Emmylou Harris - Wrecking Ball

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 Amazon.com essential recording

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 July 16, 2008

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. July 5, 2008

Just love it

This is just a great CD. I've bought it twice. Should have fought harder for it in the divorce. October 15, 2007

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. June 27, 2007

Interesting but flawed

FIRST CRITICISM: The album is badly named.
The track "Wrecking Ball" is about love that goes on after the relationship has ended. It is a double pun, contrasting the damage done by a wrecking ball with the beauty of taking one's love to a dance; (the kind of dance where you break up), conjuring up a bitter sweet image of something broken yet alive, really very clever ONCE YOU UNDERSTAND IT. However, an album title should not be so obtuse. It should sum up the content of the work in one phrase to someone who has not yet heard it. For 99.99% of people seeing this album in a record shop a "Wrecking Ball" is a large metal object for demolishing buildings, probably the title of a heavy metal album.

Apart from the theme of love continuing after separation this album also expresses the themes of liberation from an unhappy life, nostalgia for one's childhood, belief in the mythical Jehovah, internal corruption and fading with age. Emmylou would have been better advised to call it "Old Woman's Blues".

SECOND CRITICISM: Second rate vocals.
Emmylou has very little character to her voice. This makes her perfect for singing harmonies on other people's records, (which is where she has had most of her success). Unfortunately it is not much good when singing the lead, which is why her solo success has been much less than that of Dolly Parton and Linda Ronstandt, both of whom exhibit far more "character" in their voice.

I note 2nd rate intonation in some songs. Check out "Wrecking Ball" and "Deeper Well" for example. I know nobody's perfect but I expect better than this at this level. Unless she is doing it deliberately, perhaps to ape Neil Young, but that would be just silly.

Inappropriate and childish is her habit of drifting off into falsetto midway through a word. Sure yodeling is part of the Country and Western tradition but in my opinion it is out of place here. She doesn't do this every song but it's irritating when it happens, especially bad are "Where Will I Be" and "All My Tears".

Most serious of all is her habit on many songs of not pronouncing words fully, especially leaving off the last syllable. This might have been cool in the days of Elvis Presley but at her age she ought to know better. A mature artist should go to some trouble to select songs with good lyrics. To then not pronounce them is a crime. Again this is not every song but it is irritating when it happens, especially bad are "Where Will I Be", "Goodbye", "Wrecking Ball" and "Orphan Girl".

Her singing is not actually bad, it's just that it is not first rate. There are any number of singers who could have done better justice to this material. When you consider the quality of the production it's a shame not to have a first rate singer out front.

THIRD CRITICISM: Poor choice of songs.
When you have the resources at your disposal as they had on this album, why choose second rate songs? In particular "Every Grain Of Sand" is not one of Bob Dylan's better efforts. Considering the vast output of his genius there are plenty of good and great songs of his to cover, "Every Grain Of Sand" is not in that category. There are other examples of second rate songs on this album although not as starkly inferior as this. The fact that no hit was forthcoming from this effort, despite the money and talent poured in, eloquently proves my point about the quality of the songs.

THE PRODUCTION
The great thing about this album is that is has Daniel Lanois producing. He brings a rich, dark and sombre feel to this work that is quite unique. He has really taken Country in a new direction, the Lanois direction! Considering he was been U2's producer on their 2 biggest albums it is not surprising that it sounds at times like a U2 album. In particular check out "Where Will I Be". If Bono were singing it would BE U2! Indeed Emmylou even sounds a bit like Bono on this track.

The mix is dominated by the bass, the bass drum and the snare, as well as the lead vocal. Guitars, harmony vocals, mandolin and banjo etc are well back and almost irrelevant. He gets away with this because the bass is so rich, thick and deep that it carries everything. Check out the amazing bass on "All Mt Tears"... One can only imagine the multi tracking, effects and heavy EQ that made this possible. There is much electric guitar here but it is always heavily loaded with effects and always spacey, similar to Edge's guitar but further back. In fact this album demonstrates quite clearly who is responsible for U2's sound. Daniel could get rid of The Edge, Mullens and Clayton and so long as he kept Bono he could still make U2 records.

CONCLUSION
I am well aware that many people think this is one of the best albums ever made and if they get great enjoyment from it then good luck to them! However that doesn't mean it doesn't have flaws, or that I shouldn't point them out.

I see where these people are coming from. Lanois has produced a rich and addictive sound which does grow on you. And this rare, velvet tapestry tends to make most people, (especially those don't sing), overlook its flaws. The tendency is to unconsciously associate the masterful production with Harris (since it's her album), so that one becomes blind to the grave flaws in her singing. When you realise that the genius in this work is Lanois and not Harris you should be able to see her for what she is, (unless you are a confirmed, one-eyed Harris fan of course, in which case your fate is sealed).

The same psychology applies to the choice of songs. Classy treatment like this could make you think "Mary Had A Little Lamb" was a masterpiece!

Overall, this is a worthwhile and interesting, even classic! but deeply flawed album. Emmylou's singing is not first rate, the songs are mostly weak and the production, though groundbreaking and addictive, is not, in my opinion, the best way to display country music. All would have been forgiven though if it were full of great songs. There were only three that I liked: "All My Tears", "May This Be Love" and "Waltz Across Texas Tonight". If the other 9 had been of that standard or better THEN it would have been a great album.

If you want to get an idea of what this album could have been with its faults corrected get "Achtung Baby" by U2. Now THAT is a great album! Even though the production on Wrecking Ball is more polished than Lanois' earlier effort, yet the first rate singing, the quality songwriting, the cohesive theme and the compelling development from track to track on Achtung Baby really take you somewhere. This is what is missing from Wrecking Ball, CONTENT! and this is why Wrecking Ball cannot be counted amongst the greats. May 12, 2007

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