Red Dirt Girl

Consider this Emmylou Harris's emancipation proclamation--an album that confirms that 1995's adventurously atmospheric Wrecking Ball wasn't an aberration, but a preview of more radical changes to come. Long the godmother of alternative-country's traditionalist wing, Harris here writes songs with Luscious Jackson's Jill Cunniff, sings a duet with Dave Matthews ("My Antonia"), and recruits Bruce Springsteen and Patti Scialfa to provide harmonies on the album's most compelling ballad ("Tragedy"). The production by Malcolm Burn applies sonic treatments of drum machines, shimmering guitars, and echoed vocals to a song cycle by Harris that is largely original and deeply personal, filled with dream imagery and evocations of a spiritual quest. While material such as "Michaelangelo" and "Bang the Drum Slowly" suffers from an arty ponderousness, it's doubtful that Harris has ever recorded an album that means more to her than this one. --Don McLeese Amazon.com

Voice still lovely; not country any more; sound complex, muddy

I have been a fan of Emmylou Harris for years. I loved her music back in the 1970s. She has one of the purest and most beautiful voices in country music. She also always had a wonderful simplicity and directness to her style.

I am not sure how to react to this new music. Her voice is still lovely. This is obviously a sincere, well-crafted effort.

However:

It is not county any more. I am not quite sure what it is, but she has left her country roots behind her with this. That is not necessarily a bad thing, but I, frankly, have trouble following the logic of where she is going. Her back up sound has become very complex. To put a positive spin on it, it is lush. To be negative about it, it is muddy. To me, she has lost the beautiful simplicity of her earlier music. Is her new direction worth the loss? I will listen to the music some more. Maybe there is more here than I am hearing. But, so far, she is losing me. June 22, 2007

art with blemishes

I recently came to Emmylou through her work with some of my heroes, Mark Knopfler and Neil Young. I've been digesting this disk and several of her others. In reading the comments, I see that some people just love this album and others love it but hate the production and the sound. I'm here to say that the complainers have a point: the purity of Emmylou on this album is marred by some immature over-production, and a few lurches over the line into pop, e.g., it is a little heavy on the drum machines. But it is just a scratch. I can also say that it does not sound as good as the later Stumble Into Grace, but the sound is not unusually bad either. And it is still well worth the price of admission. There is not a weak track on the disk. The title track is essential and note-perfect, and I would not be without several of the others. Emmylou is the real deal, and these are her songs. Do not be deterred.
May 27, 2007

Emmylou Atmosphere

The Daniel Lanois production on "Wrecking Ball" must have really tickled Emmylou Harris, because in the five years between that album and "Red Dirt Girl," she hired on Lanois associate Malcolm Burn to give "Red Dirt Girl" the same murky, gauzy production that the prior album had. While purists who wonder why Emmylou 'abandoned' her old sound may protest the rich atmospherics of the new CD, it really does give her a handsome frame from which to hang this new batch of songs.

The modernness of the sound also shows that Emmylou, as a kind of elderstateswoman, is willing to embrace new things. Think of her spate of guest vocals in the past few years. She's appeared with everyone from Bright Eyes and Steve Earle to a fantastic tour with Elvis Costello.

Emmylou also must have been biding her time in an effort to craft some fine new songs. All these titles are written (or co written) by her, a switch from "Wrecking Ball's" selection of suitors. Rodney Crowell and Guy Clark each take a credit for songwriting and a pair of winners. Crowell's tragedy adds a couple of familiar voices, as Bruce Springsteen and his wife Patty Scialfa add harmonies. And that is Dave Matthews' voice duetting on "My Antonia."

However, "Red Dirt Girl" belongs to Emmylou. The cloudy of the production adds a emotional haunt to the title song, reminiscent of Peter Gabriel's best albums. Same with "Michelangelo," which really does have that Gabriel/U2 vibe around it. It makes "Red Dirt Girl" a thoughtful and provocative album from Emmylou. May 7, 2007

Production is weak

This is an outstanding album, one of her best, except for the production. The producer mixed in heavy distortion and gimmicks (a phone ringing). Emmy Lou Harris does not need gimmicks, or distortion. Her voice is wonderful, the lyrics outstanding, the musical scores superb, and that's more than anyone can hope for. Why she chose to let this producer push distortion and gimmicks is beyond me. I wish she would remix it! As it stands, it is one of my favorite CDs but is unlistenable. So sad. December 9, 2006

Emmylou Rocks

What a beautiful voice! She's great solo doing her own songs although I really like her teamed with Mark Knopfler. A must have for lovers of great music. November 4, 2006

More reviews at Amazon.com ...