A Bright 1977 Secret on Luxury Liner: Emmylou Harris’s I’ll Be Your San Antone Rose Still Deserves Its Turn
On Luxury Liner, Emmylou Harris turned Susanna Clark’s San Antonio daydream into a bright, restless...
On Luxury Liner, Emmylou Harris turned Susanna Clark’s San Antonio daydream into a bright, restless...
When Linda Ronstadt sang Emmylou Harris’s “A River for Him” on Winter Light, a private...
In 1981, Emmylou Harris turned a Rodney Crowell song into a lean country-rock statement about...
On Hello Stranger, Emmylou Harris and Nicolette Larson turned an old Carter Family song into...
Before Elite Hotel settled into its rich conversation with country history, Emmylou Harris let “Amarillo”...
Before their voices became known as Trio, Emmylou Harris, Dolly Parton, and Linda Ronstadt let...
A playful old pop dream became a country-chart surprise when three of the finest voices...
On a worn Nashville stage, Emmylou Harris turned an old Stephen Foster plea into a...
In their 1990 duet, Emmylou Harris and Willie Nelson made Nanci Griffith’s Gulf Coast story...
At the close of Trio, three great voices leave the spotlight behind and return to...
Years before Trio became a formal collaboration, one song on Blue Kentucky Girl let three...
On the 1974 Grievous Angel recording of “Love Hurts”, Emmylou Harris does more than harmonize...
Strong Hand is one of those rare late-career songs that honors a friend by refusing...
On Wrecking Ball, Emmylou Harris stepped into Daniel Lanois’ echo and twilight, but Goin’ Back...
On Roses in the Snow, Emmylou Harris finds the quiet strength inside “Darkest Hour Is...
On Woman Walk the Line, Emmylou Harris turns a fictional heroine into something more revealing:...
On Roses in the Snow, Emmylou Harris takes The Boxer out of monumental folk-rock and...
On Trio, Emmylou Harris does not overpower “To Know Him Is to Love Him”; she...
On Elite Hotel, Emmylou Harris took one of the Beatles‘ most delicate love songs and...
On Quarter Moon in a Ten Cent Town, Emmylou Harris turned Leaving Louisiana in the...
On Cowgirl’s Prayer, Emmylou Harris turns “Jerusalem Tomorrow” into a low-burning act of storytelling, where...
On Wrecking Ball, Emmylou Harris took a country waltz and let it float through shadow,...
On Elite Hotel, Emmylou Harris used “Satan’s Jeweled Crown” to bring the stern beauty of...
Long before Trio had a title, Emmylou Harris was already standing inside that sound on...
On All I Intended to Be, Shores of White Sand arrives like weather instead of...
On Quarter Moon in a Ten Cent Town, Emmylou Harris sings “Defying Gravity” as if...
On Pieces of the Sky, Emmylou Harris turns “Sleepless Nights” into something hushed and close,...
On “Wildflowers”, three unmistakable singers stop sounding like separate stars and start sounding like one...
On Thirteen, Emmylou Harris does not simply cover My Father’s House; she opens its locked...
On Wrecking Ball, Emmylou Harris did more than record “All My Tears”; she found a...