October 3, 1995 |
If Emmylou Harris singing with Gram Parsons some 25 years ago made for a post-hippie George and Tammy, what does Harris singing with Daniel Lanois make? A scintillating Sunday evening at the Coach House is the immediate answer.
October 30, 1995 |
You usually know that it's time for a concert to start when the stage crew finishes checking the last of the microphones. Not so at Neil Young's acoustic Bridge School concerts at the Shoreline Amphitheatre. One sign of the warmth and informality of the star-studded event is that no one expects anything to begin until the final wheelchair is rolled on stage.
April 24, 2011 |
Emmylou Harris is trailed by a ragtag parade of eager dogs when she answers a knock at the door of the comfortable two-story home on a fenceless parcel a few miles from downtown Nashville, where she lives with her 89-year-old mother, Eugenia. The singer and songwriter greets a visitor with the same unguarded openness with which she has welcomed in a steady stream of abandoned, abused or otherwise homeless canines as part of the Bonaparte's Retreat animal rescue operation she's run for the last several years.
November 10, 1996 |
After first hearing Emmylou Harris' voice in the mid-'70s, a playful Johnny Cash wondered if he hadn't dreamed the whole thing. It was, he recalled, like listening to an angel. Bob Dylan was so enthralled around the same time by the loveliness of Harris' tender soprano that she ended up singing with him on his next album.
CALIFORNIA | LOCAL
January 27, 2011 |
Charlie Louvin, the country singer whose scintillating harmonizing with his brother Ira created a distinctive template for duet singing that strongly influenced the Everly Brothers, the Beatles, the Byrds and successive generations of singers including Gram Parsons, Emmylou Harris, Beck and Jack White, died Wednesday in Nashville of complications from pancreatic cancer. He was 83. The Louvin Brothers' sound, with Ira's pure high tenor typically floating atop Charlie's strong tenor-baritone melodies but often switching mid-song, derived from church-based "shape-note" singing, an a cappella style they picked up while growing up in their musically inclined family in rural Alabama.
August 17, 1991 |
You'd have thought it would take singing lightning, burning bushes and other equally spectacular onstage offerings to compensate for the absence of the fabulous Hot Band behind Emmylou Harris. But though Harris has replaced her old band with a much softer, albeit no less driving, form of persuasion, no one in the packed audience for her first of two sold-out Coach House shows Thursday seemed to be pining for the past. Indeed, the show will very likely end up as one of this year's most enthralling Orange County performances.
September 16, 2007 |
"If you live by the charts, you die by the charts," Emmylou Harris, the silvery-voiced roots singer who dissolves genres and owns a dozen Grammys, says conspiratorially. "Let me tell you." There are a lot of things that Harris can tell you about American music.
October 17, 1993 |
Most of the country music world is in awe of Emmylou Harris, from the new crop of best-selling singers to Nashville's hottest songwriters and producers. Mention Harris' name and they'll talk at length about the beauty of her voice and her great feel for adventurous material, and how she has helped expand the creative horizons of country music during the past 18 years.
CALIFORNIA | LOCAL
July 17, 2012 |
Country singer Kitty Wells had been recording, touring and broadcasting without major success for more than a decade when she accepted an offer in 1952 to record one more song before she planned to turn her attention to staying at home and raising a family. Mostly she was interested in the $125 union scale pay she'd get for the session, at which she recorded "It Wasn't God Who Made Honky Tonk Angels," a song that not only turned her career around but also helped upend stereotypical thinking about men who strayed and the women they strayed with.
October 16, 2003
Although grudgingly respectful by the end, Randy Lewis' critique of Emmylou Harris' concert ("Emmylou Harris Plays Safe," Oct. 9) dwelt largely on what he saw as Harris' lack of "edge" and courage, as evidenced by her artistic decision not to replay her brand-new album straight through (a la Neil Young's recent "Greendale" tour). What disturbs me is Lewis' very narrow sense of what counts as "risk" and "edge." In fact, the decisions Harris made for the evening -- including the one to open with the astonishing and resolutely non-alternative country sound of her guitarist, Buddy Miller -- could not possibly have been more radical.