This is just a sampling of the many recording reviews found in Dirty Linen #61.

Purists will, no doubt, have a field day with this one. "How can it be," they'll say, "that Emmylou Harris has thrust herself into a wider, more alternative arena via the production skills of famed U2 product helmsman, Daniel Lanois?" If those people would just take their fingers from their ears and open their minds even a smidgen they'd realize that Harris has been on a musical path leading to this moment for years.

Never content on simply being the undisputed Queen of Country Rock and a tasteful and determined folk and bluegrass standard bearer, Harris, over the course of 24 albums, has consistently chosen to mine gems from other genres. To wit, her intriguing reworking of the show tune "Diamonds Are a Girl's Best Friend," her effective take on Donna Summer's "On the Radio," and her solidly reverent rendition of Springsteen's "Tougher Than the Rest," all from past releases. Actually, it was the haunting spoken-word entry, "Jerusalem Tomorrow," from her Asylum debut Cowgirl's Prayer, that set the stage for the impact that Wrecking Ball will ultimately have.

Most of the chosen material is quite logical, really , a Lucinda Williams nugget ("Sweet Old World"), an anthemic folk ballad from Gillian Welch ("Orphan Girl"), and a poetic contribution from that certifiable genius Steve Earle ("Goodbye"). But Lanois has stepped in and brought a whole other world to maximize the power of Harris'. Jimi Hendrix' "May This Be Love" turns into especially hallowed musical ground thanks to Lanois' Edge-like guitars and a harmonious duet vocal. The stuttering rhythm and plaintive chorus lend an introspective working-person's aura to Lanois' "Where Will I Be." And Anna McGarrigle's "Goin' Back to Harlan" acquires a pleasing new age tint due to what is dubbed "sci-fi synth."

No, Wrecking Ball is not Harris' most familiar-sounding project, but it is, hands down, her most brilliant.

- Ellen Geisel (Clifton Park, NY)

Country Gentlemen
Souvenirs
Rebel Records REB-1715 (1995)

Blue Highway is an extraordinary new band composed of some of the hottest young professionals in the bluegrass business. Tim Stafford (Alison Krauss and Union Station), the lead guitarist and originator of Blue Highway, stuns one with his complex and glittering guitar work on his own compositions like "Canadian Bacon" and the wailing lament "Farmer's Blues." Bass player Wayne Taylor also writes a couple of songs for this collection, the best being the traditional-sounding "The One I Left Behind." And his lead vocals, on his compositions and the title cut, are top-notch, creating a beautiful and poignant atmosphere that virtually masks the solid backing by Jason Burleson (banjo), Rob Ickes (Dobro) and Shawn Lane (mandolin, fiddle). But if there's one aspect of this recording that stands far above the rest it is Lane's playing and singing. His mandolin work is brilliant on "In the Gravel Yard" and his re-interpretation of Ewan MacColl's "England's Motorway," an unusual selection for a bluegrass album, features some beautiful fiddle passages. The debut Blue Highway album is a good enough reason to celebrate the 35th anniversary of Rebel Records.

Though the Country Gentlemen are always changing members, the one mainstay is the unmistakable voice and guitar playing of Charlie Waller. You know you're in for a treat with the first cut: a lovely Lorne Bucke tune entitled "Mountains and Memories" that tugs on the heart. As the album title indicates there's a theme of reminiscence and memory that Waller's mellow baritone emphasizes on songs like Gordon Lightfoot's "Mother of a Miner's Child," the title cut written by John Prine, "Drifting Away," and "Faded Love." On the tale of Civil War spy Rose Greenhow, "Wild Rose," the band really lets loose with high octane playing, especially by guests Tim Smith on fiddle and Kim Gardner on Dobro. The backing vocals are all quite competent with mandolinist Jimmy Bowen on tenor and banjoist Greg Corbett on baritone. Another solid recording by the Gentlemen after 40 years of playing.
- James Morman (Ashland, KY)

The Legendary, Mama Sana
Music from Madagascar
Shanachie 65010 (1992)

Various artists
The Marovany of Madagascar
Silex Y225224 (1995)

Ricky & Mbasalala
Vocal Music From Madagascar
Wergo/Spectrum SM 1522 (1995)

In the wake of the World Out of Time recordings, much more music from Madagascar has become available on CD. These four recordings demonstrate the diversity of the country's traditional musical forms. An historical perspective is offered on Yazoo's Music of Madagascar, which consists of cleaned-up recordings from 78s made in the 1930s that give an intriguing glimpse into the roots of "modern" Malagasy traditional music. Most of the pieces consist of vocal choral music, accompanied by traditional instruments such as the valiha (a tubular zither endemic to Madagascar). The 20 tracks represent five different groups. Other than the odd skips and pops, the sound is exceptionally clean, given the sources, and this is the place to go to investigate the recent historical origins of Malagasy music.

One of the most compelling performers on the World Out of Time discs is Mama Sana, a valiha player in her 70s. The Legendary Mama Sana is a disc-length recording of Sana that was made by Birger Gesthuisen during the World Out of Time sessions in 1991. Sana's hypnotic power as a performer comes vividly the recorded medium, as does her virtuosity on the valiha, which she plays with verve and, at times, ferocity. Accompanied only by vocalist-percussionist Madame Germaine, Sana provides additional rhythm herself by slapping the coins that are plaited into her hair against her valiha, which is a large model anchored in a metal sounding box. This is strange and powerful music, at once frightening and eerily beautiful.

Another musical instrument known only from Madagascar is the marovany, similar to a valiha based on a rectangular wooden or metal body rather than a tube. The Marovany of Magagascar consists of a dozen contemporary recordings by five performers from throughout the country. The instruments tend to be handmade, like the one made for Madame Masy (who performs six of the 12 selections here) by her brother, who scrounged brake cables for the strings. All of the performers employ the marovany as a rhythmic instrument that accompanies their singing, and play it with a combination of strumming and arpeggiated melody lines, generally with percussion accompaniment. Marovany music is lively and joyful, as is this CD.

Very different from the other recordings is the music of Ricky and Mbasalala, whose unaccompanied vocal music has a smoother and more contemporary sound. Ricky Gabin Randimbiarison has studied western music and music therapy, as well as the traditional music of his region. Zafimaneva Randriamazoto Mbasa, lala and his accompanists Sengemana and Christian come from southern Madagascar, and perform an energetic form of vocal music from that region that has some ties to similar choral music on the African mainland. This album, a super session of sorts, was conceived as a celebration of Malagasy vocal music by these musicians, all of whom usually work with instrumental support. The four vocalists create a complex, harmonically rich blend, and the dozen songs here, most of which are originals by Randimbiarison or Mbasalala, are beautifully performed and cleanly recorded by Birger Gethuisen. Taken together, these four very different discs offer some hint of the diverse musical heritage of the Malagasy.
- Michael Parrish (St. Charles, IL)

In 1982 Dick Gaughan embarked on a long and grueling U.S. tour where he drove from one end of the country to the other. Upon returning to Scotland, greatly fatigued, he came down with a viral throat infection and the fear at the time was that he would never sing again. Live in Edinburgh celebrated Gaughan's first solo concert since that illness and his triumphant return to performing.

Recorded in the fall of 1985 during the British coal miners' strike, this in many ways is the definitive Gaughan recording, reflecting the politics that had become the major influence on his music and his life. This contains some of the strongest political material he's ever performed. Songs like "Revolution," "Workers Song," "Which Side Are You On," and Leon Rosselson's "World Turned Upside Down" reflected Gaughan's growing concerns with the working class and the problems it was facing both in Scotland and the world. There are only two traditional songs here , "Now Westlin Winds" and "Glenlogie" , but both fit in the general mood of this recording.

This may not always be the easiest recording to listen to, but Gaughan speaks in a voice so knowing and truthful that this recording, 10 years after its release, can't be ignored.
- Jim Lee (Simi Valley, CA)

This third recording and best yet from this Austin duo continues in the fine tradition of the first two with 10 more excellent songs from Michael Elwood about life, love and politics, and two well-chosen covers. Elwood writes little stories about folks who, while their life stories may be interesting, may not necessarily be the people you want living next door. There's Janey and Billy in "Whiskey to Go" who go out drinking and somehow find themselves married, or the couple in "Honeymoon in Mexico" that head to Mexico when the bottom falls out from under them back in the States, and end up making a living running illegals across the border. Then there's the drunk in "Shakey Town" who wakes up and thinks he's gone to heaven the morning of the L.A. quake when he finds all kinds of excitement and lots of free food. That's the strength of Elwood's writing, to find the story in the day to day act of trying to survive and to present that with insight and humor. His characters always seem to cope with whatever problems they may have. They may be down, but they're not out.

The production by Paul Pearcy, who also plays drums, is simple and uncluttered. Key to this is Gurf Morlix (on loan from Lucinda Williams) on bass, electric & acoustic guitars, and mandolin. His understated touch is just the support Elwood's songs need. Add to this the flute and vocals of Beth Galiger and you come up with a perfect mix.
- Jim Lee (Simi Valley, CA)

24-year-old Norwegian Annbjørg Lien has been playing the hardanger fiddle for 17 years, and her repertoire combines different aspects of many Norwegian folk fiddling traditions, often with modern arrangements. Her impressive credentials range from having three tracks on the Kaiser/Lindley 1994 compilation of Norwegian music Sweet Sunny North [Shanachie 64057] to her performance at the closing ceremony of the Lillehammer Winter Olympics in 1994.

Felefeber is an all-instrumental album by a talented fiddler who has the ability to evoke many moods. She starts the disc smoothly and gently on "Water Lily." "Springar After Kristiane Lund" is a sprightly traditional piece dedicated to fiddle virtuoso Kristiane Lund (1899 to 1976) who made many contributions during a period when Norwegian folk fiddling was dominated by men. Lien penned a ballad she calls "Fiddle Fever/Fiddlemania," the tempo and exquisite beauty of which reminds me of Dave Swarbrick doing "Si Bheag Si Mhôr." Her instrumentation can be aggressive and powerful, as featured on "Dragos," written by her accompanist/arranger, Swedish guitarist Roger Tallroth. The forceful, energetic, arrangement of fiddle, guitar, and church organ on the dance "Nordfjord Halling," which pays tribute to turn-of-the-century fiddler Ola Kjellstad, will rattle your bones. There are nice explanatory notes for each cut, but Lien's accompanying musicians (flute, keyboards, mandolin/cittern, guitar) are unlisted and remain a mystery save for Tallroth.
- Al Riess (Buffalo, NY)

Delmore Brothers
Brown's Ferry Blues
County CCS-CD-115 (1995)

County has reissued 36 choice selections from the vaults of RCA's Bluebird Records: 18 tracks each by Uncle Dave Macon and the Delmore Brothers, two of country music's biggest radio, recording, and touring acts of the 1930s.
Singing, banjo playing Tennessean Macon began his performing and recording career at about age 55 in the mid-1920s. He became one of the first big stars of WSM's Grand Ole Opry, and started touring with the Delmore Brothers in 1934. By early 1935, he resumed his recording career with Bluebird, and this set documents some of Macon's exuberant performances. Some tracks are just Macon singing and picking, while on others he's backed by the Delmores on guitars, and occasionally by a fiddle player. Material ranges from the gospel song "Just One Way to the Pearly Gates" to the hilarious anti-marriage ditty "Give Me Back My Five Dollars." Also included are remakes of some of Macon's hits from the 20s like "I'll Keep My Skillet Good and Greasy" and the fun-filled happy-go-lucky title track. Classic old-timey music at its best.

Born into tenant-farm poverty in Alabama, Alton (1908) and Rabon (1916) Delmore learned music from their mother, grew up working the family crops, and were influenced by the blues singing of African-American field hands. In 1930 the brothers won a country music contest; they were on their way, but always feared a return to poverty. Between 1932, when they joined WSM radio in Nashville, and Rabon's death in 1952, the Delmores became Grand Ole Opry stars, wrote over 1,000 songs, made many records, toured frequently, influenced countless other performers, and worked regularly for 13 radio stations. As time progressed, their stints at the stations became shorter and shorter due to their excessive drinking.

The Delmore Brothers' close harmonizing is filled with poignancy and sadness, and many of their best songs from the 1933 to 1940 era, which are included on this disc, are about unrequited love, rambling, restlessness, escaping hard times, and yearning for good times gone by. Many tracks carry a bluesy feel. Instrumentation is simply two guitars, with Rabon frequently picking a mean lead, and a fiddler joins in a few times. This is a penetrating, moving, well-chosen set from one of America's leading duos of any genre.

Sound restoration is good and informative notes accompany both highly recommended discs. Macon and the Delmores deserve no less.
- Al Riess (Buffalo, NY)

By himself, overdubbing ethnic percussion and vocals, Hakmoun has recreated traditional Moroccan Gnawan music that is perfectly and purely alive today. Doesn't matter whether you like jazz, blues, world music, or whatever; this is fascinating. For Hakmoun , whose album on RealWorld was an insane joy , has tapped the root. His playing on the sintir, a bass lute, is Willie Dixon and every good jazz bassist you ever heard. The syncopated rhythms are the blues, ragtime and cool bop. This is where it all begins. It grooves in a way you wouldn't expect, with Hakmoun's sintir playing upfront, hitting a riff or improvising. Whether it's healing trance music, or something that could almost be a lost R&B classic, Hakmoun not only captures the feel (as well he should, being a member of the Gnawa), but puts it across. Hakmoun has done something wonderful. He's caught the universe on a disc.
- Chris Nickson (Seattle, WA)

Moonshine was originally released right after Pentangle broke up. It is therefore only fitting that this should be the first release on Bert Jansch's own label, now that the present Pentangle is on permanent hold. Though his solo albums are sometimes inconsistent, if ever there was an essential Bert Jansch album, this is it.

The song selection is outstanding, with Jansch giving impassioned readings of such traditional songs as "Yarrow," "Twa Corbies," and "Rambleaway," as well as a suitably austere version of Dave Goulder's classic "January Man." There is also a completely rewritten melody given to Ewan MacColl's much covered "The First Time Ever I Saw Your Face," with the backing vocals of Mary Visconti. Jansch contributed several original songs to this album and it is on these that he shines. Included are a spritely "Night Time Blues" and the title track, which has a John Renbourn-like medieval feel to it. The album ends with "Oh My Father," originally released as a single and containing one of Jansch's most fluid instrumental jams at the end.

Jansch's complex and lyrical guitar is given lots of room to move while being backed by a stellar core group of drummer Laurie Allen, Pentangle bassist Danny Thompson (who also produced), Tony Visconti on vocals, percussion and various instruments, and the searing guitar of Gary Boyle. Guest musicians drummer Dave Mattacks, fiddle player Aly Bain, harpist Skaila Kanga, and Ralph McTell on harmonica round out the album's rich and diverse sound.
- Lahri Bond (Hadley, MA)

Over the years Paul Brady has gained a reputation as a "musician's musician," first with such Irish traditional groups as The Johnsons and Planxty, and then with his 80s solo career. On this year's offering, Spirits Colliding, Brady is backed by the ace rhythm section of Flecktone brothers Roy and Victor Wooton on bass and drums, with guests Béla Fleck on banjo, and fellow countrymen Arty McGlynn (guitar) and Sharon Shannon (accordion) helping out along the way.

While he shares songwriting credits with John Prine on "Beautiful World" and Fairground Attraction's Mark E. Nevin on "Love Made a Promise," it is the songs that come strictly from Brady which are the best. "The World Is What You Make It" tells a humorous version of Hannibal watching the Roman Empire fall and marries the lyrics to a banjo-driven Egyptian uptown shuffle. Brady lays his emotional wounds bare in "Help Me to Believe," while elsewhere there is the dark cautionary tale of "Marriage Made in Hollywood," in which Brady echoes the tabloid sentiments that, "All you need to be a star is to die in open view."

Not all of the album is humor or gloom. In fact, when Brady turns his muse towards the happier kingdoms of the heart, he can write with an unashamed sensuality that few writers attempt, as in "I Want You to Want Me": "I speak with my body, A language I long to share."

The most gratifying aspect of this whole album is Brady's return to a more acoustic sound, which allows his fine guitar playing to shine through. Brady's brilliant expressive voice can be softly tender or howl with the pure love of singing.
- Lahri Bond (Hadley, MA)