by Tom Johnson
Following her fantastic 2000 release Red Dirt Girl, this found the angelic-voiced Emmylou Harris continuing down the path she started with Daniel Lanois on the equally fantastic but slightly more stunning 1995 album Wrecking Ball, and that’s just fine with me. Once a country-goddess, Harris has incorporated new sounds and influences that really prevent her from being pigeon-holed in any particular genre — and that’s exactly what good music should do anyway.
Half Notes is a quick-take music feature on Something Else! Reviews, presented whenever the mood strikes us.
[amazon_enhanced asin=”B0000AKNEN” container=”” container_class=”” price=”All” background_color=”FFFFFF” link_color=”000000″ text_color=”0000FF” /]
Tom Johnson has contributed to Blogcritics, and maintained a series of stand-alone sites including Known Johnson, Everything is a Mess and others. He studied both creative writing and then studio art at Arizona State. Contact Something Else! at [email protected].
Latest posts by Tom Johnson (see all)
- How David Bowie’s ‘Reality’ Stood Out For What It Was Not - September 29, 2023
- Metallica’s ‘St. Anger’ Was Always Much Better Than They Said - June 8, 2023
- How King Crimson Defined an Unsettled Post-9/11 Landscape on ‘Power to Believe’ - March 5, 2023
Interested to know what you thought of Wrecking Ball. This was a big deal, a PBS documentary about her making the CD with Daniel Lanois. This is before Red Dirt Girl, which I love.
In Wrecking Ball, she constantly seemed to lose her lyrics. I thought she was on drugs. Redd Dirt Girl was for me a return to her form in the 1970’s, 80’s.