|
Amazon.com essential recording: Emmylou Harris's formula has been to match a crack crew of left-of-center country players with an assortment of tasteful tunes and head into the studio with a nonintrusive producer. Now and then (most notably the 1980 bluegrass collection Roses in the Snow), she tampers with her basic blueprint and comes up with something exceptional. Wrecking Ball is one of those. Daniel Lanois's radiant production no longer seems as fresh as it did on albums by U2, Peter Gabriel, and Bob Dylan, but here its hum enfolds Harris like an electric blanket. Lanois's usual recruits, including U2 drummer Larry Mullen Jr., and New Orleans regulars Malcolm Burn, Brian Blade, and Daryl Johnson, lay down a solid base for Harris's weary vocals and Lanois's buzzing guitar. At its core, Wrecking Ball seems almost too finely calculated. Hot producer plus sought-after songwriters plus venerated performer frequently totals to deadly bore. Here, however, all that calculation adds up to something. --Steven Stolder
Customer Reviews:
- Alternate country universe: A towering achievement and also an immensely likeable record. Emmylou Harris, after spending the first half of the 90s playing and recording solid if traditionally-oriented country albums, in 1995 teams up with Daniel Lanois and engineer Malcolm Burn to make a surprisingly experimental, electronica-influenced, slow-burning gem of a modern country record that sounds nothing - absolutely nothing - like country music sounds in 1995 (or since, for that matter). She forges a completely unique path here, presenting material in a way that boldly proposes an alternate universe: one where country music does not sound like 80s mainstream rock (or bluegrass nostalgia). Instead of commercial sheen, the music here has grit, tape hiss, low and odd keyboard pads, loops and samples... and yet, there's Emmylou Harris' voice, invoking a true country idiom with every line she sings. There's much pain and sadness on this record, all of it worth hearing any number of times. A true artist statement, even though she only co-wrote one of the songs ("Waltz Across Texas Tonight," with Rodney Crowell), Wrecking Ball is a must-have, even if you don't like country as a rule. (As someone who was always a performer and never a writer, this album also marks the beginning of Emmylou Harris' journey into songwriting, culminating in later records that have a similar sound but songs mostly penned by her, which are also worth listening to.)
- A Different and Difficult Album: At first, this was the first Emmylou album I listened through. At first I was a little bit disappointed but even the next time I started to like it much more. It seemed like all the songs were opening. "All My Tears", "Orphan Girl", and "Where Will I Be" were the easiest ones. "Deeper Well" may sound a little bit strange but it's one of my favorites in this album. The title track opened for me in the 6th listening time. If you have listened only Emmylou's 70's albums, you may feel a little bit disappointed at first but give it a chance! It's a great album, a little bit slower than the first Emmylou albums but it has it moments. I have listen to it more than ten times, and the only song that sounds boring is "May This Be Love".
Stars: All My Tears, Orphan Girl, Wrecking Ball - Like Spun Gold: It's impossible to be serious about music and not realize the great contribution Emmylou Harris has given us over the years. Although she has always been a left fielder in country music pushing the envelope when some of her contemporaries we're trying on their disco slippers to make a quick buck, Emmylou new this didn't suit her. She sought out songs that move her. With "Wrecking Ball", Emmylou took a wrong turn that really WORKED and hit it out of the ballpark. The marriage of her spiritual yet sensual voice with virtuoso production by whiz kid Daniel Lanois created a new benchmark for what could be created. This album was a very brave departure for her with a beautiful merging of old and new. Lanois' spatial, textured landscape added rather than detracting from Emmylou's sliver tounged vocals. The songs have a layered feel to them that reveal more with continual listening. At one time or another every song on this album has been my favorite. I'm surprised by how many times I've listened to this album since I bought my first copy in '95 (about 300 times I'd estimate). I can't think of any another album that means more to me. Take an unexpected turn and give yourself over to this album and I think you'll be pleasantly suprprised.
- Just love it: This is just a great CD. I've bought it twice. Should have fought harder for it in the divorce.
- Emmylou dressed in barbed wire....: Some time shortly after this was released, I was fortunate enough to catch a free Emmylou concert in Nashville, courtesy of the Thursday afternoon "Dancing in the District" series on the banks of the Cumberland. Most of her material that day came from this CD, with the "barbed wire guitar" playing provided by Buddy Miller in the same style as presented here. Many of Emmylou's core country audience left before the end, disappointed I suppose at her new approach. But I was enthralled with her courage and flexibility in stepping out on this branch. The combination of classic material and the raw edge was perfect. Emmylou produced by Daniel Lanois seemed a match made in heaven. There isn't a "clunker" here. David Olney's title tune "Deeper Well" is super strong but is actually surpassed by several songs especially the unforgettable "Where Will I Be" and "Goin' Back to Harlan." The closest I can come to a complaint is that nothing can top her live version of "Goin' Back.." on the Lilith Fair concert CD. So seek that out as a complement to what you get here.
|
