Customer Reviews

Spyboy: Live

5 star:		(27)
4 star:		(5)
3 star:		(1)
2 star:		(3)
1 star:		(1)

 

 

This is an astonishing album -- not only does it capture the essence of who Emmylou Harris is (as a singer and songwriter), but it showcases her wonderfully as a live performer. Spyboy is a brilliant title for this live CD. The spyboy is the young lad who leads off the Mardis Gras parade, which is a great metaphor for Harris' career. She has always been at the forefront of defining and redefining the confluence of country, rock, and folk music.

Here, she and her band beautifully reinterpret songs that she has made into classics. My Songbird, a Jesse Winchester gem, is delivered in classic Harris style -- aching, plaintive, and with an air of resignation. It doesn't matter that the song is written in the first person and spoken by a man. This is a haunting and painful song about separation that only Harris could deliver so sweetly.

This theme of pain, separation, and moving on permeates this recording, and is exemplified by such songs as Daniel Lanois' Where Will I Be, the traditional Green Pastures, and her own composition about Gram Parsons, Boulder to Birmingham. But this is not sappy sentimental country-folk-rock. Instead, it is intelligent music making in the same way that is true of other performers such as Richard and Linda Thompson, Mary Black, or Mary Chapin Carpenter.

The aura cast by the musicians is somewhat ethereal, being clearly influenced by Daniel Lanois, long-time producer of U2's recordings, and of Bob Dylan's Oh Mercy. Lanois' influence on Harris is most pronounced in her Wrecking Ball recording, a style that overflows into this live concert. In fact, Harris sings two Lanois compositions, in addition to Deeper Well (a song I have yet to appreciate), which they co-wrote. I have to admit that I'm getting a little tired of the Lanois style (he's also produced a recent Willie Nelson recording), however, there's no denying his success. My other pet peave is that any recording that Lanois produces includes one or two of his songs. He seems great at marketing himself and his production style. Mercifully, a performer like Harris is so transcendental that one doesn't notice such seeming trivialities. Rather, this (or any other Harris recording) is an experience not to be missed.

From the heart-wrending beauty of the opening "My Songbird" to the brave jazz-like spiritual explorations of "The Maker," Spyboy stands as a masterpiece album, a fitting companion to and, indeed, an amplification of "Wrecking Ball." This is amazing music, and I, who have owned (and loved) almost everything Neil Young, Bob Dylan, The Beatles, The Rolling Stones, Joni Mitchell, Van Morrison, The Band, Bruce Springsteen and Tom Petty have recorded, would rank it among the many masterpieces of this group of artists. Sublime music can be found here, from beautiful born-again gospel to pure country to country-rock to out-and-out rock to rock-jazz fusion, all superbly played by the virtuoso band Spyboy, and all graced by Emmylou's heart-breakingly jagged soprano. Emmy can't reach all the high notes now, but the notes she can reach reverberate with a beauty almost beyond our world, and her striving after those now-unreachable highs is its own poignant comment on the aging process and the counteracting wisdom gained thereby. I love Emmylou and her music, and now I have gained a profound respect for the musical abilities of Spyboy: Buddy Miller, Brady Blade and Daryl Johnson.

SPYBOY is a tremendous document of Emmylou Harris's musical journey with Buddy Miller, Daryl Johnson, and Brady Blade in the past two years on the momentum of her beautifully realized WRECKING BALL. She performs songs from throughout her career, the aching "Love Hurts" (a poignant duet with Miller) to the mad reverie of "Deeper Well." Of special note is Julie Miler's appearance on her own "All My Tears," a powerful gospel song with a drum beat that echoes the Cherokee tradition. Emmylou sounds wonderful, singing in her distinctive voice the pangs and joys of life. Buddy Miller, who produced this album and is a tremendous solo artist in his own right plays simply magificent guitar (I think only Richard Thompson would be able to show such range) and provides great harmonies to each song. And the rhythm section of Johnson and Blade is dynamic in the true sense of the word, bringing imagination and energy to each song-- Daniel Lanois' "The Maker" is a great example of their genius. In short, this is Emmylou at the heght of her powers, with a telepathic and exciting band playing memorable songs and having fun. For new fans and die-hard fans of this classy woman and her maverick sensibilities, this album is a must.

"Spyboy" is the name of the funky coutry-rock band that backs Emmylou Harris on this fine live album. The sound has much more in common with her recent Daniel Lanois collaboration "Wrecking Ball" than it does with her country roots. The musicians on the album are very good (especially crack guitarist Buddy Miller) and the surprise is that she allows them some solos and some instrumental jams. In between those tidbits, her voice is as strong as ever. Twenty-five years ago, this album probably would have found airplay on a mainstream rock radio stations next to songs by Jackson Browne and The Eagles. Fortunately, Emmylou is one artist who continues to insist upon challenging her audience.

Emmylou Harris released SPYBOY, a live album, in the summer of 1998. It was songs that comprised her WRECKING BALL tour. There's a lot of variety here, from the songs from her 1995 WRECKING BALL album, to old favorites. Spyboy is the name of her band. The name is a Mardi Gras term for th person who goes ahead of the parade; a street entertainer, jester, troublemaker, scout. The band is made up of Brady Black, who contributes vocals, drums and percussion; Buddy Miller, who gives his vocals, lead electric, 12-string and mado guitar; Daryl Johnson, vocals, bass, guitar, percussion and djembe. And then of course Emmylou's warm, unique vocals.

Some old favorites she sings here include "My Songbird", "Born To Run", "Boulder To Birmingham", "Tulsa Queen" (my personal favorite), "Love Hurts", "I Ain't Living Long Like This", "Calling My Children Home", and more. Some newer cuts from the WRECKING BALL sessions include "Deeper Well", "Where Will I Be", "All My Tears". The album closes with a stunning cover of Daniel Lanois' "The Maker".

You won't be disapointed with this live recording!

The mark of a true legend is the refusal to accept the status quo. From Willie Nelson to Paul Simon to Tom Waits, truly brilliant artists keep on evolving and progressing throughout their career. Emmylou Harris undoubtedly falls into this camp. Through the decades, she's consistently challenged herself, both in terms of material and production, never playing it safe. Nothing exemplifies this more than WRECKING BALL her genre-defying collaboration with producer Daniel Lanois. Focusing on the progressive approach of that album, SPYBOY (also the name of Harris' touring band) presents the singer in a live situation, where her vocal gifts really shine.

Her small-but-powerful band is made up of some killer musicians. Guitarist Buddy Miller is a fine country singer-songwriter in his own right, with some great solo albums to his credit. His atmospheric, reverb-heavy guitar sound helps to define SPYBOY. The propulsive drumming of Brady Blade (brother of jazz drumming legend Brian Blade) is also key to the proceedings. What comes through most, naturally, is Harris' commitment to the material, and the enormous spiritual well upon which she draws to put her message across.

Emmylou Harris' new album entitled Spyboy is a wonderful live album that gives us every indication that Emmylou is still growing and moving on to new heights. While the album is mostly old songs done live, it is refreshing to hear "I Ain't Living Long Like This" and "Deeper Well" played by Buddy Miller, Daryl Johnson and Brady Blade. This band really compliments the singer. "Wrecking Ball" was a big step for Emmylou and I, for one, thought it was a wonderful new direction. This album shows that a live album can make the listener wish he or she was there and indeed is there. If this is any indication of Emmylou's continued "new direction" I will be here to applaud her all the way. All of the alternative and progressive stations should be playing this album on a regular basis.

An absolutely masterful CD. Buddy Miller, Brady Blade and Daryl Johnson incinerate, and Emmy, well, she radiates. Brilliant singing and playing. I get goosebumps hearing this recording - "Where Will I Be", "Green Patures", heck, man, EVERY song. Buy the CD and turn it up.

From the tremulous opening notes of the first track, Songbird, I knew this was going to be another Emmylou classic. Spyboy definitely is that but also much more. Every single song on this magnificent album is a treasure, from Songbird to The Maker. The band is perfectly in synch with Harris' voice, and so is the audience. All together these elements create a magical ambience that sticks in the mind.

My favorites on this breathtaking work includes her compelling live version of Green Pastures (with lovely male backing vocal), the most moving Calling My Children Home, done a capella with just male backing vocal (a devotional song of great power), the achingly beautiful Prayer in Open D where she sings solo, Boulder To Birmingham and her almost jazzy version of Daniel Lanois' The Maker with its complex arrangement.

As someone who as a rule do not like live albums, I can assure the prospective listener that Spyboy is a heavenly blend of beautiful songs and atmospherics to which the audience definitely contributes. The applause adds to the mood while her short introductions are just right. This is the closest I'll come to seeing her in concert, and it is a proper consolation. The CD quality and sound clarity are faultless.

I rate this album right up there with Emmylou's very best like Wrecking Ball, Red Dirt Girl, Roses In The Snow and A Cowgirl's Prayer. There is plenty of variety, from bluegrass gospel to the awesome droning rock guitars of Deeper Well and the straight country Tulsa Queen to the jazzy excursion on the Lanois song. I cannot recommend this album highly enough; it has given me hours of listening pleasure and has an uplifting effect on the spirit.

It's been nearly four long years since Emmylou Harris released a CD -- by far, the longest gap in her recording career. (Less than two years went by between the death of Gram Parsons and "Pieces of the Sky.") So, on the one hand, it's easy to cheer the release of Spyboy, her debut CD on an indie label.

Still, it's disappointing that this long-awaited recording includes but one song that's new to the Emmylou repertoire. On previous live shots ("Last Date," "At the Ryman"), Emmylou focused on songs she had not previously committed to record. Not only does Spyboy cover old ground, three of the songs ("Deeper Well," "Where Will I Be," and "All My Tears") appeared on her most recent release. Another -- the a capella "Calling My Children Home" -- appeared on her last live record, and sounds virtually the same here.

That gripe notwithstanding, the material here is top-notch, and the band -- particularly the percussive groove laid down by Brady Blades -- is entertaining. She's been singing many of the songs here for nearly two decades. Still, it is good to hear "Wheels," "Tulsa Queen" and "My Songbird" with new life breathed into them.

For those of us who have spent much of the Internet age craving new Emmylou, this will have to suffice. Here's hoping her next projects -- rumored to include a CD of self-penned songs and a follow-up to Trio -- are not long in coming.......