- Audio CD
- Number of Discs: 1
- Label: Import
- ASIN: B001APFIN8
- Other Editions: Audio CD | Vinyl | MP3 Download
- Average Customer Review: 4.4 out of 5 stars See all reviews (21 customer reviews)
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Product Description
Amazon.co.uk review
Emmylou Harris has always had a way with woe. On All I Intended To Be, she seems more maudlin than ever as she sings her way through songs about loss, heartbreak, even the odd funeral. Of course, this is the kind of material Harris has always been comfortable with, but as her career and years advance gracefully, so her gliding soprano seems to breathe ever more refinement and soul into her material. All I Intended To Be has been produced by Brian Ahern, her former husband and the man behind her first 11 albums--another reason the album sounds so comfortable and accomplished. Joined by a virtuoso set of players including keyboardist Glen Hardin and multi-instrumentalist Stuart Duncan, plus vocalists Vince Gill, Buddy Miller, and Dolly Parton, Harris blends a handpicked selection of cover versions with her own material. Tracy Chapman's "All That You Have Is Your Soul" gets a honeyed reworking, as does Merle Haggard's "Kern River" and Mark Germino's "Broken Man's Lament". Billy Joe Shaver's "Old Five" and "Dimers Like Me" both get respectfully and sublimely covered too. But her own songs - in particular "Sailing Round the Room" and "Gold" - stand up well to these evergreens. An eclectic and profound set, All I Intended To Be is also one of Harris’ best in recent years.--Danny McKenna
Uncut, May 2008
Harris is as proud, painful, and plaintive as ever here, dripping with life and dealing in dire certainties.'
* * * * (stars)
* * * * (stars)
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Customer Reviews
Most Helpful Customer Reviews
63 of 70 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
In 1995 Emmylou Harris cut "Wrecking Ball", the first of four ground breaking albums, that took her into new directions and defined a new musical genre, alternative country. Now, recording with producer (and ex husband) Brian Ahern for the first time in 25 years, Emmylou Harris looks back into the past on her own terms because her phrasing and the swirling sounds of those albums are much in evidence on this largely acoustic set.
Harris and Ahern have assembled a stellar cast of supporting musicians and singers for this production most of whom have recorded with her many times over her career. They include Kate and Anna McGarrigle, Dolly Parton, Vince Gill, Glen D Hardin, Bill Payne and Buddy Miller.
The songs follow the themes of sorrow for love lost, death, low self esteem, growing old and, finally, the promise of redemption in "Beyond The Great Divide". There are some real gems in this collection, including "Gold" with Vince Gill and the most traditional country on offer, Patti Smith's exquisite "Moon Song", Billy Joe Shaver's "Old Five And Dimers Like Me" and her own "Sailing Around The Room" where, at the point of death, her spirit flies through the window to join with nature. Then, there is the Harris/McGarrigle song "How She Could Sing The Wildwood Flower" about the love that A P Carter had for his wife Sara - simply beautiful and not a dry eye in the house!
The production and musicianship are impeccable but the most memorable thing about this album is Emmylou's voice. Time has been kind to her glorious pipes which have come to define her as an icon of Americana and able to convey depths of emotions that most other artistes find impossible. Just listen to the despair in Gold when she sings "But though I flew on wings of angels/My feet were always made of clay."
Thus, with the simplest of materials, she has been able to transform them into carefully woven tapestries of gold and produce an album which ranks among her best.
Harris and Ahern have assembled a stellar cast of supporting musicians and singers for this production most of whom have recorded with her many times over her career. They include Kate and Anna McGarrigle, Dolly Parton, Vince Gill, Glen D Hardin, Bill Payne and Buddy Miller.
The songs follow the themes of sorrow for love lost, death, low self esteem, growing old and, finally, the promise of redemption in "Beyond The Great Divide". There are some real gems in this collection, including "Gold" with Vince Gill and the most traditional country on offer, Patti Smith's exquisite "Moon Song", Billy Joe Shaver's "Old Five And Dimers Like Me" and her own "Sailing Around The Room" where, at the point of death, her spirit flies through the window to join with nature. Then, there is the Harris/McGarrigle song "How She Could Sing The Wildwood Flower" about the love that A P Carter had for his wife Sara - simply beautiful and not a dry eye in the house!
The production and musicianship are impeccable but the most memorable thing about this album is Emmylou's voice. Time has been kind to her glorious pipes which have come to define her as an icon of Americana and able to convey depths of emotions that most other artistes find impossible. Just listen to the despair in Gold when she sings "But though I flew on wings of angels/My feet were always made of clay."
Thus, with the simplest of materials, she has been able to transform them into carefully woven tapestries of gold and produce an album which ranks among her best.
35 of 39 people found the following review helpful
Format:Audio CD
The title : a fanfare, a declaration and a manifesto.
This collection of thirteen new recordings brings us
to some kind of pinnacle in Ms Harris's long career.
She must know this to be true. The evidence is there for us to hear.
After the dry, rasping austerity of 'Red Dirt Girl' (2000);
the warm, reassuring classicism of 'Stumble Into Grace' (2003)
and the uncomfortably eneven collaboration with Mr Knopfler,
'All The Road Running' (2006); 'All I Intended To Be' is a
trancendent epiphany. A true and perfect wonder.
Maturity of voice and musical vision; finely honed interpretive insight
and the ability to create a sense of intense gravitas from the simplest
ingredients are all marks of an artist functioning at the very
height of her remarkable powers.
A track by track deconstruction would seem somehow ignoble given
material of such consummate beauty.
Suffice to say that with the song 'All That You Have Is Your Soul'
the world seems to turn to face the sun. Music to warm the coldest spirit.
Either side of it twelve more wonderful examples of songs to raise
your hopes and break your heart.
Quintessential.
Inimitable.
Sublime.
This collection of thirteen new recordings brings us
to some kind of pinnacle in Ms Harris's long career.
She must know this to be true. The evidence is there for us to hear.
After the dry, rasping austerity of 'Red Dirt Girl' (2000);
the warm, reassuring classicism of 'Stumble Into Grace' (2003)
and the uncomfortably eneven collaboration with Mr Knopfler,
'All The Road Running' (2006); 'All I Intended To Be' is a
trancendent epiphany. A true and perfect wonder.
Maturity of voice and musical vision; finely honed interpretive insight
and the ability to create a sense of intense gravitas from the simplest
ingredients are all marks of an artist functioning at the very
height of her remarkable powers.
A track by track deconstruction would seem somehow ignoble given
material of such consummate beauty.
Suffice to say that with the song 'All That You Have Is Your Soul'
the world seems to turn to face the sun. Music to warm the coldest spirit.
Either side of it twelve more wonderful examples of songs to raise
your hopes and break your heart.
Quintessential.
Inimitable.
Sublime.
18 of 20 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Rapidly shaping up to be one of the best of 2008, this is probably Emmylou Harris's best record since Spyboy, although stylistically it is closer to Wrecking Ball, and I have to add that there was nothing at all wrong with the intervening works.
It was a well-placed, curiosity-pricking ad for Spyboy, Harris's 1998 live album, that got me started. Until then I'd only had a vague regard for the "country" genre. After, I was hooked, and was amazed at her ubiquity, finding her making appearances with Lucinda Williams, Nanci Griffith, Rodney Crowell, Sheryl Crow, Dolly Parton and Linda Ronstadt, as well as being the driving force behind the Gram Parsons tribute The Return Of The Grievous Angel (Brilliant. I don't care what the reviewers say).
And they return the compliment, with Dolly here joining Harris on Gold, their voices intertwining perfectly.
Emmylou Harris is not, of course, just about country. The rhythm section she brought to London in the wake of Spyboy would not, on the evidence of their jamming mid-concert, have looked out of place with Herbie Hancock. Ricky Skaggs, at one time part of Harris's band, remarked rather petulantly of her more recent music that it was "not country", but all of it, country and otherwise, shares a cabinet with Miles Davis, Joni Mitchell and The Clash in my world. The label is everything and nothing.
But though country is, I guess, what this latest offering is closer to, what counts is that the songs, music and production add up to an exceptional experience.
Songs first. Some great originals; some superb covers. Standouts in the latter category are Merle Haggard's Kern River; Billy Joe Shaver's Old Five And Dimers Like Me; and a totally stunning version of Tracy Chapman's All That You Have Is Your Soul, which comes about closest to a political statement here, and has a trace of Lovin' You Again, from Cowgirl's Prayer, just as the rendition of Crowley and Routh's Beyond The Great Divide has a fade reminiscent of Gone, Long Gone from Trio II. Almost inevitably there is also a song cowritten by Harris with the McGarrigles, How She Could Sing The Wildwood Flower. Also inevitable is that the sisters joined in on the recording.
Musically there is a stellar array of contributors, armed with an arsenal of instrumentation from mandolin, through accordion, banjo and fiddle, together with the obligatory guitars, Dobro and steel and some exotica such as mandocello and baritone electric guitar. Musicians include old standbys such as Buddy Miller (the only thing a girl needs, as she described him when they appeared on Jools Holland's show) and John Starling.
Finally, the production, and the tribute to that element is that, although this collection has taken several years in gestation it sounds, as Bob Harris observed when Emmylou appeared on his radio programme, of one time.
Two closing notes. First, listening this gave me an even greater appetite to listen to Harris's back catalogue. And second, it is very seldom that I will play a record two times in succession: this is one of the exceptions.
It was a well-placed, curiosity-pricking ad for Spyboy, Harris's 1998 live album, that got me started. Until then I'd only had a vague regard for the "country" genre. After, I was hooked, and was amazed at her ubiquity, finding her making appearances with Lucinda Williams, Nanci Griffith, Rodney Crowell, Sheryl Crow, Dolly Parton and Linda Ronstadt, as well as being the driving force behind the Gram Parsons tribute The Return Of The Grievous Angel (Brilliant. I don't care what the reviewers say).
And they return the compliment, with Dolly here joining Harris on Gold, their voices intertwining perfectly.
Emmylou Harris is not, of course, just about country. The rhythm section she brought to London in the wake of Spyboy would not, on the evidence of their jamming mid-concert, have looked out of place with Herbie Hancock. Ricky Skaggs, at one time part of Harris's band, remarked rather petulantly of her more recent music that it was "not country", but all of it, country and otherwise, shares a cabinet with Miles Davis, Joni Mitchell and The Clash in my world. The label is everything and nothing.
But though country is, I guess, what this latest offering is closer to, what counts is that the songs, music and production add up to an exceptional experience.
Songs first. Some great originals; some superb covers. Standouts in the latter category are Merle Haggard's Kern River; Billy Joe Shaver's Old Five And Dimers Like Me; and a totally stunning version of Tracy Chapman's All That You Have Is Your Soul, which comes about closest to a political statement here, and has a trace of Lovin' You Again, from Cowgirl's Prayer, just as the rendition of Crowley and Routh's Beyond The Great Divide has a fade reminiscent of Gone, Long Gone from Trio II. Almost inevitably there is also a song cowritten by Harris with the McGarrigles, How She Could Sing The Wildwood Flower. Also inevitable is that the sisters joined in on the recording.
Musically there is a stellar array of contributors, armed with an arsenal of instrumentation from mandolin, through accordion, banjo and fiddle, together with the obligatory guitars, Dobro and steel and some exotica such as mandocello and baritone electric guitar. Musicians include old standbys such as Buddy Miller (the only thing a girl needs, as she described him when they appeared on Jools Holland's show) and John Starling.
Finally, the production, and the tribute to that element is that, although this collection has taken several years in gestation it sounds, as Bob Harris observed when Emmylou appeared on his radio programme, of one time.
Two closing notes. First, listening this gave me an even greater appetite to listen to Harris's back catalogue. And second, it is very seldom that I will play a record two times in succession: this is one of the exceptions.
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Most Recent Customer Reviews
A fine collection of slow reflective songs - no up-tempo tracks
The fact this is a one-paced collection of slow beatiful ballads is what appeals - as the mood is maintained throughout. Read more
Published 1 month ago by Martin P
ONE OF HER BEST ALBUMS
This is such a good album by the wonderful Emmylou Harris. About half of the songs are written by Emmylou herself alone or co-written with the McGarrigle sisters, the rest are... Read more
Published 13 months ago by Ronny Søgård
Please try harder
This from the Amazon review:-
Billy Joe Shaver's "Old Five" and "Dimers Like Me" both get respectfully and sublimely covered too.
Both? Read more
Billy Joe Shaver's "Old Five" and "Dimers Like Me" both get respectfully and sublimely covered too.
Both? Read more
Published on 13 Feb 2010 by R. W. Graves
Always a quality offering
A superb album. I wasn't too sure as to what to expect, a return to old form or a further departure in the form of 'Stumble Into Grace' & 'Spy Boy' (Both good albums) This has not... Read more
Published on 25 Jun 2009 by Michael Nicholl
Approaching the sublime
The sound is a departure from Wrecking Ball (1995), Red Dirt Girl (2000) and Stumble Into Grace (2003), considered her Daniel Lanois trilogy although the last two were produced by... Read more
Published on 19 Jun 2009 by Pieter
an excellent album
This is Emmylou Harris's best album for several years and marks a return to the melodic songs she produced on her first albums back in the seventies. Read more
Published on 18 May 2009 by C. J. Nutt
Was that what you intended?
What a shame. I'm a really big Emmylou fan and though I fully appreciate she's had some sad or melancholic songs over the years, somehow I've managed to tag along with them... Read more
Published on 11 May 2009 by P. Freeman
Emmylou Harris
This is great stuff - after a couple of so so albums where she tried to take off in a new direction (and that thing with Mark Knopler which we'll draw a discreet veil over) - this... Read more
Published on 5 April 2009 by Mr. J. Wadman
Her best album in a decade
The more I listen to this album the more I appreciate it. When thinking of my top ten at years end, I'll possibly upgrade it to 5 stars, but at this time there is a little... Read more
Published on 16 Mar 2009 by The Electric Ghost
All I expected it to be
She may not have the greatest voice ever, say compared with Judy Collins or Joan Baez, but no one does pathos like Emmylou Harris. Read more
Published on 25 Jan 2009 by Dr. W. H. Konarzewski
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