Following on from the belated release of Trio II comes this new collaboration. The absence of Dolly Parton's more traditional/pop leanings means that Western Wall edges closer to the harder rock nuances of Harris' Wrecking Ball album.

While veteran producer Glyn Johns lacks something of Daniel Lanois' sensibility and subtlety, he nonetheless helps deliver an intriguing album, and one that showcases the dynamic interplay of Ronstadt and Harris' voices and the adventurous song selection.

Alongside covers of Bruce Springsteen's 'Across The Border', Leonard Cohen's 'Sisters Of Mercy', Jackson Browne's 'For A Dancer' and Sinéad O'Connor's 'This Is To Mother You' - all given readings that remain true to the spirit of the originals - there are tracks from lesser-known writers, including the opening 'Loving The Highway Man' by Andy Prieboy. There are also three tracks written by Emmylou Harris: an excellent rumination on life, death and music in 'Raise The Dead', 'Sweet Spot' written with Jill Cunniff and 'All If Left Behind', co-written with Kate and Anna McGarrigle (who also join Linda Ronstadt to add some powerful harmonies behind Harris' lead vocal).

Highlights include '1917', David Olney's beautifully written tale of a soldier on leave in Paris during the First World war, and Paul Kennerly's 'He Was Mine'. The closing 'Across The Border' best reflects the Tucson mood - Ronstadt's lead vocal is strong and Neil Young and Emmylou Harris' graceful harmonies float over a backdrop of pedal steel, accordion and Bernie Leadon's guitar.

Western Wall is a mostly successful pairing that makes you wonder what would happen if they teamed up with Calexico to take the whole thing a step further. But for now, this is enough to be going on with.