Glory Box, by Beth Gibbons (Portishead)
Incredible lyric movement, traveling from the personal and idiosyncratic, to the most fundamentally raw, sensual, and real. Killer … And that melody line, over that bass line? Killer …

8. Red Dirt Girl, by Emmylou Harris
As good a “story song” as any ever written, coming from out the folk-blues-southern thing …

9. Our Mother the Mountain, by Townes Van Zandt
Because if you write this …

Fingers walk the darkness down
Mind is on the midnight
Gather up the gold you’ve found
You fool, it’s only moonlight.
If you try to take it home
Your hands will turn to butter
You better leave this dream alone
Try to find another.

… then your s&%t is amazing.

10. Four Women, by Nina Simone
Because if you can powerfully and successfully address sexism AND racism in a song with a final line of “My name is Peaches,” and not only get away with it, but kill it? Then your s&$t is amazing.

11. Amsterdam, by Jacques Brel
Epic in every sense of the word. Dirty, seedy, and romantic; beautiful, tragic, and raw. And it ends with an image of pissing. Such an achievement … just towering.

12. State Trooper, by Bruce Springsteen
Simply one of the best road songs ever. And that’s saying something.

13. Death Don’t Have No Mercy, by the Reverend Gary Davis
It’s admittedly hard to concede ACTUAL songwriting credits when it comes to the “shared” folk-blues-gospel cannon, but this is pretty close to clear, so I’m just going to say it’s Davis’ song. I played a version of this recently, and someone from the audience spoke to me afterwards, referring to this song as “dark gospel, but true gospel.” To which I say, yes.

14. Psalm, by John Coltrane
There are technically no lyrics to this song, but if you know the story of this song, then yes there are lyrics. And this song is INCREDIBLE. Listen to this while reading the “lyrics,” and you’ll have one of the most moving poetry/music experiences of your life …goose bumps. Forever.

15. 16 Shells From A Thirty Ought Six, by Tom Waits
Because Tom Waits should be on this list somewhere, and because for my money, it was with this song that Waits not only created a language all his own, but became a genre all his own.

16. Back Home In Derry, by Christy Moore
No one does homesick like the Irish, and few do it better than Christy Moore with this song.

17. Fairytale of New York, by Shane MacGowan (The Pogues)
Ditto the above, except way, way, way sadder and more f&#*ed up …

18. Washington D.C. Hospital Blues, by Skip James
Most country blues artists didn’t really “write” songs in the way we think of it being done, and few if any wrote any new material later in life. The eerily excellent Skip James is the exception; he not only wrote brilliant songs of his own, he wrote NEW songs of his own post his “re-discovery.” This is one such song, and it’s utterly, totally brilliant for capturing in a single story (being sick in the hospital), and in a single couplet (I’m a poor man, but I’m a good man, you understand) an entire universe worth of the relationships between pride and shame, poverty and pride, and everything else about what it means to be both strong in, and at the mercy of, the world.

19. Diamonds and Rust, by Joan Baez
Any song that can sound amazing as sung by both the composer (Baez) and Judas Priest, HAS to be incredible …

20. I Shall Be Released, by Bob Dylan (The Band)
Is it possible someone actually sat down with pen and paper and just WROTE this song? Not possible …

21. Think, by Aretha Franklin
Yeah, she wrote it.  Well, co-wrote it. But she wrote it. And it’s so, so, so badass. It’s like singer-songwriter soul haiku, distilled down to the resonant power of just two words: Think. Freedom.

22. Cities In Dust, by Siouxie Soux
Apocolyptic, graphic, poetic, with a hook from the gods. One of the greatest songs from a great era, transcends all boundaries to simply be great, resonant, and powerful. Just play it on acoustic, solo. It swings so hard, and runs so deep …

23. Go Tell Aunt Rhody, author unknown
I don’t know who the hell wrote this lil’ lullaby of Gothic Americana, but it’s a monster lesson in The Weird Old America … Possibly the first song I ever learned, and possibly the song I’ve been trying to write my whole life …


Here’s to tomorrow night, and discovering something new to add to this list!

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