Classic Rewind: Doug Stone – ‘Addicted To A Dollar’

Classic Rewind: Southern Pacific ft Emmylou Harris – ‘Thing About You’

Album Review: Emmylou Harris – ‘Hard Bargain’

Beginning with the release of the rock-oriented Wrecking Ball, Emmylou’s music has been very hit or miss for me. I disliked that 1995 project, which Emmylou herself describes as her “weird album”, and I was similarly disenchanted with 2000′s Red Dirt Girl and 2003′s Stumble Into Grace, although all three albums did have their bright spots. All I Intended To Be, which reunited her with Brian Ahern, was a step back in the right direction for those of us who had longed for another Brand New Dance or Cowgirl’s Prayer, but anyone who thought that her 2008 album was the beginning of a journey back to more traditional country music will perhaps be slightly disappointed with her newest offering Hard Bargain.

I wasn’t sure what to expect with this album, so I came to it without any preconceived notions about the style of music. Having listened to it a few times, I’m not sure how to classify this genre-defying project except to say that by and large, it isn’t country. It’s not the sort of music I generally enjoy listening to, but nevertheless, I found Hard Bargain to be a quite pleasant listening experience. Emmylou wrote the majority of the songs, and only three musicians play all of the instruments on the album: Jay Joyce, who produced the project, Giles Reaves, and Emmylou herself. Although there are some production missteps along the way, the extremely limited number of musicians participating helps them to avoid falling into the trap of wall-of-sound overproduction, such as the kind that plagued Wrecking Ball.

Nearly forty years after she was recruited by Gram Parsons, her mentor still casts a long shadow over Emmylou’s music, as evidenced in the album’s opening track and lead single “The Road”, which talks about the time they spent touring together:

I can still remember
Every song you played
Long ago when we were younger
And we rocked the night away
How could I see a future then
Where you would not grow old
With such a fire in our bellies
Such a hunger in our soul.

… I still think about you
Wonder where you are
Can you see me from some place
Up there among the stars

One of the more heavily-produced tracks on the album, “The Road” has some Daniel Lanois Wrecking Ball-esque production flourishes. It has not charted and is not likely to garner much airplay from country radio.

More stripped down are “Home Sweet Home” and “My Name Is Emmett Till”, a 60s-style folk number that tells the story of a 14-year-old hate crime victim in pre-Civil Rights era Mississippi. “New Orleans”, which Emmylou co-wrote with Will Jennings deals with the floods that ravaged that city after Hurricane Katrina. It’s a surprisingly upbeat-sounding song given the subject matter, and somewhat distracting to listen to due to the way the recording was mixed. The track is somewhat heavy on percussion, and Emmylou’s voice sounds very faint, as if it were recorded through a telephone line. This same flaw plagues the title track and “Cross Yourself”, but not to the same extent as “New Orleans”.

Emmylou is well known for her animal rescue work,a subject that is near and dear to my own heart, and one that is the topic of “Big Black Dog”, a homage to a rescued canine. Large black dogs are the least likely to adopted from shelters, but as Emmylou correctly points out, they can make wonderful pets:

Big black dogs they’re everywhere
Lookin’ for a home they’re hungry and scared
All they need is food and attention
They’ll give you back love
Sometimes redemption I swear
You could find it there
In a big, black dog.

Despite the somewhat somber lyrics, this is an upbeat, almost happy-sounding and surprisingly catchy number.

The most poignant song in this collection and my favorite is “Darlin’ Kate”, Emmylou’s tribute to her good friend and frequent collaborator, the late Kate McGarrigle, who died last year. The, the simple lyrics and acoustic arrangement enhanced by Jay Joyce’s ganjo (six-string banjo) playing, give the track a more country feel than most of the others songs on the album.

I seem to be a sucker for bonus tracks; for some reason they usually end up being some of my favorite tracks, and “To Ohio”, which appears on the deluxe version of Hard Bargain, is no exception. Breaking with the three-musicians-only formula of the rest of the album, Emmylou is joined on this track by the folk band The Low Anthem, who provide very nice duet and harmony vocals. There aren’t any musician credits for this track in the CD booklet, but the production is a little more filled-out on this track, so I suspect the band members are playing some of the instruments.

Overall, while I enjoyed this album quite a bit, it doesn’t quite stack up with the very best of Emmylou’s past work, which admittedly, is a very high standard. Though I would have preferred another All I Intended To Be, or better yet, something closer to the type of albums she regularly released in the 70s, Hard Bargain rates higher than most of Emmylou’s post-1995 work, and should satisfy most of her longtime fans.

Grade: B

Hard Bargain can be purchased from Amazon and iTunes.

Classic Rewind: Jerry Lee Lewis – ‘Another Place, Another Time’

Classic Rewind: Dolly Parton, Linda Ronstadt and Emmylou Harris – ‘Those Memories’

Album Review: Emmylou Harris – ‘All I Intended To Be’

Emmylou Harris’ third album for the Nonesuch label found her reunited with producer and former husband Brian Ahern. All I Intended To Be would feature Harris’ most country arrangements in over a decade, and would be hailed by most as the singer’s triumphant return to a traditional country sound, which it certainly is. More than a return to form, this is also an album that finds Harris bringing the broader songwriting selection that characterized her Americana work, and striking the perfect balance between the two in sound and song. Peaking at #4 on the Country Albums chart and #22 on the Billboard 200, Harris earned her highest showing on either since her hit-making days.

The slow-burning opener ‘Shores of White Sand’, is a tale of a woman not sure where to go in life and features steel guitar flourishes to help illustrate the lonely feel of it all.

The album’s centerpiece is Jude Johnstone’s exquisite ‘Hold On’,a tender tune addressed to a man who behaves as if life has lost all spark. As the singer attempts to assuage his uncertainty and remind him of better times,

I know you didn’t plan for this
But that’s the way it always starts
Just lookin’ for a little kick
Instead you bought a broken heart

the tempo progressively builds, aided mostly by dualing acoustic and electric guitars, and Harris’ delivery becomes more forceful.

Emmylou co-wrote ‘How She Could Sing The Wildwood Flower’ which tells the story of A.P. and Sara Carter, with Kate and Anna McGarrigle, after the three saw a documentary about the legendary country music family. The recently deceased Kate McGarrigle appears on this sweetly acoustic track singing harmonies, and plays a banjo solo as well.

Aside from those co-writes, Emmylou’s songwriting is represented here with ‘Take That Ride’, a melody-driven mid-tempo tale of a flame burned out, with the narrator staying more out of lack of interest in leaving than love. Harris also wrote the sparse ‘Not Enough’, which recounts the story of the death of a dear friend, and the emotional steps that surround it. As Harris’ plaintive vocal bends the hard-hitting lines – “Oh my dear friend, what could I do, I just came home to bury you” – it’s clear she’s mastered the art of melancholy story-telling.

Emmylou’s songs stand up with the other Americana mainstays like Patty Griffin and Tracy Chapman she’s included here. That’s best evidenced by the must-hear ‘Gold’, with Dolly Parton and Vince Gill contributing harmonies. In it, the singer admits defeat in a relationship where she simply couldn’t meet her lover’s ridiculous expectations. ‘Gold’ also features the album’s most traditional arrangement, complete with a rolling steel guitar solo.

A nod to two of country music’s greatest songwriters come from Emmylou’s take on Merle Haggard’s ‘Kern River’, where exquisite harmonies from Stuart Duncan, Mike Auldridge, and John Starling play perfectly with the mournful fiddle backdrop. She includes a mostly acoustic, and somewhat plodding, take on Billy Joe Shaver’s ‘Old Five and Dimers Like Me’, sang as a duet with John Starling.

While re-exploring the more acoustic sound of her best-known work, Harris delivered an album of solid songs, made all the better by the greatest instrument in the credits: her own seasoned voice.

Grade: A-

Buy it at amazon.

Classic Rewind: Tracy Byrd – ‘Cheapest Motel’

Single Review: Dierks Bentley – ‘Am I The Only One?’

Dierks Bentley’s bluegrass-infused and artistically adventurous Up On The Ridge having failed to score any major radio hits to match the critical acclaim, he is now moving on to a new album, due out later this year. Understandably, it appears that he is reverting to a more radio-friendly sound, at least with the lead single. Other reviews have been disappointed by this song, but I would cautiously differ from that judgment.

This song is, admittedly, clearly a calculated attempt at regaining his automatic-play status at country radio. Lyrically, it is basically a cheery Friday evening go-out-drinking song, with the protagonist abandoned by his old drinking buddies and then hooking up with a similarly lonely “country cutie”. It is not groundbreaking (which should make it fit in just right with radio playlists) but it is an enjoyable enough single and far from the worst of what’s on offer on the airwaves. Dierks wrote the neatly constructed song with producer Jon Randall Stewart and Jim Beavers.

Musically it is almost a ramped up version of the title track of Up On The Ridge, opening with punchy banjo rolls and guitar licks. Things get a bit more raucous when we hit the chorus as the electric guitars get a workout, but although it is a little louder than I would ideally like, the production is not overwhelming . In fact, this feels mroe like a progression from rather than the complete departure from Up On The Ridge I had feared it might be. That should not have been a surprise, as Dierks has kept Stewart, who helmed the last project, as producer for the new project. Dierks’ vocals sound good, with the distinctive grain in his voice strongly in evidence, particularly in the superior first half of the song.

It does come off the rails a little at the end, with the cliche’d relapse into a barroom chorus. On the whole, however, I think this should achieve the desired radio play to encourage sales of the new album, without completely selling out to commercial demands. Just a few weeks after its release, it’s already higher on the charts than the lovely ‘Draw Me A Map’ managed in its entire run last year.

Grade: B

Classic Rewind: Emmylou Harris – ‘Sweetheart Of The Rodeo/Diamonds In My Crown’

Album Review: Emmylou Harris and the Nash Ramblers – ‘At The Ryman’

With her singles increasingly ignored by country radio as a new generation swept in, Emmylou decided to disband the Hot Band and make a new start. She launched the replacements by recording a live album, at the Ryman Auditorium, historic home of the Grand Ole Opry, which was at the time basically disused. One of the big tests of any artist who sounds good recorded is whether the voice holds up in a live setting. Emmylou Harris’s certainly does, and over her career she has released several live recordings. However, typically of Emmylou, she has never chosen the most trodden path and released a concert of her greatest hits, performed in close imitation of the records. Her 1981 album Last Date, which produced three hit singles including the #1 title track, had consisted of all new material (or at least covers she had not done before). It was not a true live album, though, as the tracks were taken from a series of live dates with her legendary Hot Band. This album, similarly, is not a single gig, but was recorded over three days, 30 April-2 May 1991, and released early the following year. Producers Allen Reynolds and Richard Bennett, and the engineers who worked on the project, deserve special credit for making the final result a seamless whole which sounds like an authentic representation of the experience of seeing Emmylou in concert with her new band.

The material is, once more, all covers of songs she had not previously recorded, mixing up country classics, bluegrass, folk and rock, given an acoustic makeover by Emmylou’s new lineup, the Nash Ramblers. The group, easily as talented as the Hot Band at their hottest and without the assistance of electricity, comprised progressive bluegrass virtuoso Sam Bush on mandolin and fiddle; Roy Huskey Jr on upright bass; West Coast veteran Al Perkins on dobro and banjo, Canadian Larry Atamaniuk on drums and percussion, and a talented young Texan named Jon Randall Stewart on acoustic guitar, mandolin and taking the high tenor harmony, although all four contribute vocals where necessary. Their playing and singing are impeccable throughout. The audience seems to enjoy the occasion rather politely.

For my money. the concert seems to take a while to get going, opening with an enjoyable but fairly sedate version of Steve Earle’s ‘Guitar Town’, followed by a plaintive ‘Half As Much’. ‘Cattle Call’ is prettily and tastefully performed, with delicate yodeling. The chugging ‘Guess Things Happen That Way’ (a Cowboy Jack Clement song made famous by Johnny Cash) is enjoyable, but sounds a little too cheery for the resigned stoicism of the lyric.

It really picks up with a subtly impassioned ‘Hard Times’, dating from the 1850s, which Emmylou opens with a crystalline accapella phrase, and which is one of my favourite tracks. There is more contemporary folk music on a socio-political theme with Nanci Griffith’s idealistic but frankly depressing ‘It’s A Hard Life Wherever You Go’, battling racism and sectarian hatred, segueing into the low key Civil Rights theme of ‘Abraham, Martin and John’, a 60s tribute to Messrs Lincoln, King and Kennedy, all of course victims of assassination. Emmylou also covers rock star Bruce Springsteen’s downbeat and down-tempo memories of a working class child remembering the ‘Mansion On The Hill’ overlooking the town and factories. I must admit would have rather have heard the Hank Williams gospel song of the title, as this is beautifully done, but feels a little lifeless. Southern rock gets a nod with an enjoyable take on Creedence Clearwater Revival’s ‘Lodi’, although perhaps it feels a little too good humored for the stagnated frustration expressed in the lyrics.

The bluegrass songs have a lot more life, with lovely, sparkling playing as Bill Monroe’s suitably Celtic sounding instrumental ‘Scotland’ allows the band to stretch out while Emmylou buck-danced with the Father of Bluegrass himself (this is where the video version, which I haven’t seen, would come in handy). The mood carries over into the charming western themed ‘Montana Cowgirl’. There is more Monroe with the driving ‘Walls Of Time’ which he wrote with onetime Bluegrass Boy Peter Rowan, which is okay. Better is a committed performance of ‘Get Up John’, with lyrics written by Marty Stuart and Jerry Sullivan for a Bill Monroe tune, with the Nash Ramblers singing call and response vocals.

Emmylou recalls her 70s peak with a really beautiful version of the wistful ‘Like Strangers’ (one of many Boudleaux Bryant songs made into classic Everly Brothers records, and my favorite track on the album). The spiritual ‘Calling My Children Home’ (co-written by another great bluegrass musician Doyle Lawson) is sung exquisitely acappella with the band members on harmony. I also love Emmylou’s version of the O’Kanes’ ‘If I Could Be There’, with Jon Randall Stewart’s ethereal high harmony; it sounds gentler and more wistful than the original (also great).

There is a nice finish with ‘Smoke Along The Track’ with effective train sounds and appropriate lyrics about moving on.

Sales of this fine record and the accompanying video were disappointing and airplay nonexistent, but the album won Emmylou a Grammy. It also helped to inspire interest in the neglected historic Ryman Auditorium itself, which was restored and reopened as a concert venue in 1994.The CD is easy to find inexpensively. The video was never released on DVD but unused copies of the VHS tape seem to be around.

Grade: B+

Classic Rewind: Lee Ann Womack – ‘Get Up In Jesus’ Name’

Week ending 4/23/11: #1 singles this week in country music history

1951: The Rhumba Boogie — Hank Snow (RCA)

1961: Don’t Worry — Marty Robbins (Columbia)

1971: Empty Arms — Sonny James (Capitol)

1981: Old Flame — Alabama (RCA)

1991: Down Home – Alabama (RCA)

2001: Who I Am — Jessica Andrews (DreamWorks Nashville)

2011: Colder Weather — Zac Brown Band (Atlantic/Southern Ground)

Week ending 4/23/11: #1 albums this week in country music history

1966: Eddy Arnold – I Want To Go With You (RCA)

1971: Lynn Anderson – Rose Garden (Columbia)

1976: Wille Nelson – The Sound In Your Mind (Columbia)

1981: Dolly Parton – 9 to 5 And Odd Jobs (RCA Victor)

1986: John Schneider – A Memory Like You (MCA)

1991: Garth Brooks – No Fences (Capitol)

1996: Shania Twain – The Woman In Me (Mercury)

2001: Various Artists – O Brother Where Art Thou (Soundtrack) (Lost Highway)

2006: Rascal Flatts – Me and My Gang (Lyric Street)

2011: Jason Aldean – My Kinda Party (Broken Bow)

Classic Rewind: Emmylou Harris – ‘I’m Moving On’

Classic Rewind: Alan Jackson – ‘The Old Rugged Cross’

For Good Friday:

Album Review: Emmylou Harris – ‘Cowgirl’s Prayer’

Often a new record deal presents the opportunity for an artist to go off in a different direction and explore new territory, but 1993′s Cowgirl’s Prayer is more of a transitional album in Emmylou Harris’ career. Her first release for Elektra/Asylum was once again produced by Allen Reynolds and Richard Bennett, and follows the same basic template of 1990′s Brand New Dance, using mostly stripped down arrangements and understated performances. As she had done in the past, Emmylou had members of her band and some marquis name guest stars perform on the record. Nash Ramblers members Sam Bush, Al Perkins, Jon Randall Stewart and Roy Husky, Jr., all made appearances, while Alison Krauss, Suzanne Cox, and Trisha Yearwood all contributed harmony vocals and Kieran Kane lent his guitar-playing skills.

Never one to blindly follow trends, Emmylou resisted the then-current fashion of releasing beat-driven, slickly produced and often too-loud music meant to appeal to those on club line-dancing floors. Cowgirl’s Prayer is largely a quiet affair, which, along with Emmylou’s advancing age (by Nashville standards) at a time when country music had begun to become youth-obsessed made the album’s chances for success an uphill climb. It was largely met with indifference by radio, which is a shame because it contains some of the best performances of Emmylou’s career.

The rocker “High Powered Love”, which is not one of my favorites in the collection, was the first to be sent to radio. It stalled at #63. “Thanks To You” , written by Jesse Winchester fared slightly worse, peaking at #65. In between these two singles, a cover of Lucinda Williams’ “Crescent City” was released, and it failed to chart at all.

I like the album cuts in this collection much better than the radio singles. Particularly good are a tastefully produced and beautifully performed version of the old Eddy Arnold and Cindy Walker Classic “You Don’t Know Me”, and “Lovin’ You Again”, in which Emmylou portrays the long-suffering lover whose partner is gone for long stretches of time but always turns up when he has nowhere else to go. The best track on the album is “Prayer in Open D”, which Emmylou wrote herself. It begins as an expression of sorrow and despair:

There’s a valley of sorrow in my soul
Where every night I hear the thunder roll,
Like the sound of a distant gun
Over all the damage I have done.
And the shadows filling up this land
Are the ones I built with my own hand
There is no comfort from the cold
Of this valley of sorrow in my soul.

But by the end of the song, the bleakness gives way to hope:

There’s a highway risin’ from my dreams,
Deep in the heart I know it gleams
For I have seen it stretching wide,
Clear across to the other side
Beyond the river and the flood,
And the valley where for so long I have stood.
With the rock of ages in my bones
Someday I know it will lead me home.

The track is mostly acoustic-guitar led, along with a tasteful string section arranged by former Hot Band Member Emory Gordy, Jr..

There is a spiritual theme throughout the album, from the title and “Prayer in Open D”, to “The Light” and “I Hear A Call” to the Southern-spiritual flavored “Thanks To You”, on which Trisha Yearwood sings harmony, to “Jerusalem Tomorrow”, which is the most unusual track in the collection. It tells the story of a faith healer in Biblical times, who is essentially put of out business by, and eventually becomes a follower of, Jesus Christ. It’s an interesting tale, but I’m not a big fan of songs that are spoken rather than sung, so this is the one track I tend to skip over.

Cowgirl’s Prayer charted higher on the albums chart than Brand New Dance (#34 for Cowgirl’s Prayer vs #45 for Brand New Dance), but it was largely regarded as a commercial disaster. It is primarily remembered as the catalyst that caused Emmylou to make an unfortunate, in my view, change in musical direction; her next release was 1995′s controversial and more rock-oriented Wrecking Ball, which began a 13-year era in which Emmylou’s music drifted further away from the traditional country for which she had become famous. Although 2008′s All I Intended To Be, was in some ways a return to form, Cowgirl’s Prayer remains the last of the old-style Emmylou Harris albums. It’s still easy to find at Amazon and iTunes and well worth purchasing if you missed it the first time around.

Grade: A -

Classic Rewind: Emmylou Harris ft Barry Tashian – ‘If I Needed You’

Album Review: Craig Campbell – ‘Craig Campbell’

Craig Campbell is a relatively new artist on the successful independent label Bigger Picture, helmed by famed producer Keith Stegall. He has a single rising up the country charts, but had managed to fly under my radar until a week or so ago, when C M Wilcox pointed out Craig’s song ‘You Probably Ain’t in a recent edition of Quotable Country over at Country California, his witty weekly take on the more notable or bizarre comments made relating to country music. That song appears on Craig’s self-titled debut album, which has just been released.

A lot of country fans seem to be getting tired of the seemingly unending assembly line of songs telling us how very country the singer is, often set to a notably un-country melody or production. Country radio, however, A lot of country fans seem to be getting tired of the seemingly unending assembly line of songs telling us how very country the singer is, often set to a notably un-country melody or production. Country radio is as keen on such fare as ever, but it looks as if Craig Campbell, Keith Stegall, and Michael White. writers of this song, share our frustration:

You can talk to me about tractors
Cowboy boots and pickup trucks
Old canepoles and dirt roads
And spit and skoal and a dixie cup
You can tell me (all a)bout your grandpa
And how he turned you on to Hank
If you gotta tell me how country you are
You probably ain’t

But if this initially seems to be a well-deserved sharp and well deserved little jab at the popular “I’m country” songs, in some ways, it is what it appears to disparage, when the old man in the bar who has voiced the comment adds:

He said, country is a way of life that’s almost gone
It’s about being honest and working hard
Looking someone in the eye and
Being who you say you are

I’m afraid I’m not convinced that everyone in rural areas is (or used to be) honest and hardworking, so although I still like the complete song, and love the chorus, it doesn’t really hold up lyrically for me as a whole. On the positive side, Craig has a fine voice, and at least this is a well written and genuinely country song.

And if Craig is critical of those posturing about country lifestyles, he does not eschew the subject himself. The likeable ‘Chillaxin’’ is not very ambitious, but has an attractive tune, and a lovely and appropriately relaxed feel, which could make it a summer hit. The next single, however, is reportedly, the rather dull ‘Fish’, which is rather like one of Brad Paisley’s lesser songs, trying to be amusing but falling short, and not even successful at the double entendre it tries for. Carson Chamberlain and Tim Nichols helped Craig write ‘That’s Music To Me’, with nods to Keith Whitley and Merle Haggard as well as the usual litany of high school football, family life, church on Sunday mornings and the Georgia scenery. It’s quite a good example of its kind, with another pleasing melody, and Craig sells the genuineness of the emotion underlying it, but it’s hardly groundbreaking lyrically:

Soaked in the whiskey and washed in the blood
That’s who I am and what I love
A hoe down fiddle, a little off key
An old hound dog howling
That’s music to me

The very perky ‘Makes You Wanna Sing’ (written by Craig with Rob Hatch and Lance Miller) glorifies the simple pleasures in life (and yes, rural ones), and the humming on the chorus gets irritating with repeat listens.

Others will have been introduced to Craig by way of his charming current single ‘Family Man’. This paints a realistic picture of a hard-pressed married man desperate to keep his temporary factory job to support his wife and kids, and is filled with genuine warmth and sincerity as he relates the various responsibilities of a father and shows how important his kids are to him. ‘My Little Cowboy’ (about striving to live up to his father’s belief in him, first as a child and then as struggling musician trying to support a wife and child of his own) is a little more heavy handed lyrically and offers a heavier vibe musically, which is less suited to Craig’s voice.

Trying to make ends meet in hard times also inspires the cheerful and very catchy mid-tempo response to a debt collector, ‘When I Get It’, which he wrote with Jason Matthews and Jim McCormick, although I found the na-na-nas in the chorus annoying.

One of the highlights is the interesting and nicely paced ‘I Bought It’, written by Craig with Philip Douglas and Dan Murphy. It starts out sweetly with a young couple just starting out in life together, with him buying a ring, the the mood sours with her infidelity and lies (which he also buys), and finally there is a little twist in the tale when he lies to her that he is willing to take her back.

Craig and/or his writing partners have a good ear for melody which is more consistent that their lyric writing, which is occasionally a little cliche’d. He co-wrote most of the songs, with only a couple from outside writers, one of which is provided by his producer. Keith Stegall wrote the seductive fiddle-led ‘All Night To Get There’ with Craig’s friend Lee Brice and Vicky McGehee. The only completely outside song is ‘That Going Away Look (About Her)’, written by Carson Chamberlain, Wade Kirby and Michael White, a well-written third-person account of a couple on the brink of separation, with a lovely mellow sound, which sounds like an outtake from Chamberlain’s protégé Easton Corbin.

Keith Stegall produces with his usual reliable light touch, offering sympathetic support for the young Georgia-born singer, whose voice is the real star here. His warm vocals with a lovely smooth tone are a delight to listen to, even on the less stellar material – rather like the aforementioned Corbin. Overall it’s a very likeable project and one showing great promise for the future. I certainly hope his career goes well and we hear more from him.

I am, incidentally, less than impressed by the packaging of the physical product. The CD liner notes are unfortunately almost entirely illegible thanks to being squeezed into a minuscule space to make room for a lot of pictures.

Grade: B+

Classic Rewind: Emmylou Harris with Mary Black – ‘Green Rolling Hills’

Classic Rewind: Emmylou Harris and Linda Ronstadt – ‘Gold Watch And Chain’