Emmylou Harris & Rodney Crowell
Old Yellow Moon
The single biggest obstacle between a critic and a critical review of Old Yellow Moon is the reverence demanded by a collaboration of such artistic and historical significance. So why don’t we get that part out of the way first?
Nearly forty years ago, Emmylou Harris emerged from the shadows of the late Gram Parsons to forge her own solo career. By her side was a hungry young songwriter, Rodney Crowell. Supplying her with startlingly good material, Harris assembled a series of seminal albums that balanced his bold and original songs with both country and rock classics and other songs by marginalized writers.
In the years that have since elapsed, both have become legends, with Harris maintaining commercial success in mainstream country music and Crowell scoring hits as a singer as well as a songwriter. When radio was done with both of them, they had glorious second acts in the bourgeoning Americana scene, each of them producing albums that ranked among their best personal work.
Now the two legends have come together for their first collaborative album as peers, a project that now seems inevitable but until now seemed impossible, given how far the two have wandered from their shared starting point four decades ago. It sounds like the decision they made was to go completely back to their roots, so there are no Crowell polemics or self-penned Harris tunes.
Old Yellow Moon is a simple collection of country songs, most of which have been recorded before, sometimes by Crowell or Harris themselves. It’s worth noting that it’s a country album, too. It will be labeled Americana, but only because of AARP eligibility of the performers and the self-imposed limitations of terrestrial radio. Throughout the entire project, Crowell and Harris play it straight, a choice that produces some wonderful rewards but also holds the proceedings back at some crucial moments.
Let’s talk about the good stuff first. The album opens and closes with Hank DeVito tunes, and the opening “Hanging Up My Heart” finds Harris in fine voice, backed with a country beat that harkens back to her run of hits in the early seventies. The duo turns in a solid
cover of Roger Miller’s “Invitation to the Blues”, one of several songs that even relatively recent connoisseurs of traditional country will know well.
The challenge of familiarity hangs over the proceedings, and the artists find creative ways to counter expectations in some instances. “Dreaming’ My Dreams” has been covered to death, but their decision to alternate lead vocals between the verses and chorus adds a layer of shared regret that won’t be found in any of the excellent solo recordings of it in recent years. “Bluebird Wine” opened Emmylou’s first Reprise album, but having Crowell take the lead instead, with his haggard voice weathered by time, gives a new sense of redemption to the story of a drifter taken “in off of the highway.”
“Open Season of My Heart” was a wry highlight of Tim McGraw’s Live Like You Were Dying set, but Crowell’s delivery changes it completely. Where it was once dripping with irony and self-deprecation, it is now heartbreakingly despondent. A smart lyrical change that leaves off the original final line makes the transformation work.
The album includes a cover of Matraca Berg’s “Back When We Were Beautiful”, and it’s powerful to hear the lyrics sung by an aging voice. If Harris had gone the extra step and delivered the lyrics in the first person, it would have reached transcendence. That’s a disappointing missed opportunity, as good as the finished product still is.
Actually, that description is apt for a good deal of the project, which never dips below the level of pure, polished goodness but plays it a bit too safe to elevate it into the ranks of either artist’s best work. “Black Caffeine” is a cool song, but it begs for a more emphatic production, something along the lines of “Fate’s Right Hand” or “Deeper Well.”
“Spanish Dancer” is beautiful, but Harris doesn’t compensate her increasingly bewildering poor enunciation with enough vocal flourishes to paper over how hard it is to follow the storyline because you can’t quite understand what she’s singing.
“Bull Rider” does a decent job at mimicking the rhythm of Johnny Cash’s original recording, but you can actually hear that Crowell wrote it for Cash. He did so well at writing it for the Man in Black that his own take on it sounds like a demo recording in comparison, despite some cool harmonies from Harris along the way.
But complaining about the flaws feels a bit like complaining about some smudges on the window after returning home for the first time in years. The homecoming itself is its own reward, and while Old Yellow Moon isn’t among the greatest efforts from either Harris or Crowell, it’s a wonderful listen in its own right, and a welcome return for both artists to the simple pleasures of well-written and lovingly performed good old country music.