Roses In The Snow

Sound DNA

• Country
• Bluegrass

• twangy
• mournful
• southern

About

Framed as a rebuke to critics who called her not country enough—or who claimed she was stuck in a country-rock “rut,”to use one columnist’s words—Emmylou Harris’ 1980 album <i>Roses in the Snow</i> found the singer diving almost entirely into bluegrass sounds. Though Harris had no genetic or geographic ties to the music, her voice and its almost antique charms proved well-suited to the style, as did her penchant for soaring harmonies. Though there are no billed guests, <i>Roses in the Snow</i> is dizzyingly star-studded, befitting Harris’ considerable status by this point in her career; luckily, those big names are only buried in the credits, not in the mix. Most listeners will likely be able to discern Dolly Parton on the harmonies of “Green Pastures”; less obvious, perhaps, is Willie Nelson as a guest on guitar. And keep an ear open for Johnny Cash’s bass-baritone on “Jordan,” and Linda Ronstadt’s potent alto on “Gold Watch and Chain.” The ensembles gathered for <i>Roses in the Snow</i> included Harris’ Hot Band, as well as what amounts to a who’s-who of bluegrass: Ricky Skaggs—who’d been on all of her albums to that point—makes an appearance, as do Tony Rice, Jerry Douglas, and the White Family. Together, they channeled virtuosic playing into deceptively straightforward traditional songs. There’s nothing rough-hewn about this proudly country record; instead, the takes are flawless, capturing the very best in the field playing and singing with poise and feeling. The only aberration from the album’s stated mandate is Harris’ take on Simon and Garfunkel’s “The Boxer,” which seamlessly translates the slick harmonies of the 1960s folk revival into a more robust, decidedly Appalachian sound. If it frustrated bluegrass purists, it thrilled fans, as Harris once more used her relative commercial heft to bend her label to her will, and did so with her trademark gumption.

via Apple Music

Tracklist

Credits