Though he was not present at the actual recording, the sonic spirit of Daniel Lanois hovers over this album. The follow-up to the ground-breaking Wrecking Ball incorporates both elements and players from its predecessor.

Lanois acolyte, Malcolm Byrne, produced this recording and has brought his talents to the fore. There is an ethereal quality to the music’s layers of sound while Harris’ voice has become more an instrument and sound texture than has often been the case in the past. Always the focal point, even when duetting with Dave Matthews and Patti Scialfa, Harris’ voice is also superbly framed by the harmonies of Daryl Johnson, Julie Miller, Bruce Springsteen, Kate McGarrigle and others.

For the first time in many years, Harris has written the bulk of the songs, either solo or with co-writers like Rodney Crowell, Guy Clark, Daryl Johnson and Jill Cuniff. In general, they have a spiritual quality that is balanced by the detail of the characters she depicts, as on the title track, which tells of growing up in a small town and of what that ultimately can mean to those who never leave.

Long-time fans will regret the move from a more solid Country base, yet there is still a hint of that feel and atmosphere here, albeit buried deep beneath the surface. However, there is no doubting that this new direction has rekindled her creative spirit again and rescued her from a life as a guest vocalist. Country Music Radio’s refusal to accept artists of her stature must also count as a reason why a performer like Emmylou Harris has, to a degree, turned her back on straight country,

Red Dirt Girl can only enhance the reputation of one of the finest contemporary vocalists.

And, if her duet with Dave Matthews brings Emmylou to the attention of a new set of fans, well, all the better – for her and them.