Wednesday, January 12, 1983
Daily Nebraskan
'Lasti: Bafie': h iu live on Es it Emmyloia
o
Last Date
Hmmylou Harris
Warner Bros.
Perhaps the most suc
cinct appraisal of live al
bums was made by singer
Jimmv Buffett when he
entitled his concert opus
"You Had to be Tfwre."
Generally, live albums are
not the most satisfying of
recordings. The "In-person"
spontaneity is lost when the
stage show is transferred to
vinyl. Artists often make
live albums to fulfill con
tractual obligations, rather
than out of a compelling
pride in their stage shows.
Additionally, the live album
often is nothing more than
a greatest hits collection,
and a poor one at that,
since the live versions are
usually slower and less tho
rough than their studio
counterparts.
However, F.mmylou
Harris' latest album Last
Date, is a remarkable ex
ception to the live album
stereotype. Harris is not
changing recording labels,
she sings all first-time mate
rial and her band's live
sound is as polished and
Review
professional as its studio
efforts.
Most notable on Last
Date is the song selection.
No title on this 12-song
album has ever appeared on
an Fmmylou Harris album.
Hairis' sources for material
have always been quite ec
lectic, which, in previous
efforts, made her albums
seem occasionally dis
jointed. However, Last Date
is a collection of mostly
country standards that
you've heard 100 times be
fore, but never this well.
It all fits together perfectly.
The album opens with
Hank Snow's "I'm Movin'
On," which serves as an
excellent showcase for the
Hot Band, Harris' group.
Other country standards
such as "So Sad (To Watch
Good Love Go Bad),"
"(Lost His Love) On Our
Last Date," "Restless," and
"It's Not Love (But It's
Not Bad)" are given a
certain sort of vibrance
and energy other country
music artists have somehow
overlooked.
Not content to be merely
a "country singer," Harris
branches out to unlikely
sources, delivering compel
ling versions of "country
boy" Bruce Springsteen's
"Racing in the Streets"
and Neil Young's "Long
May You Run."
The album's only short
coming, if it can be called
that, is an over-use of songs
originally recorded by Har
ris' mentor, the late Gram
Parsons. While Harris' ver-
Some records loaned courtesy of Rolling Records
r
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i i t ii h
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sions are good, they do not
surpass the originals. How
ever, for those unfamiliar
with Parsons' music (un
fortunately, the numbers
are legion), 1ms Date offers
more than adequate intro
duction to such Parsons
standards as "Devil in Dis
guise" "Juanita" and "Gre
vious Angel."
Except for this minor
flaw, Last Date is a nearly
perfect venture. As impres
sive as Harris' repertoire is
the virtuosity of Hot Band.
Guitarist Frank Reckard's
solos are as fine as any
on vinyl and Steve Fish
ell's steel guitar and dobro
arrangements brilliantly
punctuate each selection.
And Harris demonstrates
she is no instrumental light- consistent singers, live and
weight with her electric gui- in person. More impor-
tar solo on Buck Owen's tantly, it proves that a live
"Buckaroo." album can be more than
In short, Emmylou Har- just live it can be a
ris Last Date offers a real album as well,
thoroughly pleasing glimpse
at one of today's most Mike Frost
C-
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