Various Artists – Divas (2001)

FrontCover1Diva is the Latin word for a goddess. It has often been used to refer to a celebrated woman of outstanding talent in the world of opera, theatre, cinema, fashion and popular music. If referring to an actress, the meaning of diva is closely related to that of prima donna. Diva can also refer to a woman, especially one in show business, with a reputation for being temperamental or demanding.

The word entered the English language in the late 19th century. It is derived from the Italian noun diva, a female deity. The plural of the word in English is “divas”; in Italian, dive [ˈdiːve]. The basic sense of the term is goddess, the feminine of the Latin word divus (Italian divo), someone deified after death, or Latin deus, a god.

The male form divo exists in Italian and is usually reserved for the most prominent leading tenors, like Enrico Caruso and Beniamino Gigli. The Italian term divismo describes the star-making system in the film industry. In contemporary Italian, diva and divo simply denote much-admired celebrities, especially film actresses and actors, and can be translated as “(film) star”. The Italian actress Lyda Borelli is considered the first cinematic diva, following her breakthrough role in Love Everlasting (1913).

Woman are often referred to as a “diva” if they are “difficult, temperamental and demanding”. Welsh National Opera note that the title emerged in the early 19th century after an increase of female leading sopranos who became “almost became goddess-like in the eyes of their adoring public”. They also note that the word has been used by the media to name many female politicians and entertainers rather than “just ambitious and assertive like their male counterparts”. (wikipedia)


And here´s a low budget compilation:

Ok, then let us celebrate all these divas … my favourite singers were Bette Midler, Nina Simone, Maria Muldaur, Aretha Franklin and of course Alannah Myles


01. Bette Midler: The Rose (McBroom) 3.44
02. Dionne Warwick: Walk On By (Bacharach/David) 2.59
03. Rose Royce: Love Don’t Live Here Anymore (Gregory) 3.57
04. Nina Simone: Papa Can You Hear Me (A.Bergman/M.Bergman/Legrand) 4.24
05. Linda Ronstadt: Blue Bayou (Orbison/Melson) 3.54
06. Mary Coughlan: I’d Rather Go Blind (Foste/Jordan) 4.22
07. Maria Muldaur: Midnight At The Oasis (Nichtern/Muldaur) 3.54
08. Rickie Lee Jones: Chuck E’s In Love (Jones) 3.35
09. Emmylou Harris: Sweet Dreams (Gibson) 3.10
10. Judy Collins: Both Sides Now (Mitchell) 3.18
11. Aretha Franklin: Respect (Redding) 2.26
12. Candi Staton: Young Hearts Run Free (Crawford) 4.12
13. Sarah Vaughan: Get Back (Lennon/McCartney) 2.59
14. Donna Lewis: I Love You Always Forever (Lewis) 4.02
15. Alannah Myles: Black Velvet 4.48




Emmylou Harris – 10 Commandments Of Country (2007)

FrontCover1Emmylou Harris (born April 2, 1947) is an American singer, songwriter and musician. She has released dozens of albums and singles over the course of her career and has won 14 Grammys, the Polar Music Prize, and numerous other honors, including induction into the Country Music Hall of Fame. In 2018, she was presented the Grammy Lifetime Achievement Award.

Harris’ work and recordings include work as a solo artist, a bandleader, an interpreter of other composers’ works, a singer-songwriter, and a backing vocalist and duet partner. She has worked with numerous artists. (wikipedia)


And here´s a very intimate and rare live reordig, a very unique live recording:

Live performance in which Emmylou Harris presents her ten rules of what makes a great country song, personally chosen from her own extensive repertoire. Filmed in Los Angeles in an intimate venue, the show features songs with Emmylou accompanied by her blue grass band. Each track illustrates one of her 10 Commandments, with a short introduction to explain why it was chosen and what element of country music it best represents. (by bigomagazine)

Emmylou Harris01

This show should promote her fantastic 4 disc album “Songbird: Rare Tracks & Forgotten Gems”, a 2007 box set of songs personally selected by Emmylou Harris: “I’ve selected not greatest hits, but personal favorites: that, with a few exceptions-have never appeared on any other compilations, but were important gems in the string of pearls that each album strives to become.”

Recorded live at The Derby, Los Angeles, CA; September 9, 2007.
Very good audio (ripped from HDTV broadcast).


Mike Audridge (dobro)
Tom Gray (bass)
Emmylou Harris (guitar, vocals)
Keith Little (banjo, mandolin, guitar, vocals)
Ricky Simpkins (fiddle, mandolin, vocals)

01. Introduction / Snowin’ On Raton (Zandt) 5.19
02. Mama’s Hungry Eyes (Haggard) 5.50
03. For No One (Lennon/McCarntey) 5:32
04. Rough And Rocky (Justice/Tabuchi) 4.14
05. My Songbird (Winchester) 4.01
06. Bright Morning Stars (Traditional) 3.38
07. Jordan (Traditional) 3.03
08. Love And Happiness (Harris/Rhodes) 4.46
09. Sin City (Parsons/Hillman) 4.45
10. Wheels ((Parsons/Hillman) 3.59
11. The Darkest Hour Is Just Before Dawn (Stanley) 3.45
12. Sweet Old World (Williams) 4.51
13. Get Up John (Monroe) 4.39

The cover of an unofficial DVD:


More from Emmylou Harris:

The official website:

Emmylou Harris with Spyboy feat. Buddy Miller – Live In Germany 2000 (2011)

Emmylou Harris (born April 2, 1947) is an American singer, songwriter, and musician. She has released dozens of albums and singles over the course of her career and has won 14 Grammys, the Polar Music Prize, and numerous other honors, including induction into the Country Music Hall of Fame. In 2018 she was presented the Grammy Lifetime Achievement Award. (wikipedia)

Her work and recordings include work as a solo artist, a bandleader, an interpreter of other composers’ works, a singer-songwriter, and a backing vocalist and duet partner. She has worked with numerous artists.

12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. Few in pop or country music have achieved such honesty or revealed such maturity in their writing.

In this 2000 concert, Emmylou Harris combined tasteful choices from her early repertoire with newer work, often her own compositions, backed by the band she called Spyboy, which featured the hard-working guitarist and singer Buddy Miller.

Harris came as an emissary to commercial country from the 1960’s folk and rock toward which Nashville mavericks were already leaning. With her dark, natural, hippie-ish beauty, her ethereally powerful soprano, and her fascination with the grittier roots of country music, Harris broke molds established for both women and new artists in Nashville country. With the Hot Band, she brought virtuoso rock-influenced chops to country picking and helped introduce a new audience of young, college-radio fans not only to her own take on country, and to the rock-friendly work of songwriters like Rodney Crowell, but also to the virtues of great artists like George Jones, Merle Haggard, Buck Owens, the Louvin Brothers, and Dolly Parton.

She sings some of those early album favorites here: Crowell’s “I Ain’t Living Long Like This,” Gram Parsons and Chris Hillmans’ “Wheels,” and Parsons and Bob Buchanan’s beautiful “Hickory Wind.” Combined with classic songs like the Louvins “If I Could Only Win Your Love,” which gave her a top-five country hit, Harris quickly established herself as a new kind of country artist, with both radio-single and album-oriented appeal. She had number-one country hits with the chestnuts “Together Again” and “Sweet Dreams,” and her second album on Reprise, “Elite Hotel,” reached number one on the country album charts while also finding its way into many college record collections. Later albums in the vein, including “Luxury Liner” and “Blue Kentucky Girl” established Harris as a crossover star.

In 1980, she made further innovations, releasing a bluegrass album, “Roses in the Snow,” which was distinguished by placing her characteristic solo and harmony singing in bluegrass arrangements and bringing new listeners to country’s acoustic forms. For the rest of her career, Harris would remain an important exponent of older and more traditional styles in country music.

Yet this 2000 concert finds her in what was then yet another new mode. In the early 1990’s her commercial radio success had diminished, in part, and ironically, because of the rise of “new traditionalist” artists whom she’d played a strong part in influencing. Harris became a trademark of country authenticity, appearing on albums by Steve Earle and other innovators with deep respect for bluegrass and classic country. In 1995 she released the album “Wrecking Ball,” launching Spyboy as a touring band with Buddy Miller and moving fairly assertively away from traditional country, with songs like “Deeper Well,” featured here. The 2000 follow-up “Red Dirt Girl,” widely acclaimed, featured Harris’s own songs, many of them also heard here.

“Though other performers sold more records and earned greater fame, few left as profound an impact on contemporary music as Emmylou Harris. Blessed with a crystalline voice, a remarkable gift for phrasing, and a restless creative spirit, she traveled a singular artistic path, proudly carrying the torch of “cosmic American music” passed down by her mentor, Gram Parsons. With the exception of only Neil Young – not surprisingly an occasional collaborator – no other mainstream star established a similarly large body of work as consistently iconoclastic, eclectic, or daring; even more than four decades into her career, Harris’ latter-day music remained as heartfelt, visionary, and vital as her earliest recordings.” (William Hoghland)

Recorded live in Baden-Baden, Germany on October 31, 2000.

Brian Blade (drums)
Tony Hall (bass, vocals)
Emmylou Harris (guitar, vocals)
Buddy Miller (guitar, vocals)

01. The Pearl (Harris) 5.22
02. I Don’t Wanna Talk About It Now (Cunniff/Harris/Johnson) 4.46
03. I Ain’t Living Long Like This (Crowell) 4.19
04. Raise The Dead (Harris) 3.27
05. Red Dirt Girl (Harris) 4.50
06. Love Hurts (Bryant) 3.00
07. Hour Of Gold (Harris) 5.00
08. Deeper Well (Harris/Lanois/Olney) 6.22
09. Michaelangelo (Harris) 4.50
10. Boy From Tupelo (Harris) 3.34
11. Wheels (Hillman/Parsons) 3.11
12. Born To Run (Kennerley) 4.45
13. Hickory Wind (Buchanan/Parsons) 4.55


Emmylou Harris – Pieces Of The Sky (1975)

FrontCover1.jpgPieces of the Sky is the second studio album by American country music artist Emmylou Harris, released in February 1975 through Reprise.

Although she had released the obscure folk-styled Gliding Bird five years earlier, Pieces of the Sky became the album that launched Harris’s career and is widely considered to be her début. In those intervening years she forged a musical relationship with Gram Parsons that altered the musical direction of her career. The album includes Harris’s first high-charting Billboard country hit, the #4 “If I Could Only Win Your Love,” and the relatively low-charting #73 “Too Far Gone” (originally a 1967 hit for Tammy Wynette). The overall song selection was varied and showed early on how eclectic Harris’s musical tastes were. In addition to her own “Boulder to Birmingham” (written for Gram Parsons, who had died the previous year), she included the Merle Haggard classic “The Bottle Let Me Down,” The Beatles’ “For No One,” and Dolly Parton’s “Coat of Many Colors.” (Parton, in turn, covered “Boulder to Birmingham” on her 1976 album All I Can Do (album).) On Shel Silverstein’s “Queen Of The Silver Dollar,” Harris’s longtime friend and vocal collaborator, Linda Ronstadt, sings harmony.

Pieces of the Sky rose as far as the #7 spot on the Billboard country albums chart.

Pieces of the Sky was included in Robert Dimery’s 1001 Albums You Must Hear Before You Die. (by wikipedia)


Emmylou was an army brat from the South who thought country music was “boring.” As Harris later recounted, “You have to grow up, start paying the rent and have your heart broken before you understand country.” No. Folk was where it was at for young Emmylou. It was the mid-60s after all. Dylan was king. And Joan Baez was queen. And like countless other girls her age and of her time she dropped out of college & headed to The Village to be the next Joan Baez. “I mean, what girl back then didn’t want to be her?” Emmylou gushed. And for a little window of time it looked like she just might! She had the looks. The voice. And fell in with a talented songwriting boyfriend turned husband named Tom Slocum who had contacts in the record industry. And before you know it, she had a record contract and a debut album – Gliding Bird! But, her timing sucked. Her label bit the dust. Gliding Bird flopped. (Emmylou now disowns it pretty much and consider THIS her real debut. Personally, time is short and no one seems to high on it so I’ll just trust the pretty lady until Mercury tells me different. lol.) And before you know it, she was a divorced single mom trying to raise her baby on food stamps. So like any smart, well adjusted kid will do, she moved back home. (To an actual farm believe or not just on the outskirts of Washington DC.)


Dreams of being the next Joan Baez dashed just like a thousand other pretty girls. In other words, she was now ready for her Country awakening. For Gram. And so much of life is just persevering and continuing to be ready. You never know when your luck may change. When the providence of the Gods may smile on you. So she didn’t give up. She started a little folk band and started playing gigs around DC. And divine Providence in the guise of the Gram Parsons showed up. On a hot tip from fellow Flying Burrito brother in arms, and former Byrdman,Chris Hillman. She’s talking about Gram of course. Yet again. The album is filled with references to him. How he saved her. Mentored her. Showed her his take on music. His vision of what country music could & should be. Cosmic American Music he called it. And Gram’s vision was so pure & inspired that it infected everybody around him. They would become instantaneously inflicted with his country bug.Whether it be striking up a conversation in a bank line at the Beverly Hills bank with Chris Hillman of the Byrds, singlehandedly taking over the creative reigns of one the most popular American bands of the entire 1960s as a freakin’ nobody, or convincing Emmylou to drop everything and join him on his quest for cosmic country goodness. Gram just had one of those magnetic personalities that could convince you of pretty much anything. Like Steve Jobs. There’s even a name for it – a Reality Distortion Field (look it up if you don’t believe me!). And Gram had one of the biggest Fields in all of music history. While the did they or didn’t they (they didn’t) gossip tends to overshadow… (by Repo Man)


Brian Ahern (guitar, bass)
Bruce Archer (guitar)
Duke Bardwell (bass)
Byron Berline (fiddle, mandolin)
James Burton (guitar, dobro)
Mark Cuff (drums)
Rick Cunha (guitar)
Amos Garrett (guitar)
Richard Greene (fiddle)
Tom Guidera (bass)
Glen D. Hardin (piano)
Emmylou Harris (vocals, guitar)
Ben Keith (pedal steel-guitar)
Bernie Leadon (guitar, bass, banjo, dobro, background vocals)
Bill Payne (piano)
Herb Pedersen (guitar, banjo, background vocals)
Danny Pendleton (pedal steel-guitar)
Ray Pohlman (bass)
Ricky Skaggs (fiddle, viola)
Ron Tutt (drums)
background vocals:
Linda Ronstadt – Fayssoux Starling


01. Bluebird Wine (Crowell) 3.21
02. Too Far Gone (Sherrill) 4.07
03. If I Could Only Win Your Love (C.Louvin/I.Louvin) 2.37
04. Boulder To Birmingham (Harris/Danoff) 3.38
05. Before Believing (Flowers) 4.45
06. The Bottle Let Me Down (Haggard) 3.20
07. Sleepless Nights (F.Bryant/B.Bryant) 3.29
08. Coat Of Many Colors (Parton) 3.45
09. For No One (Lennon/McCartney) 3.44
10. Queen Of The Silver Dollar (Silverstein) 5.18



More from Emmylou Harris



Emmylou Harris & The Daniel Lanois Band – Live At The Shepherds Bush Empire, London (1995)

FrontCover1.jpgIn 1995, Emmylou Harris released one of the most critically acclaimed albums of the decade, Wrecking Ball, produced by Daniel Lanois, best known for his work with U2, Peter Gabriel and Bob Dylan. An experimental album for Harris, the record included Harris’s rendition of the Neil Young–penned title track (Young himself provided guest vocals on two of the album’s songs), Steve Earle’s “Goodbye”, Julie Miller’s “All My Tears”, Jimi Hendrix’s “May This Be Love”, Anna McGarrigle’s “Goin’ Back to Harlan” and Gillian Welch’s “Orphan Girl”. U2’s Larry Mullen, Jr, played drums for the project. The album received virtually no country airplay, but it brought Harris to the attention of alternative rock listeners, many of whom had never listened to her music before. (wikipedia)

And to promote his album Emmylou did together with The Daniel Lanois Band this wonderful show in London.

Emmylou Harris contributions to country-rock, the bluegrass revival, folk music, and the Americana movement are widely lauded.

I am always pleased that I got to read a review of ‘Elite Hotel’ her second solo album, back in 1976 when it was first released.

Not only did I love the album, it helped me discover the country rock genre of that time, and set high standards, that helped me avoid the more ‘cheesy’ country artists. She remains a firm favorite of mine. (

Recorded live at the Shepherds Bush Empire, London, UK; November 23, 1995.
Very good BBC Radio 2 Stereo FM.
Captured, Transferred & Artwork by JTT, December 2006


Brady Blade (drums, percussion, background vocals)
Emmylou Harris (vocals, guitar)
Daryl Johnson (bass, bass pedals, djembe, percussion, background vocals)
Daniel Lanois (guitar, vocals, mando-guitar)

01. May This Be Love (Hendrix) 4.44
02. Where Will I Be (Lanois) 4.40
03. Pancho And Lefty (van Zandt) 4.56
04. Orphan Girl (Welch) 3:22
05. Goodbye (Earle) 4.57
06. Goin’ Back To Harlan (McGarrigle) 5.16
07. Prayer in Open D (Harris) 4.28
08. One Of These Days (Montgomery) 3.03
09. Every Grain Of Sand (Dylan) 4.03
10. Sweet Old World (Williams) 4.08
11. Indian Red (Landry) 6.31
12. Makin’ Believe (Work) 4.10
13. Wrecking Ball (Young) 4.50
14. Deeper Well (Olney/Olney/Lanois/Harris/Harris) 6.55
15. Blackhawk (Olney/Lanois/Harris) 4.54
16. Wheels (Hillman/Parsons) 3.22



Emmylou Harris – Wrecking Ball (1995)

FrontCover1.jpgWrecking Ball is the eighteenth studio album by American country artist Emmylou Harris, released on September 26, 1995 through Elektra Records. Moving away from her traditional acoustic sound , Harris collaborated with producer Daniel Lanois (best known for his production work with U2) and engineer Mark Howard. The album has been noted for atmospheric feel, and featured guest performances by Steve Earle, Larry Mullen, Jr., Kate & Anna McGarrigle, Lucinda Williams and Neil Young, who wrote the title song.

Though her choice of songs had always been eclectic, the album was regarded as a departure. Harris, the age of 48, had become something of an elder stateswoman in country music. The album received almost universally positive reviews, making many critics’ year-end “best of” lists, and pointed Harris’ career in a somewhat different direction, where she would incorporate a harder edge. As a career-redefining album, Wrecking Ball was compared to Marianne Faithfull’s 1979 Broken English album and Johnny Cash’s American Recordings. Wrecking Ball won the 1996 Grammy Award for Best Contemporary Folk Recording.

Harris covered Neil Young’s song “Wrecking Ball”, and the track includes harmonies by Young. Although the song was released by Harris as a 2-track CD single with Lucinda Williams’ “Sweet Old World”, reviewers did not consider the title track the high point on the album. (by wikipedia)


Wrecking Ball is a leftfield masterpiece, the most wide-ranging, innovative, and daring record in a career built on such notions. Rich in atmosphere and haunting in its dark complexity, much of the due credit belongs to producer Daniel Lanois; best known for his work with pop superstars like U2 and Peter Gabriel, on Wrecking Ball Lanois taps into the very essence of what makes Harris tick — the gossamer vocals, the flawless phrasing — while also opening up innumerable new avenues for her talents to explore. The songs shimmer and swirl, given life through Lanois’ trademark ringing guitar textures and the almost primal drumming of U2’s Larry Mullen, Jr. The fixed point remains Harris’ voice, which leaps into each and every one of these diverse compositions — culled from the pens of Neil Young, Bob Dylan, Jimi Hendrix, Steve Earle, and others — with utter fearlessness, as if this were the album she’d been waiting her entire life to make. Maybe it is. (by Jason Ankeny)


Malcolm Burn (keyboards, vibraphone, tambourine synthesizer, slid-guitar on 08. + 12., bass on 11., drums on 11., background vocals)
Emmylou Harris (vocals, guitar)
Daniel Lanois (mandolin, guitar, bass on 01. + 03., dulcimer on 10,  vocals on 01. + 09., percussion on 04., bass pedals on 08.)
Larry Mullen, Jr. (drums, percusion)
Tony Hall (bass, percussion, stick drum on 10.)
Daryl Johnson (background vocals, percussion)
Richard Bennett (guitar on 08.)
Brian Blade (drums on 01, Indian hand drum on 05.)
Steve Earle (guitar on 02., 07. + 08.)
Kufaru Mouton (percussion on 05.)
Sam O’Sullivan (roto wheel on 04.)
Lucinda Williams (guitar on 08.)
Neil Young (harmonica on 08, background vocals on 04. + 08.)
background vocals on 12.:
Anna McGarrigle – Kate McGarrigle


01. Where Will I Be? (Lanois) 4.16
02. Goodbye (Earle) 4.53
03. All My Tears (Miller) 3.42
04. Wrecking Ball (Young) 4.50
05. Goin’ Back To Harlan (A.McGarrigle) 4.51
06. Deeper Well (Olney/Lanois/Harris) 4.19
07. Every Grain Of Sand (Dylan) 3.56
08. Sweet Old World (Williams) 5.06
09. May This Be Love (Hendrix) 4:45
10. Orphan Girl (Welch) 3.15
11. Blackhawk (Lanois) 4.28
12. Waltz Across Texas Tonight (Crowell/Harris) 4.47




Joan Baez & Friends – Beacon Theatre, New York (2016)

FrontCover1Joan Baez is still the mother of us all. At the Beacon Theater, where she celebrated her 75th birthday on Wednesday evening with an all-star concert of duets, she was a quietly magnetic woman in charge. Radiating her characteristic maternal strength and easygoing humor, she projected the welcoming empathy of someone you can turn to in times of trouble. She looked terrific: trim and fit, with short silver hair and a wonderfully goofy smile.

That strength is embedded in a voice that has shrunk in range and power but conveys an embracing reassurance and solidity. Her upper register is all but gone, but her middle range, where she remained comfortably settled for most of the evening, was as warmly expressive as ever.

It wasn’t actually the birthday of this great folk-pop singer, who was born on Jan. 9, 1941. But why quibble? The concert, in which she sang with guests including Paul Simon, Judy Collins, Mavis Staples and Jackson Browne, was taped for the PBS series “Great Performances” to be broadcast in June.

with David Crosby

For the live audience, the concert presented technical difficulties. Except for Ms. Baez, the singers were under-rehearsed and had trouble reading lyrics on a teleprompter at the back of the orchestra. The sound in this unusually quiet concert was passable at best. Too many of the duets were so glaringly out of tune that they will have to be redone or adjusted before the broadcast. A particularly embarrassing casualty was David Crosby, who was so confused he seemed barely present during his chaotic duet with Ms. Baez on the Beatles’ “Blackbird.”

The technical lapses suggested a depressing possibility: that as much as they’d like to continue, many folk singers (not Ms. Baez) can’t go on forever without losing vocal power, stamina or spirit. The younger guests — the Irish folk singer Damien Rice, the Chilean singer Nano Stern — gave the show a shot of adrenaline and passion it desperately needed.

with Damien Rice

The all-acoustic concert began with strong, steady performances by Ms. Baez, accompanying herself on guitar, of Steve Earle’s “God Is God” and the great Phil Ochs song “There but for Fortune.” The parade of guests began with David Bromberg and continued with Mr. Crosby, Mr. Rice, Mary Chapin Carpenter and Emmylou Harris, who recalled that while growing up she wanted to be Ms. Baez.

Mr. Browne, playing the piano, sang his prophetic ’70s anthem “Before the Deluge” with Ms. Baez, who glumly observed that “as we head into the abyss” this expression of apocalyptic foreboding is even more relevant today than when it was written. A weary sense of impending doom was a persistent undercurrent throughout a concert that tried and mostly failed to conjure a ’60s-style inspirational fervor. Ms. Staples, 76, came close in her duets with Ms. Baez of “Oh, Freedom” and “Turn Me Around.”

with Paul Simon

Ms. Baez’s duets with Richard Thompson on “House of the Rising Sun,” arranged as a waltz, and his original song “She Never Could Resist a Winding Road,” were stronger. Late in the evening, Mr. Simon sang a low-keyed rendition of “The Boxer” with Ms. Baez. The concert’s final number was her solo rendition of Bob Dylan’s “Forever Young,” a trite song that mocks baby-boomer narcissism.

The appearance of Mr. Stern lent the concert its only moment of genuine excitement. That 30-year-old Chilean singer and guitarist infused the theme song of the Argentine diva Mercedes Sosa, “Gracias a la Vida,” written by Violeta Parra, with an incandescent verve and spirit. It is the title song of Ms. Baez’s mostly Spanish 1974 album. As he and Ms. Baez sang it, their performance generated the kind of lightning you might have experienced at a joyful ’60s hootenanny when everything seemed possible and hope was in the air.

For a moment, the hush of depression lifted, the generational sense of defeat abated, and the concert came thrillingly alive.

wNanoSternwith Nano Stern

To celebrate her 75th birthday, Joan Baez held a concert at the Beacon Theatre in New York; the guests included Jackson Browne, Mary Chapin Carpenter, Judy Collins, Emmylou Harris, Indigo Girls, Damien Rice, Paul Simon, Mavis Staples, Nano Stern and Richard Thompson.

Joan Baez remains an icon of the Sixties folk revival, one of the movement’s foremost architects and a lifelong champion of vernacular musical tradition. So despite the grand setting and fancy roster of artists, Wednesday’s show was, true to spirit, a folk concert through and through, full of spontaneous sing-alongs and impromptu lyrical ad-libs, and with nary a single electric guitar to be found onstage. (by Rolling Stone)

Recorded live at the Beacon Theatre, New York, NY; January 27, 2016
Very good audio (ripped from HDTV – Arte HD – broadcast).


with Judy Collins

01. God Is God (Earle) 3.35
02. There But For Fortune (Ochs) 4.34
03. Blackbird (with David Crosby) (Lennon/McCartney)) 3.20
04. Catch the Wind (with Mary Chapin Carpenter) (Leitch) 4.01
05. Hard Times Come Again No More (with Emmylou Harris) (Foster) 5.30
06. Swing Low, Sweet Chariot (Traditional) 3.50
07. Oh, Freedom (with Mavis Staples) (Traditional) 2.46
08. Ain’t Gonna Let Nobody Turn Me Around (with Mavis Staples) (Traditional) 3.39
09. The Water Is Wide (with The Indigo Girls and Mary Chapin Carpenter) (Traditional) 4.54
10. She Moved Through The Fair (with Damien Rice) (Traditional) 5.41
11. She Never Could Resist A Winding Road (with Richard Thompson) (Thompson) 3.39
12. Before The Deluge (with Jackson Browne) (Browne) 6.38
13. Diamonds And Rust (with Judy Collins) (Baez) 5.44
14. Gracias a la vida (with Nano Stern) (Parra) 6.21
15. The Boxer (with Paul Simon and Richard Thompson) 7:26 (Simon) 7.26
16. Forever Young (Dylan) 4.31


with Jackson Brown + Emmylou Harris



Emmylou Harris – The Ballad Of Sally Rose (1985)

FrontCover1This is one of the most intriguing albums of Emmylou Harris’ career, and that is saying a lot. It marked the first album where she wrote or co-wrote all the songs, and the strength of the songwriting makes one wonder why she had never attempted it before. One can tell that this album is truly a labor of love, as it is a semi-autobiographical concept album that she also co-produced. It tells the story of a girl from a small town who gets taken under the wing of singer that takes her (and her angelic voice) out on the road. (The story mirrors her relationship with Gram Parsons, although it is a fictional account of the life of another woman.) As a concept album, it only partly holds together; one must read the liner notes to get a true feeling for the story. However, Emmylou Harris sounds particularly inspired, and the songs themselves are strong both musically and lyrically. As expected, she truly shines on the slower ballads such as “Diamond in My Crown” and the closer “Sweet Chariot.” While not essential for casual fans, it is an interesting album worth tracking down for Emmylou Harris fans. (by Vik Iyengar)

Steve Cash (harmonica)
Barbara Cowart (background vocals)
Gail Davies (background vocals)
Hank DeVito (guitar, dobro, pedal steel.guitar)
Philip Donnelly (guitar)
Bessyl Duhon (accordion)
Ray Flacke (guitar)
Vince Gill (guitar, background vocals)
Emory Gordy (bass, guitar)
Emmylou Harris (vocals, guitar)
John Jarvis (keyboards)
Waylon Jennings (guitar, vocals)
Shane Keister  (keyboards)
Paul Kennerley (guitar)
Russ Kunkel (drums)
Albert Lee (guitar, mandolin, vocals)
Larrie Londin (drums, percussion)
Dolly Parton (background vocals)
Tom Roady (percussion)
Linda Ronstadt (background vocals)
Gary Scruggs (harmonica)
Buddy Spicher (fiddle)
Barry Tashian (guitar)
Barry Tashian (vocals)
Holly Tashian (vocals)
Bobby Thompson (banjo, guitar)

01. The Ballad Of Sally Rose (Harris/Kennerley) 2.47
02. Rhythm Guitar (Harris/Kennerley) 3.19
03. I Think I Love Him/You Are My Flower/Heart To Heart (Harris/Kennerley/Carter) 3.29
04. Woman Walk The Line (Harris/Kennerley)     4:06
05. Bad News (Harris/Kennerley) 1.48
06. Timberline (Harris/Kennerley) 2.52
07. Long Tall Sally Rose (Harris/Kennerley) 1.35
08. White Line (Harris/Kennerley) 3.43
09. Diamond In My Crown (Harris/Kennerley) 2.58
10. The Sweetheart Of The Rodeo (Harris/Kennerley) 3.42
11. K-S-O-S (Instrumental Medley): 2.50
11.1. Ring Of Fire (Carter/Kilgore)
11.2. Wildwood Flower (Carter)
11.3. Six Days On The Road (Greene/Montgomery)
12. Sweet Chariot (Harris/Kennerley) 2.59



Gustavo Santaolalla & Various Artists – Brokeback Mountain (OST) (2005)

FrontCover1What is most notable about the soundtrack to Ang Lee’s Brokeback Mountain is the original score by Argentinian music wizard Gustavo Santaolalla (producer of the grand Café Tacuba recordings and a songwriter in his own right, as evidenced by his two albums, Gas and Ronroco). His interludes and cues evoke the very landscape that Lee portrays in his film, but there are also some fine vocal performances by a star-studded cast of singers. Willie Nelson’s read of “He Was a Friend of Mine,” complete with squeezebox and layered acoustic guitars, is gorgeous. Emmylou Harris’ performance of Santaolalla and Bernie Taupin’s “A Love That Will Never Grow Old” is simple, spare, and poignant. The shuffling honky tonk ballad that Santaolalla wrote for Mary McBride, with its crying pedal steel, hits close to the bone and evokes Patsy Cline. Likewise, the hard-driving country of “I Will Never Let You Go,” written for Jackie Greene, Still01is tough and tender. Santaolalla’s cues, like the best of Ry Cooder’s film scores, touch the film’s scenery, move its narrative, and pricelessly frame it in time. Teddy Thompson and Rufus Wainwright team for a throwaway country-swing version of Roger Miller’s “King of the Road,” but Thompson does a fine job on the Santaolalla and Taupin tune “I Don’t Want to Say Goodbye,” which is as heartbroken a ballad as one is likely to hear. This is an utterly wonderful soundtrack that could have done without Linda Ronstadt’s version of Buddy Holly’s “It’s So Easy,” Steve Earle’s “The Devil’s Right Hand,” or even Wainwright’s “The Maker Makes,” but this is a small complaint. (by Thom Jurek)

01. Gustavo Santaolalla: Opening (Santaolalla) 1.31
02. Willie Nelson: He Was A Friend Of Mine (Dylan) 4.39
03. Gustavo Santaolalla: Brokeback Mountain 1 (Santaolalla) 2.32
04. Emmylou Harris: A Love That Will Never Grow Old (Santaolalla/Taupin) 3.20
05. Teddy Thompson & Rufus Wainwright: King Of The Road (Miller) 2.52
06. Gustavo Santaolalla: Snow (Santaolalla) 1.18
07. Steve Earle: The Devil’s Right Hand (Santaolalla(Earle) 2.34
08. Mary McBride: No One’s Gonna Love You Like Me (Santaolalla) 3.06
09. Gustavo Santaolalla: Brokeback Mountain 2 (Santaolalla) 1.59
10. Teddy Thompson: I Don’t Want To Say Goodbye (Santaolalla/Taupin) 3.12
11. Jackie Greene: I Will Never Let You Go (Santaolalla/Spillman) 1.55
12. Gustavo Santaolalla: Riding Horses (Santaolalla) 1.24
13. Gas Band: An Angel Went Up in Flames (Santaolalla) 2.36
14. Linda Ronstadt: It’s So Easy (Holly/Petty) 2.27
15. Gustavo Santaolalla: Brokeback Mountain 3 (Santaolalla) 2.14
16. Rufus Wainwright: The Maker Makes (Santaolalla/Wainwright) 3.50
17. Gustavo Santaolalla: The Wings (Santaolalla) 1.52