Customer Reviews

Stumble Into Grace

5 star:		(45)
4 star:		(10)
3 star:		(12)
2 star:		(4)
1 star:		(5)

 

 

The fascinating thing about the recent spate of Emmylou Harris recordings is the way in which she pushes at the boundaries of traditional music while still staying true to it's emotional core. For all it's subtle world-music touches, the music on this albums remains as raw-boned and rural as a smoked Virginia ham. Each of Emmylou's recent albums has explored different facets of the Folk music Canon, and to my ears, this is her Spirituals album. Rather than simply regurgitating a bunch of hoary old mountain hymns, she has blessed us with a clutch of original songs, meditations on love and loss and letting go.

If you live any kind of examined life, there comes a point where you do seek a certain grace in going forward, especially as you grow older and realise there is suddenly less time than there is more. There is nothing depressing about this. It's just part of living, and this album captures the emotional core of these feelings perfectly. Bottom line, this is a tremendous album by an artist at the top of her game and is more than worthy of your attention.

Whatever one may think of her recent work, Emmylou Harris has always been true to her artistic self. When mainstream country turned away from her (much to country's loss, in my opinion), she gracefully let it go in favor of making her own unique kind of music.

It can't be said that Harris has gotten stuck in a rut, either. This latest album is different in sound from her last, "Red Dirt Girl," and in some ways more appealing. There is more variety to the productions of the songs (most authored or co-authored by Harris), with an effort to include a greater range of sounds and timbres in the instrumental backgrounds. Not surprisingly, some of the most appealing tracks are those where this variety comes to the fore, such as the somewhat Celtic sounds of "Little Bird" or the accordion/fiddle combination that lends an agreeably Cajun cast to her rendition of the traditional "Plaisir d'amour," throwing unexpected light on the French words.

The core of Harris' voice has darkened in timbre and shortened in range over the years, and one or two of the songs display a tendency to hang out in the lowest octave, muttering gloomy thoughts, that made "Red Dirt Girl" a somewhat depressing listening experience overall. Happily, the artist seems determined not to let the same pall fall over this outing, though there is now a noticeable break between her low and high registers. She turns even this to her advantage, though, in passages of ethereally lovely harmonizations with her sympathetic assisting artists.

On the evidence of this CD, music fans should stick with Emmylou Harris for the duration. There's a lot of good music in her yet.

My guess is that if you are reading this review, you are already a fan. You already know that Emmylou is in a class by herself and is impossible to classify. Labels like country, rock, bluegrass or folk simply don't apply. Her music is all of that but also goes way beyond any of those definitions. This new CD is exquisitely beautiful and a must buy. These songs are almost like prayers. They are filled with grace, love and passion. They bring tears to your eyes and put a smile in your heart.

This is the 4th Emmylou CD since she broke all conventions and found her own voice. What started with Wrecking Ball, Spyboy and Red Dirt Girl is now fully realized. If you loved her because of her links to Gram Parsons, you will love her even more now that she has emerged from his shadow. This is the music she was destined to make and somewhere in heaven Gram Parsons is smiling.

I was looking forward to this collection, read some great reviews and after repeated listens its such a perfect way to
start my day, or end it for that matter. No one has the quality
and aching vocals that Emmylou Harris puts across and with this
superlative collection of laments concerning life and its trials & sorrows. Nice little musical touches throughout make
these songs stronger. Hard to classify by todays standards(Its not a country cd, its not pop/rock but a hybrid Emmy has been

working with and refining over the years, a third in a series
of similar feel helped along with the talents of Malcom Burns, and Daniel Lanois as well as beautiful background singing from Linda Ronstadt, Janie Siberry, the McGarrigle sisters. I could envision listening to this years and years from now.
Timeless with delicate, beautifully written songs. I would go so far to call this classic, one of
my favorites from Emmylou because of its flow from beginning to end,
pure etheral, harmonious dedication to a quality and standard
that puts this talented angelic singer in a class all to herself. It grows on you with each listen and at this time of
year with harvesting/holidays, family get togethers & waning of the days in full swing, we can reflect on life and all that we have in this country and enjoy this classy gem.

A lot of fuss has been made over the fact that Emmylou Harris is in her late 50's and creating some of the best music of her career. One periodical mentioned her age no less than five times in a single article before finally apologizing for "harping on it". People seem amazed at the idea that "old people can make music" or "be creative". There is probably no better time in life to be creative than late in life, and Emmylou Harris is a shining example of this. She seems to be finding her own voice late in life, which is a nice gift for anybody.

Harris' catalog consists mostly of brilliant country/bluegrass albums filled with songs written by other people. Her last two albums have been comprised of songs written mosty by herself and are by no stretch of the imagination country albums. There's probably an interesting story behind why her own compositions mostly move away from country and into more of the rock/pop/alternative genre. Seeing that she had been recording mostly country music since the early-mid 1970s this is even more astonishing, but the change was probably also necessary to move forward and find a voice for her own songs. Change can be good, but some of her diehard country fans probably felt alienated.

Harris' past two albums (this one and "Red Dirt Girl") have similar moods and explore some similar themes. "Stumble Into Grace" deals with a philosophical cornucopia of themes: aging and death ("Can You Hear Me Now" and "Lost Unto This World"), hopelessly lost love ("Here I Am" and "I Will Dream"), frustration at unrequited love that's right in front of you ("Jupiter's Rising" and "Little Bird"), and questions surrounding the "meaning of it all" permeate the album. It's overall a beautiful and heartbreaking album, not for those who scream at the thought of nothingness and the "cold, indifferent universe". This album is more wisdom than "cool" (unless you find wisdom "cool" like I do). It's introspective and thoughful, a rarity in today's corporate music culture.

Life does not end with gray hair and wrinkles. Creativity is a life-long process. Emmylou Harris is an inspiration for us all to keep going even though we think we're "too old". I hope she makes albums well into her old age (she's not there yet!), especially if they're all as good as this one.

I am not a music critic. I listen to what speaks honestly about values and experiences in my own life. I liked Emmy Lou a lot in the beginning, lost interest, then came back to her in this album. I am glad I did, and I am glad this album was created.

I do not consider the lyrics depressing. They touch the wellsprings of love, loss, and understanding of the mysterious ways we connect. There is gentle soul here. There is depth. There is a light above the stories that illuminates the nuances of some of our most painful experiences in life.

"Can you hear me now" was my first favorite. In the beginning stanzas, it sounds like it will be another "lost love, you'll never find another like me song". But then it turns on a line, a "star," and we realize the singer is expressing what we might think of as soul love.

Emmy Lou's sweetness is perfect in this softer blend of music and insight. It gives me shivers. It gives me hope I will hear more songs like these. Don't stop writing Emmy Lou! Oh, how much we need your understanding that life truly is a stumbling, but we can transform that stumbling into Grace.

Emmylou Harris has always been pretty incredible. Constantly changing, but never too much. She has a voice unlike any other artist I have ever heard. I enjoy Harris' own compositions (which these are), but I do miss how she interprets other artist's material. - making them completely her own.

She has stayed a very similar course since 1995's 'Wrecking Ball'. Working with either Daniel Lanois ('Wrecking Ball') or Malcolm Burn ('Red Dirt Girl'), her work has been extremely good and consistent. With those two disks and this new one - they transcend one musical genre. It's not country, but what else does it all under? Americana?

'Stumble Into Grace' rests somewhere between 'Wrecking Ball' and 'Red Dirt Girl' ("Time in Babylon" and "Here I Am") - as both Lanois and Burn handle production chores. There is even with a little 'Cowgirl's Prayer' ("Jupiter Rising") thrown in.

She collaborates with many familiar artists (Buddy Miller - from her 'Spyboy' days and his wife), Linda Ronstadt ('Trio I & II' and 'Western Wall'), the McGarrigle sisters and Jill Cuniff (whom Harris worked on Cuniff's Dusty Trails excellent side project).

My one beef - if I can even call it that - is that it might be too much like 'Wrecking Ball' and 'Red Dirt Girl'. Most artists would kill to have something even remotely as good as those disks - or Harris' new one. It ranks as one of the best disks of 2003.

Forget the nay-sayers. To say this gem is a masterpiece is a huge understatement. I have been a fan of Ms Harris since "Cowgirl's Prayer" and have bought every album she has dished out since. After "Wrecking Ball", I thought Emmylou had reached perfection, but alas, the follow up to "Red Dirt Girl", "Stumble unto Grace" reaches even higher heights and continues to amaze me to this day. I have played it every day since buying it and every day is a new discovery. Don't look for "hits" on this album. The critics say this album lacks hits-and you know what, this album is too complex, too deep, and just too genius to have mere "hits". Remember, songs like "The Macarena" and "She Bangs" were hits. This album won't be fully appreciated or understood the first few times you play it. The first time I played it, I was quite disappointed-I thought the songs had no melody and sounded all the same and I had a hard time listening to it in full the first time at all. However, like all masterpieces, the more you listen it, the more the melodies come alive and the more the songwriting reaches you deep in your heart. I am to the point to say this could easily be the best album in the past decade. "Here I Am" is so powerful and moving it's almost like having a conversation with God. "I Will Dream" is a haunting love song which will stick in your head indefinitely. "Little Bird" is a cute little surprise with its cheery Celtic-inspired rythm-the most powerful moment of the album is the instrumentation at the end of this song which increases in intensity and takes your soul for a ride. "Time in Babylon" is a song you must listen to quite a few times before appreciating, but once you're there, the song is brilliant and again the instrumentation and the vocals are beyond reproach. "Can you hear me now" is quite competent,"Strong Hand" is ripe full of imagery and is somewhat of an anthem for love and spirituality. "Jupiter Rising" is another pleasant uptempo song in inimitable Emmylou style-you won't find songs like this anywhere else. Being an Acadian, and knowing Evangeline as the heroine of the French Canadians being deported by the British in 1755, the song "Evangeline" is particularly bittersweet and touching for me-Emmylou writes "in your tongue there is no word for home"-a fact I didn't realize before listening to this great anthem of survival over adversity. "Plaisir D'Amour" is another gem for an Acadian such as myself-understated but perfect and very "artsy". "Lost Unto this World" haunts me everytime I hear it-beautiful melody and great vocals, along with a powerful message without ever being patronizing or pretentious. Finally, "Cup of Kindness" is a spiritual quest and a great personal lesson. Artists in their 'autumn years" of their careers such as Emmylou should not be dismissed -case in point (American IV-The Man Comes Around) from Johnny Cash, "Wildest Dreams" from Tina Turner, and "What a Wonderful World" by Anne Murray are all brilliant works of art from artists who some thought their time had passed-think again ! Emmylou and others will keep amazing us with their brilliance.

Emmylou Harris returns after 3 long years between albums, with an exceptional album. Harris has always put out quality albums, but she truly hit her stride in 1995 with the release of WRECKING BALL, which was a landmark album and rejuvinated her career in many ways. Then in 2000 came RED DIRT GIRL which was obscure and moving. She continues the trend starting with WRECKING BALL on her newest album, STUMBLE INTO GRACE.

The album moves like a quiet storm, taking pieces from RED DIRT GIRL and WRECKING BALL to create an interesting hybrid of sound. There is so much to say about the album, but really it's all great. You just can't put her into a category anymore, because this is not country, it transcends so many genres in just 11 songs.

The album opens with the whistful "Here I Am", which flows into the 'dreamy' "I Will Dream". "Little Bird" has a catchy melody which will stay in your head and have you whistling or singing along, with its celtic influences. "Time In Babylon" serves as one of the more obscure tracks, but the lyrics are in good form and quite meaningful. Harris wrote many of these tracks, and cowrote a few of them too. In the liner notes she expains that songwriting is not something that comes easy for her, but her style is very mature and is full of meaning and passion.

"Can You Hear Me Now" is my favorite track on the album, just a beautiful, simple ballad with great lyrics. "Strong Hand" is a beautiful ballad about love and devotion. "Jupiter Rising" is a little obscure but quite a gem in this crown, with a nice beat, and some great vocals. "O Evangeline" is a beautiful, beautiful song. Her cover of "Plasir d'Amour" is inspired and fits right in. "Lost Unto This World" has a chant quality to it, the lyrics are very personal and endearing. The album closes with "Cup of Kindness", a nice note to end the album with.

With this album, Harris continues to evolve and change as an artist, without losing her appeal. Stumble into grace? Have you heard this voice? That is grace folks. There is nothing more graceful you'll ever hear.

Where now is the cowgirl princess,
Where the crystal soprano?

The first time when I listened to this album, I heard noise, I decried the loss of the crystal soprano. The second time, when I felt this album, I too stumbled into grace.

Now I have a problem. I am stuck on Track 2, and can rarely move beyond. When was the last time that you got up at 5:15 A.M., just so you could experience an album a couple more times before you had to go to work?

One doesn't listen to "Stumble Into Grace", one experiences it. The voice is warm flowing seductive. It envelops you in deep places, the darkness of neverending sadness, and lifts you back unto the light. It is a staggering accomplishment, sumptuous, rich, vibrant, loud, dark, moody. To feel this music is to feast deeply, to be honoured by the flame which is her presence. Here is the richness of hot burning velvet cream stirred directly into your soul. Here is love, heartbreak, death, depression, and an over-abiding faith, the darkness of neverending sadness and the undying love which endures beyond. Here is "O Evangeline", Mimi Baez Farina, a widow at 21, who stumbled into grace by a lifetime dedicated to the homeless, to Bread and Roses, to feeding the body and the soul. Here too is "Strong Hand", honouring June Carter Cash, all the more poignant now that John too is gone.

One reading is simply not enough. Like moths we are drawn irrevocably to the flame. We must experience this music again and again until consumed, lost unto this world.

Many years ago the crystal soprano captured my heart with "Boulder to Birmingham", her tribute to Gram Parsons. Now she has taken my soul. Thank-you for a lifetime of grace Ms. Harris.

I Will Dream