Disco de Emmylou Harris: “Red Dirt Girl”

I didn't think Emmylou could come up with another album as haunting and captivating as "Wrecking Ball." Of course, I was wrong. "Red Dirt Girl" shows Emmylou again at her best, with wonderful songs, melodies and lyrics that highlight her other-worldy voice. From the opening beats of 'The Pearl,' I was totally hooked. So much of the music is totally hers, very distinctly Emmylou. She does an intriguing cover of Patty Griffin's 'One Big Love' and makes it her own. There's also a terrific duet with Dave Matthews as well that is, as is so much of her music, hauntingly beautiful.

I used to say that I hated country music. Well, Emmylou was one of the first to reveal to me the depth and breadth of 'country' and she is now among my all-time favorites. And this is a remarkable album from a great artist, one that will appeal to anyone who simply likes good music. I highly recommend it to everyone, even those who think they don't like country - Emmylou's music defies all characterization except that it's wonderfully unique.

I write this review from the perspective of being a long term Emmylou fan, having bought much of her material on vinyl in the '70s (Elite Hotel, Blue Kentucky Girl, Last Date etc), and latterly having bought Wrecking Ball and the wonderful Spy Boy on CD. I also had the pleasure of seeing Emmylou in concert with the Hot Band in Auckland in the early '80s. Which brings me to "Red Dirt Girl". In a word - stunning. Has her voice ever sounded more pure and angelic than on Michelangelo? Have more poignant songs than the title track and Bang The Drum Slowly been written in recent times? This CD has many highlights, including the lovely New Orleans feel of J'ai Fait Tout, a real departure of style for her. Unlike some writers, I enjoy the production on this CD, which is, if anything, sparer than it was on Wrecking Ball. On my system, at least, the vocal sound is well separated and sitting over the top of most of the arrangements. I don't even mind the drumloops! A "must buy" for any fan of Emmylou and I only hope she tours again down this part of the world so I can enjoy her, Buddy Miller and the superb rhythm section in a live environment.

It's uncommon for a musician to have a productive 30 year career, never mind one which just seems to keep getting better and better as time passes. Emmylou Harris still has plenty to say and plenty of new directions to go in. Red Dirt Girl picks up where she left off with her previous studio release (and another five-star recording) Wrecking Ball. But here she's come out from under the musical blanket laid over most of that work by Daniel Lanois, as well as come forward with what is mostly her own set of material rather than relying so heavily on covers and collaborations.

Emmylou is the consummate interpreter, and most musicians would line up for the chance to have her cover one of their songs. But here she proves that if she isn't the most prolific songwriter, when she does write she can stand up with the best of them. The cover song, Red Dirt Girl, is a ballad that would make master songwriter Steve Earl proud. Other high points include The Pearl, Michelangelo, and Boy From Tupelo. The music is tight, well constructed, and masterfully played. There are hardly enough superlatives to do this recording justice. It's a classic.

"Red Dirt Girl" is Emmylou Harris's first studio album since 1995's magnificent "Wrecking Ball." The wait has been worthwhile: it's every bit as ethereal, mournful, and beautiful as that album, but with a little more room to breathe production-wise. The main difference on this disc is that only one song is a cover, and the songs Emmylou has written are quite possibly her best ever. Normally, I like her writing, but she's such a fine purveyor of other writer's songs that her own work is usually overshadowed. Not the case here. These are magnificent songs that run the gamut from oral sex (boy, don't listen to THAT one for the first time while you're driving--I almost passed out!) to the magnficent "Bang the Drum Slowly" (co-written with Guy Clark). Suffice it to say you may need your tissues, but not for any trite, slick, or maudlin reason. This is the song so many hack Nashville writers aspire to. Yes, Bruce and Patti are here, but they sing backing vocals (on "Tragedy") and you might not even realize it's them until the end of the song. There's a debut with Dave Matthews that's inoffensive, but give me Bruce or even John Anderson over that guy anyday. This disc has made its debut at the top of my "Best of 2000" list, with only Warren Zevon's "Life'll Kill Ya" in close proximity. You'll be doing yourself a disservice if you don't get "Red Dirt Girl," the newest from a genuine American treasure.

I have not been a great follower of Emmylou Harris' work. I did however, get shivers at the song she sang with Gillian Welch and on the "O Brother Where Art Thou" soundtrack. In fact, the thing that got me to buy this album was the bass line from "Red Dirt Girl". I guess I'd heard the song in the background a couple of places and then just recently, I heard a fragment of it on a continuity segment on NPR.

Those suspended notes that creep in behind Ms. Harris's voice on the end of the verses! Three simple notes and then the resolution (or lack of it). And Emmylou's beautiful voice. Man I was hooked.

This album has something for everyone but for me, the title track is still head and shoulders the best. Simple, clear and wonderfully crafted.

Go 'head Emmylou.