Stumble Into Grace

by

Emmylou Harris

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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.

Emmylou Harris is a national treasure. Her fans think so. Many fellow artists think so. Things always seem to be kicked up a notch when Emmy's involved. That's why it's kind of surprising to see her latest release, the hushed STUMBLE INTO GRACE, turn out to be something less than sterling. Unlike 1995's WRECKING BALL, on which Harris really spread her wings as an artist, or 2000's RED DIRT GIRL, which showcased her as a budding and talented songwriter, STUMBLE INTO GRACE is a somewhat repetitive step backwards, a pale imitation of those two previous works. Yes, it's pretty at times, and Harris is obviously singing from the heart, but facts are facts....there's nothing new here, and what is here has not only been done better, it's also a major downer. The disc opens promisingly enough with the gently percussive "Here I Am." Harris delivers the poetic lyrics ("I am in the blood of your heart/The breath of you lung/Why do you run for cover/You are from the dirt of the earth/And the kiss of my mouth/I have always been your lover/Here I am") in a strong, assured lead vocal, at times hitting an upper register that is both chilling and (oddly enough) enticing. There's both a steeliness and sorrow to "I Will Dream" that is initially captivating, but the song never really takes off; I wish a bit more intensity had been woven into the arrangement by song's end. "Little Bird" has an old world charm to it, all acoustic guitars, accordian and whistling. However, just as we're getting into a nice little jam session, the song abruptly ends....it's almost like they ran out of tape in the studio! Said ending does not benefit the song AT ALL! Next up is one of my two favorite cuts, the dark "Time In Babylon." Harris (as well as co-writer Jill Cunniff) isn't happy with the way things are going in society, and she makes no bones about it ("Cluster mansion on the hill/Another day in Pleasantville/You don't like it take a pill/Doin' time in Babylon", "So suck the fat, cut the bone/Fill it up with silicone/Everybody must get cloned/Doin' time in Babylon", "So put that conscience on the shelf/Keep the best stuff for yourself/Let the rest fight over what is left/Doin' time in Babylon"). These in-your-face lyrics are wrapped up in a powerfully percussive arrangement that also features some tasteful, yet spot-on, guitar work from Buddy Miller and Ethan Johns. "Can You Hear Me Now" is another one of the tracks that, though strong lyrically ("But everyday ends up the same/One step up, two steps back/Like some old silent movie frame/Zoom in close, then fade to black", "I send up my S.O.S./A message in a bottle set out to sea/It just reads "Soul in distress"/But nobody ever gets back to me"), just kind of lumbers on musically (the backing vocals from Daryl Johnson, Jane Siberry, Daniel Lanois and Malcolm Burn are absolutely gorgeous, though!). "Strong Hand" is a touching tribute to June Carter Cash, made all the more poignant by the events of the past six months. "Jupiter Rising" is my favorite track on SIG for a number of reasons. First, it's the only upbeat song on the disc, and it really breaks things up. Next, there's a sly sexiness to Harris' voice when she sings uptempo material that just can't be beat....it's a totally original sound, all her own. Finally, there's just something about the way that voice wraps around lyrics such as "You got your questions/Maybe I got an answer/Or just the hands of a healer/And the feet of a dancer/Yeah, it's all in the wrist now baby" and makes them come alive....brilliant! Unfortunately, things come to a grinding halt here, with the rest of the disc becoming cumbersome and tired. "O Evangeline" is nothing new for Harris, the type of song she's done many times before, even on this album! "Plaisier D'Amour" is nice enough, evoking visions of three sisters singing in a cafe somewhere in the French countryside, but it's charms are lost as it segues into the dour "Lost Unto This World." This plodding, unpleasant number seems to go on forever, and it does nothing to advance STUMBLE INTO GRACE in any way. The disc ends on a slightly higher note with "Cup Of Kindness." However, thoughtful lyrics and a delicate vocal can't hide the fact that, once again, we've been here before....and on this same album. That said, I hope Harris continues to grow and challenge herself as an artist and writer. I also hope that she seeks out other collaborators who know how to lighten up and have some fun. Until then, I'll probably be listening to WRECKING BALL.