A distinguished member of the Better Records Rock and Pop Hall of Fame.
One of the best copies to come out of our recent shootout. Very present and dynamic vocals, with no phony EQ or accentuated detail (a big problem with Emmylou’s recordings as a whole).
Note how natural, clear and transparent the sound is — believe me, we didn’t hear too many do what these two sides were doing.
Breathy clear vocals and guitars, with none of the edge that plagues so many of her recordings.
I’ll Take This EH on WB Over AK On MoFi Any Day
The sound is especially rich and sweet, with none of the transistory grain so common to WB albums from this era. It blows the doors off of a record like the MFSL Alison Krauss. In fact, this record is the perfect example of what’s wrong with that pressing. Listen to the quality of the voices and acoustic instruments on this album, then compare them to your Krauss MoFi — you know, the one that got all the raves in the audiophile press. I am sure you’ll hear a world of difference between the two. Yes, it’s that obvious — to me, to you, but apparently not to anyone who reviews records for audiophiles because I sure didn’t see anybody calling it out for its dubious sound.
Amazingly Good Warner Brothers Sound
If you like the sound of the best Warner Brothers recordings from about the same timeframe — think Ry Cooder’s Jazz and Rickie Lee Jones’ debut to name a couple — you’ll find much to like about the sound here. It’s incredibly detailed but not at all phony — just what you need to appreciate the sound of the various stringed instruments, including acoustic guitars, electric guitars, archtop guitars, mandolins, fiddles, autoharp and more.
Sister’s Coming Home
Beneath Still Waters
Rough and Rocky
Save the Last Dance for Me
Sorrow in the Wind
They’ll Never Take His Love From Me
Everytime You Leave
Blue Kentucky Girl
Even Cowgirls Get the Blues
In response to criticism that her records weren’t country enough, Harris recorded Blue Kentucky Girl, one of her most traditional outings. Relying on a more acoustic sound, the album largely forsakes contemporary pop songs in favor of standard country fare, including the Louvin Brothers’ “Everytime You Leave” and Leon Payne’s “They’ll Never Take His Love from Me.” The cover of Dallas Frazier’s “Beneath Still Waters” earned Harris her fourth number one single.