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A CLASSICALLY CONCEIVED album for one such as myself – two songs by Parsons, one by the Louvin Brothers, a Rodney Crowell, a Mr. Guy Clark, a Townes Van Zandt (very much in the Guy Clark mould), and an Emmylou/Rodney collaboration (like 'Amarillo').

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Then there's the Hot Band, as hot as ever, with Albert Lee proving that he's at least an adequate substitute for James Burton, if a rather faster picker, and on occasion a bit more upfront, plus a few great support musicians like ace harp player Mickey Raphael (the best thing about Willie Nelson's band, for my money), dobro dynamo Mike Auldridge from Washington heroes the Seldom Scene, fiddler Ricky Skaggs, and Herb Pedersen and Dolly Parton on backing and sometimes sharing lead vocals.

The anticipation produced by the above is generally equalled by what's in the grooves, and sometimes far exceeded, as on the opening title track, where a very authentic Sun-style backing is spearheaded by Albert Lee taking a couple of solos much a la his classic 'Country Boy'. Then 'Poncho and Lefty' is an excellent gunfighter ballad type song, taken from an album with the exaggerated title The Late Great Townes Van Zandt, which interestingly also contains a Guy Clark song 'Don't Let The Sunshine Fool Ya'. 'Making Believe' has Herb P. playing Gram Parsons' role on a dyed-in-the-wool country duet, while Auldridge and Skaggs play the beautifully obvious before the appropriate cliche heralds the return of the vocal.

'You're Supposed To Be Feeling Good' is Rodney's song, playing heavy on the phaser to produce a spacey backing track under Emmy's pure vocal. It's not quite as instant as the brilliant 'Gain Control', but it'll grow on me, I'm sure. On the other hand, Susannah Clark's 'I'll Be Your San Antone Rose' is totally contagious immediately, and will destroy me when I see it live. The best side I've heard this year, and likely to stay in the top three.

Side two starts with the only jarring feature, this album's 'Jambalaya'. Like that old chestnut, I've heard 'You Never Can Tell' at least twice as many times as I'd like to. Doubtless it's selection has something to do with different conceptions of corniness here and in America...After that, it's straight back on top with a duet by Emmy and Dolly on 'When I Stop Dreaming', a Louvin Bros. song. When will we be able to buy Louvin Brothers records? Mickey Raphael blows a blue storm here too, before moving to bass harmonica for the call and response 'Hello Stranger', which is highly ethnic as befits a Carter Family original, and goes out like a barn dance. 'She' somes next, the latest instalment in the continuing tradition of bringing GP to the audience he deserved, and which Emmylou inherited. Sign off is 'Tulsa Queen', which as Allan Jones (who is a great friend of mine, by the way) (I've got better things to do than listen to your problems, Johnny boy – Ed.) noted, shows off the Hot Band's ability to perfectly mesh the melody instruments in a continuing and fluctuating pattern.

This, boys'n'girls, is a record you should have, and soon, because it is just fabulous, and will readily slide into the category labelled 'classic'. An aural delight such as few are capable of providing.

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THIS IS AN album that has been quite eagerly anticipated, mainly because of the reputation Emmylou Harris built for herself with her participation as co-vocalist on Gram Parsons' brilliant, posthumous Grievous Angel.

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While Ms. Harris' role in all that has probably been overstated (it was undeniably Parsons' own achievement), she nevertheless did show considerable promise, especially as Linda Ronstadt made an inferior contribution to that album.

Thus Warner Bros, have allowed her all the facilities she could wish for her first album solo. It's typical contemporary country-styled album from outside redneck territory (Maryland, it seems) in that the regular retinue of session-men, from the The Eagles to Byron Berline and James Burton, put in an appearance and the songs chosen include not only Dolly Parton and Merle Haggard, but also Shel Silverstein and the Bryants, Boudeleaux and Felix (incorrectly spelt Felix on the sleeve, deduct ten points).

Emmylou has a capable, plaintive voice which avoids the whining overkill of a Tammy Wynette. I thought at first she hadn't quite the range to sustain interest through an album on her own, but I've since attributed that to inaccurate first impressions. The album's undeniably of considerable quality.

Apart from the vocals (and on 'If I Could Only Win Your Love' Herb Pedersen's voice joins with Emmylou's to recall the vocals of Grievous Angel), the album compels attention by reason of the fine, fine production, which is by Brian Ahern, who has previously won accolades this year with his work on Anne Murray's Highly Prized Possession.

Here, the production is of studied perfection. Careful and precise use is made of each instrument, and there's a beautiful clarity to the proceedings. And of course, the playing throughout is immaculate; one of the most memorable moments is Rick Cunha's guitar solo on 'Bottle Let Me Down'.

With the exception of 'For No One' (I'm usually averse to re-readings of Beatles' songs 'cos I've enjoyed them too much in their original states to countenance re-interpretation; here, especially, the song is taken at an unneccessarily dirge-like pace), the selection of numbers is fine.

The material chosen is, on the whole, safe – but no doubt on a debut album safety is the best policy. One major disappointment is that she hasn't included more original material since the one song with which she is co-credited, 'Boulder To Birmingham', is one of the most attractive here.

The important thing about this album is that it provides her with a solid achievement on which to build in future. (And it confirms the emergence of a brilliant producer in Brian Ahern).

I have no real complaints, though I might mention that since the phrase "Linda Ronstadt appears by courtesy of Asylum Records" is now becoming standard information on records like this, the non-Asylum record companies concerned might consider standardising the line and appending it to the copyright note.