Walkin' with Willie Nelson - 90th Birthday Celebration Concert on video and record (1 Viewer)

[simey]

The album cover differs from the usual portrait of the artist as an old man.  This time out, it's a black and white image of an old movie theater (teatro) with Willie's name on the marquee in big red letters.  There are some small pictures of different people where the theater would usually display movie posters but they're small and blurry.  I guess Willie's on the far left but I'm not sure.

The album was recorded inside the Teatro. Mark Howard saw it one day while passing through Oxnard in California. It once was a theater that played Spanish speaking films. Anyway, he and Daniel Lanois turned it into a recording studio in '95. They liked how music sounded inside the old theater. Several years later it was sold to someone else, and it is called the Teatro Boulevard Theatre now.

 

[Eephus]

The album was recorded inside the Teatro. Mark Howard saw it one day while passing through Oxnard in California. It once was a theater that played Spanish speaking films. Anyway, he and Daniel Lanois turned it into a recording studio in '95. They liked how music sounded inside the old theater. Several years later it was sold to someone else, and it is called the Teatro Boulevard Theatre now.

Wim Wenders directed a 52 minute long documentary film about the recording of the album called Willie Nelson at the Teatro.  I used all my Internet sleuthing skills but couldn't find anything beyond two music videos for "The Maker" and "I Never Cared For You"

 

[simey]

Wim Wenders directed a 52 minute long documentary film about the recording of the album called Willie Nelson at the Teatro.  I used all my Internet sleuthing skills but couldn't find anything beyond two music videos for "The Maker" and "I Never Cared For You"

I've never seen the documentary. 

 

[CletiusMaximus]

Just got an email:

IMPORTANT: Willie Nelson & Family CANCELED

I remember getting in early on the pre-sale date over two years ago and having 2 tickets in the balcony, ready to check out, then thought - neither my wife nor any of my normal show-buddies are going to want to go see Willie with me. So I searched and saw a single ticket in the front row and thought I'd get all shined up and sit there reminiscing and seeing Willie with his band one last time (with Lukas' band opening). That was over 2 years ago. The show's been rescheduled a few times and now I'm afraid I'll probably never get another chance.

 

[Dr. Octopus]

Teatro (1998)

Like many of his late-career albums, Teatro can be identified by Willie's collaborators.  He made the record with producer Daniel Lanois a couple of years after Spirit.  Lanois has one of the heavier thumbs among big-name producers; the music that he's worked on often sounds as much like a Lanois record as the primary artist's.  Lanois brought in an eclectic group of musicians to play behind Willie including members of The Family, Jazz pianist Brad Mehldau, Cyril Neville of the Meters and frequent Lanois' co-conspirator Malcolm Burn. But the key player is Emmylou Harris who previously worked with Lanois on Wrecking Ball and whose voice blends with Willie's about as wonderfully as you'd expect.

Teatro has a distinct sound among Willie's album. I promise I'll only use the word once in this write-up but Lanois' production features his usual atmospherics, although to a lesser degree than usual. He does add a heavy helping of drums though. After  listening to fifteen or so Nelson albums recently, I've found I enjoy him more with a more subtle rhythm section.  Willie's singing needs space to swing which is harder to do when everything is nailed to the beat.  It's very noticeable when the album comes to a quieter number like "Home Motel" where the drums sit out.  I preferred these moments and wished for more of them. I'm afraid I'm sounding too negative--it's a proper album with a rare cohesiveness.   The full band numbers sound something like Willie and Emmylou fronting Los Lobos.  I like that Willie is given a lot of space to play the guitar and some of the unusual musical arrangements work really well.  I went with "I've Just Destroyed the World", a lovely re-recording of an old song Willie wrote for Ray Price in 1962.  The way the strings and drums are recorded give a taste of Lanois' style and Willie and Emmylou sound completely natural singing together.

The album cover differs from the usual portrait of the artist as an old man.  This time out, it's a black and white image of an old movie theater (teatro) with Willie's name on the marquee in big red letters.  There are some pictures of different people where the theater would usually display movie posters but they're small and blurry.  I guess that's Willie's on the far left but I'm not sure.

I don't think I've mentioned yet how Louis avoids interaction with other dogs on the street. He usually heels directly beside me or a few feet ahead. When Lou sees another dog approaching, he'll slow his pace enough to fall just behind me. He'll then switch to what would be the weak side in sports parlance so that my body is positioned between Lou and the impending monster. I've come to expect this maneuver so I simply do a behind-the-back handoff to get his leash on the right side without either of us ever breaking stride.

I only discovered this album recently - I was blow away by how much I liked it.

I've been listening to a lot of Willie overall now, due solely to this thread - so thanks for that.

Go, Louis!

 

[Eephus]

God's Problem Child (2017)

Life has a way of taking things away from you as grow older so as Willie approached his mid-80s his writing turned to songs about growing old, losing friends and mortality. God's Problem Child has him working again with Buddy Cannon, continuing a productive songwriting and production partnership with old man Willie.  The two of them wrote the majority of songs on the album.

God's Problem Child is an excellent late career album. Cannon and his crew of musicians provide a clean professional sound that leaves Willie plenty of space in the spotlight.  Willie's voice is a little thinner but his singing about loss moves me as much as ever. His guitar chops are still mostly intact; whatever age has taken away in his technical picking abilities has been replaced with interest by Willie's willingness to take chances on his solos.

The overall quality of the songs make it tough again to pick a favorite. The centerpiece of the album is the title track, a slow burning Blues that Willie sings with Tony Joe White, Jamey Johnson and Leon Russell.  "Butterfly" may be a metaphor but it may just be Willie getting high and watching a butterfly in his garden. "Your Memory Has a Mind of its Own".  "He Won't Ever Be Gone" is a tribute to Merle Haggard that's pretty corny but still works because of the genuine affection of Willie's delivery. But I'll go with "Still Not Dead" a rollicking good time number built up from the line "and I woke up still not dead again today".

The album cover is the third picture of Willie bathed in red stage light that I've come across in this project.  It's an honest portrait of an 84 year old man.  He's wearing a bandanna with his name on it that probably sells for $20 at his shows. Willie's looking down at the album title that's written in a thin font with lots of curlicues.

Louis got a little aggressive at Hayes Green this morning. I've been trying to introduce him to some of the smaller dogs that are regulars at the park. Usually Lou just drops his tail, stiffens up and rides it out until the other dog loses interest and walks away. But today there were two dogs that approached and that was one too many for Lou.  I was squatting beside Lou because he does better with other dogs when I'm down with him instead of standing up. I could see Lou beginning to bare his teeth. The two dogs took the hint and left him alone. He's done this before, occasionally accompanied by a growl but not as much recently as before.  I'm not sure how to discourage this behavior because it worked from his perspective.

 

[Leroy Hoard]

Teatro (1998)

Like many of his late-career albums, Teatro can be identified by Willie's collaborators.  He made the record with producer Daniel Lanois a couple of years after Spirit.  Lanois has one of the heavier thumbs among big-name producers; the music that he's worked on often sounds as much like a Lanois record as the primary artist's.  Lanois brought in an eclectic group of musicians to play behind Willie including members of The Family, Jazz pianist Brad Mehldau, Cyril Neville of the Meters and frequent Lanois' co-conspirator Malcolm Burn. But the key player is Emmylou Harris who previously worked with Lanois on Wrecking Ball and whose voice blends with Willie's about as wonderfully as you'd expect.

Teatro has a distinct sound among Willie's album. I promise I'll only use the word once in this write-up but Lanois' production features his usual atmospherics, although to a lesser degree than usual. He does add a heavy helping of drums though. After  listening to fifteen or so Nelson albums recently, I've found I enjoy him more with a more subtle rhythm section.  Willie's singing needs space to swing which is harder to do when everything is nailed to the beat.  It's very noticeable when the album comes to a quieter number like "Home Motel" where the drums sit out.  I preferred these moments and wished for more of them. I'm afraid I'm sounding too negative--it's a proper album with a rare cohesiveness.   The full band numbers sound something like Willie and Emmylou fronting Los Lobos.  I like that Willie is given a lot of space to play the guitar and some of the unusual musical arrangements work really well.  I went with "I've Just Destroyed the World", a lovely re-recording of an old song Willie wrote for Ray Price in 1962.  The way the strings and drums are recorded give a taste of Lanois' style and Willie and Emmylou sound completely natural singing together.

The album cover differs from the usual portrait of the artist as an old man.  This time out, it's a black and white image of an old movie theater (teatro) 

I really liked this song off the Teatro album.

https://m.youtube.com/watch?v=802QYm2uDNU&list=PLYdrdCplgXvJvpEFmmvs1DPUJOSviKYQh&index=4

 

[Eephus]

I really liked this song off the Teatro album.

https://m.youtube.com/watch?v=802QYm2uDNU&list=PLYdrdCplgXvJvpEFmmvs1DPUJOSviKYQh&index=4

Willie's rockin' the Coogi for the show   Even with Emmylou missing, I think I like the live version better.

Nelson has 13 official live albums spanning nearly a half century (1966 to 2013).  The second one 1978's Willie and Family Live is generally regarded as the best.  I suppose I should listen to one of them at some point, likewise for his many collaborations.

 

[Dr. Octopus]

God's Problem Child (2017)

Life has a way of taking things away from you as grow older so as Willie approached his mid-80s his writing turned to songs about growing old, losing friends and mortality. God's Problem Child has him working again with Buddy Cannon, continuing a productive songwriting and production partnership with old man Willie.  The two of them wrote the majority of songs on the album.

God's Problem Child is an excellent late career album. Cannon and his crew of musicians provide a clean professional sound that leaves Willie plenty of space in the spotlight.  Willie's voice is a little thinner but his singing about loss moves me as much as ever. His guitar chops are still mostly intact; whatever age has taken away in his technical picking abilities has been replaced with interest by Willie's willingness to take chances on his solos.

The overall quality of the songs make it tough again to pick a favorite. The centerpiece of the album is the title track, a slow burning Blues that Willie sings with Tony Joe White, Jamey Johnson and Leon Russell.  "Butterfly" may be a metaphor but it may just be Willie getting high and watching a butterfly in his garden. "Your Memory Has a Mind of its Own".  "He Won't Ever Be Gone" is a tribute to Merle Haggard that's pretty corny but still works because of the genuine affection of Willie's delivery. But I'll go with "Still Not Dead" a rollicking good time number built up from the line "and I woke up still not dead again today".

The album cover is the third picture of Willie bathed in red stage light that I've come across in this project.  It's an honest portrait of an 84 year old man.  He's wearing a bandanna with his name on it that probably sells for $20 at his shows. Willie's looking down at the album title that's written in a thin font with lots of curlicues.

Louis got a little aggressive at Hayes Green this morning. I've been trying to introduce him to some of the smaller dogs that are regulars at the park. Usually Lou just drops his tail, stiffens up and rides it out until the other dog loses interest and walks away. But today there were two dogs that approached and that was one too many for Lou.  I was squatting beside Lou because he does better with other dogs when I'm down with him instead of standing up. I could see Lou beginning to bare his teeth. The two dogs took the hint and left him alone. He's done this before, occasionally accompanied by a growl but not as much recently as before.  I'm not sure how to discourage this behavior because it worked from his perspective.

I think it worked because it’s customary for dogs to back other dogs off when they don’t want to be bothered or are anxious and it’s “supposed” to be respected. Puppies don’t always learn can sometimes persist with older dogs and then trouble can happen.

 

[Eephus]

I think it worked because it’s customary for dogs to back other dogs off when they don’t want to be bothered or are anxious and it’s “supposed” to be respected. Puppies don’t always learn can sometimes persist with older dogs and then trouble can happen.

Louis is more likely to bare his teeth when a dog surprises him from behind. He doesn't do it much anymore in face to face encounters but he did so today.

Lou's nerves make training him a little different than my previous dogs.  He usually won't take a treat as encouragement or a reward when he's out and about. I've substituted a quick chest rub which he seems to enjoy.

 

[Eephus]

Yesterday's Wine (1971)

Yesterday's Wine is another early concept album following "Imperfect Man" from birth to death. If that sounds flimsy to you then we're in agreement.  I didn't pick up on it at all on first listen. It was only after I returned to it after reading some background about the album that I picked up on the theme. 

The album starts off heavy on the concept with a skit with  Imperfect Man played by Willie and members of his band. It doesn't make much sense but we learn that both Willie and imperfect Man are Tauruses. We never hear from Imperfect Man for the rest of the album but it's implied that all the first person songs are sung in his voice. It would have strengthened the concept if there were more similar spoken word pieces but it's probably a better record with just the one at the beginning.  The remaining of songs on side one are religious so I assumed Willie was just doing another Gospel record. Willie's religious songs are never overstated, they're just honest expressions combining old time religion and Willie's own spiritual musings.  Side one flows really nicely aided by a couple of medleys.  Nelson switches things up on side two and connection to the Imperfect Man business gets more nebulous.  That's a minor quibble because side two is an exceptional 15 minutes of music. For a guy who hadn't yet reached the midpoint of his life, Willie writes and sings with a tremendous longing for the past. The title track is another waltz that later was a hit duet by Merle Haggard and George Jones.  "Me and Paul" is a proto-Outlaw anthem about life on the road.  But the spotlight shines on "December Day"  which sounds like Willie singing Sinatra.

Going in to this project, I assumed Willie's pre-Outlaw albums were an inferior lot marred by over-production.  But Yesterday's Wine represents his RCA years well and doesn't sound that much different from Shotgun Willie.  It's a short listen, not even 30 minutes in length, but a worthwhile one.  I even liked the album cover of this one.  It's a pen and ink drawing of a smiling Willie wearing a cowboy hat against a white background  Willie rarely looks young on his records but this portrait takes a few of his 38 years away.  The name and title are in purple ink presumably because yesterday's wine was a red.

People from colder climes may not want to hear this but there's been a February heat wave here.  Yesterday reached the mid-70s but the sun made it seem even hotter.  Louis and I set out at mid-day for our walk and I soon realized how hot it was.  We usually walk on the sunny side of the street wherever possible but yesterday was opposite day in the shade.  I was probably more disorienting for me because I'm sort of on autopilot for our walks.  Usually Lou knows when we've turned for home and picks up his step but because we were on the other side of the street he didn't realize where we were until we were just a few blocks from home. 

 

[simey]

People from colder climes may not want to hear this but there's been a February heat wave here.  Yesterday reached the mid-70s but the sun made it seem even hotter.  

It looks like it is going to be hot in LA for the Super Bowl tomorrow. 

 

[Eephus]

It looks like it is going to be hot in LA for the Super Bowl tomorrow. 

Louis would disagree because he hates the stuff but we really need some rain.

 

[rockaction]

It looks like it is going to be hot in LA for the Super Bowl tomorrow. 

It's been very warm here the past few days. In the eighties. Not exactly football weather. Still better than the freezing temperatures I remember back East. But that's the desert for you. If only we had more water. 

 

[Leroy Hoard]

It's been very warm here the past few days. In the eighties. Not exactly football weather. Still better than the freezing temperatures I remember back East. But that's the desert for you. If only we had more water. 

I have a couple tons of free ice in my yard if you want to come and get it.

 

[Eephus]

Louis is picking the Bengals today because he loves to burrow

 

[Eephus]

A Horse Called Music  (1989)

History repeats itself on this record with a overblown approach that's reminiscent of the worst of Willie's RCA albums. But while the string sections on his 60s recordings aimed for the Nashville Countrypolitan sound that was fashionable at the time, the strings here are more like typical 80s middle-of-the-road adult contemporary Pop.

The album starts off promisingly with "Nothing I Can Do About It Now", Willie's last #1 hit on the Country singles charts. It's a solid song with a bit of Tejano feel to it.  After that, the strings come in to goop up every song but one.  "Is the Better Part Over" could have been something special if it had just been Willie and Trigger without all the violins.  Willie's singing is good as always but he seems a little disinterested at times. He only wrote three of the ten songs on the album and two of the three are re-recordings of songs from his early days.  He may have been preoccupied by his battles with the IRS.  I'll spotlight "Sprit" which has nothing to do with Willie's album by the same name but is instead an epic about the American Indian that rhymes "Wounded Knee" with "history".

The album cover is pretty cool. It's a painting of Willie with Trigger slung over his back sitting on a big black horse. The horse is rearing back but is seemingly floating in mid air.  There's a full moon and some fiery looking clouds painted in the background. The name and title are arched over the moon in a narrow all caps font.  The image would make a nice t-shirt.

I don't know if it's the change in the weather, the rather poor Willie album or his memories of watching Nightmare Alley with Mrs. Eephus and I last night but Louis has been subdued today.  He spent most of the morning hidden under a blanket and spent the first few blocks of our walk looking around nervously for God knows what.  He eventually calmed down after we got over the hill.

 

[Eephus]

He rode the Music from Boston to Bozeman
For not too much money, but way too much ride
But those were the days when a horse he called Music
Could jump through the moon and sail across the sky

Now all that's left is a time-old worn cowboy
With nothing more than the sweet by-and-by
And trailing behind, is a horse with no rider
A horse he calls memories that she used to ride

 

[simey]

I don't know if it's the change in the weather, the rather poor Willie album or his memories of watching Nightmare Alley with Mrs. Eephus and I last night but Louis has been subdued today.  He spent most of the morning hidden under a blanket and spent the first few blocks of our walk looking around nervously for God knows what.  He eventually calmed down after we got over the hill.

Lou may have been upset over the Rams victory, and he needed some quiet time under his blanket. During the walk he may have been looking around for possible loud Rams fans. This is all speculation, but it explains his actions.

 

[rockaction]

Lou may have been upset over the Rams victory, and he needed some quiet time under his blanket. During the walk he may have been looking around for possible loud Rams fans. This is all speculation, but it explains his actions.

Queen Occam to the rescue! 

 

[Eephus]

Lou may have been upset over the Rams victory, and he needed some quiet time under his blanket. During the walk he may have been looking around for possible loud Rams fans. This is all speculation, but it explains his actions.

Lou looks up at the sky more than I can recall my other dogs ever did. His head is usually on a swivel when we're out walking but as soon as he spots a monster on his short horizon, his focus is fixed forward.

 

[simey]

Lou looks up at the sky more than I can recall my other dogs ever did. His head is usually on a swivel when we're out walking but as soon as he spots a monster on his short horizon, his focus is fixed forward.

Have you ever seen the TV show Lucky Dog? It comes on Saturday mornings. Brandon McMillan is (or was) the dog trainer on the show, and he rescues a dog from the shelter each episode, and trains them to go to a specific family. He is so good. He left the show after being on it for several years, because it turned in to be something he didn't want. They wanted to start scripting the show and junk like that, and he didn't want to be a part of that. He still trains dogs. He is like a dog whisperer.  This is him working with an abused dog that doesn't like to be touched.

 

[Eephus]

Have you ever seen the TV show Lucky Dog? It comes on Saturday mornings. Brandon McMillan is (or was) the dog trainer on the show, and he rescues a dog from the shelter each episode, and trains them to go to a specific family. He is so good. He left the show after being on it for several years, because it turned in to be something he didn't want. They wanted to start scripting the show and junk like that, and he didn't want to be a part of that. He still trains dogs. He is like a dog whisperer.  This is him working with an abused dog that doesn't like to be touched.

The only thing I watch on Saturday mornings is sports

Lou is good with 5 1/2 of the 7 basic commands from the video.  He'll stay if he's next to me but wants to come towards me if I tell him to stay when we're apart.  I've never bothered with the down command because this city is filthy.

 

[Dr. Octopus]

I don't know if it's the change in the weather, the rather poor Willie album or his memories of watching Nightmare Alley with Mrs. Eephus and I last night but Louis has been subdued today.  

It was a pretty disturbing movie.

 

[Eephus]

To Lefty From Willie (1977)

Willie recorded this album as a tribute to fellow Texas singer/songwriter Lefty Frizzell who had passed away a couple years earlier at the age of 47. The ten songs are all covers of Frizzell originals performed by Willie and the Family.  Lefty and Willie are similar songwriters who generally stick to honest, heartfelt songs of love and lost love so it's not much of a stretch for Willie to make these songs his own.  Willie's voice has seldom sounded better--he has to reach a bit to hit some of the higher notes that were in Frizzell's natural range but the effect is to make Willie's singing a little more vulnerable.

It's an excellent album in large part because of the straightforward arrangements and production that allow Willie's voice to shine.  If all his albums were recorded exactly like this one, Willie's catalog would be the better for it albeit a lot less interesting.  There are a couple of Lefty's train songs "She's Gone, Gone, Gone" and "Railroad Lady" that vied for the spotlight but I'm going with "I Never Go Around Mirrors". It's a beautiful ballad with a guitar solo that speaks to the broken heart of the narrator. 

There's not much to the album cover.  It's just the title in gold script on a plain white background.  It reminds me of Beggar's Banquet.  It's classy I guess but it doesn't give a hint about the magic contained within the record's grooves.

Louis hasn't been up to much lately so I'll go back to an old story. It was a few weeks after we got him, long enough for him to have transitioned to a retractable leash.  I had to stop off at our neighborhood grocery to pick up a couple of things for dinner.  Nick's Market is too well stocked to be a bodega but it's definitely not a supermarket either.  My old pal Bosley used to cry and bark whenever I left him outside of NIck's but he stopped as soon as I was in his sight.  Since Lou is so quiet, I figured it would be OK to leave him outside for a couple of minutes while I went inside.  The retractable leash had a nylon lead connected to its clasp. Lou didn't want to stay outside so he quickly chewed through the lead and came into the store to look for me. He found me in the checkout line and leaped into my arms.  The owners at Nick's let Lou come inside now; he's his usual shy self when people try to talk to him but he's cool. I managed to repair the leash and we still use it today. 

 

[CletiusMaximus]

To Lefty From Willie (1977)

Willie recorded this album as a tribute to fellow Texas singer/songwriter Lefty Frizzell who had passed away a couple years earlier at the age of 47. The ten songs are all covers of Frizzell originals performed by Willie and the Family.  Lefty and Willie are similar songwriters who generally stick to honest, heartfelt songs of love and lost love so it's not much of a stretch for Willie to make these songs his own.  Willie's voice has seldom sounded better--he has to reach a bit to hit some of the higher notes that were in Frizzell's natural range but the effect is to make Willie's singing a little more vulnerable.

It's an excellent album in large part because of the straightforward arrangements and production that allow Willie's voice to shine.  If all his albums were recorded exactly like this one, Willie's catalog would be the better for it albeit a lot less interesting.  There are a couple of Lefty's train songs "She's Gone, Gone, Gone" and "Railroad Lady" that vied for the spotlight but I'm going with "I Never Go Around Mirrors". It's a beautiful ballad with a guitar solo that speaks to the broken heart of the narrator. 

There's not much to the album cover.  It's just the title in gold script on a plain white background.  It reminds me of Beggar's Banquet.  It's classy I guess but it doesn't give a hint about the magic contained within the record's grooves.

Louis hasn't been up to much lately so I'll go back to an old story. It was a few weeks after we got him, long enough for him to have transitioned to a retractable leash.  I had to stop off at our neighborhood grocery to pick up a couple of things for dinner.  Nick's Market is too well stocked to be a bodega but it's definitely not a supermarket either.  My old pal Bosley used to cry and bark whenever I left him outside of NIck's but he stopped as soon as I was in his sight.  Since Lou is so quiet, I figured it would be OK to leave him outside for a couple of minutes while I went inside.  The retractable leash had a nylon lead connected to its clasp. Lou didn't want to stay outside so he quickly chewed through the lead and came into the store to look for me. He found me in the checkout line and leaped into my arms.  The owners at Nick's let Lou come inside now; he's his usual shy self when people try to talk to him but he's cool. I managed to repair the leash and we still use it today. 

Great record. I took a look at the Spotify link and thought - something's missing?  Checked Wikipedia and I see the classic, "If You've Got the Money Honey, I've got the Time" is listed as a "2003 bonus track."  I'm not sure exactly what that means - maybe they just added that song to later versions of this record?  My impression is this is probably one of Willie's most famous songs.

 

[CletiusMaximus]

There's not much to the album cover.  It's just the title in gold script on a plain white background.  It reminds me of Beggar's Banquet.  It's classy I guess but it doesn't give a hint about the magic contained within the record's grooves.

A band named Phosphorescent did a Willie Nelson tribute record years ago that used a copy-cat album name and cover - To Willie. I think the band is really just one guy and it seems like he does some cool stuff. Anyway, his Willie tribute is terrible.  I bought it and listened through once, hated it. A couple years later, I decided for an unknown reason to give it a second shot, - still hated it. Don't recommend.

 

[Eephus]

Great record. I took a look at the Spotify link and thought - something's missing?  Checked Wikipedia and I see the classic, "If You've Got the Money Honey, I've got the Time" is listed as a "2003 bonus track."  I'm not sure exactly what that means - maybe they just added that song to later versions of this record?  My impression is this is probably one of Willie's most famous songs.

Like a lot of Willie's albums, To Lefty From Willie is really short.  At only 28 minutes, you could fit the whole thing on one side of a C60 cassette. 

I assume Columbia added "If You've Got the Money Honey, I've got the Time" to the CD version even though it originally appeared on a different album.

 

[Eephus]

A band named Phosphorescent did a Willie Nelson tribute record years ago that used a copy-cat album name and cover - To Willie. I think the band is really just one guy and it seems like he does some cool stuff. Anyway, his Willie tribute is terrible.  I bought it and listened through once, hated it. A couple years later, I decided for an unknown reason to give it a second shot, - still hated it. Don't recommend.

I love "Song for Zula" but Matthew Houck's voice is an acquired taste.

 

[simey]

To Lefty From Willie (1977)

"Railroad Lady"

Jimmy Buffett and Jerry Jeff Walker wrote this song. Jimmy says he and Jerry Jeff took a long train ride together (on the Panama Limited), and wrote it on the train. Jerry Jeff doesn't remember helping write it (they drank on the train), but Jimmy says he helped and gave him credit for it. Lefty Frizzell was the first to release the song in early '73, and Jimmy released his version that summer. Jerry Jeff's version came out the same year as Willie's version. Anyway, I love the song.

 

[simey]

 Since Lou is so quiet, I figured it would be OK to leave him outside for a couple of minutes while I went inside.  The retractable leash had a nylon lead connected to its clasp. Lou didn't want to stay outside so he quickly chewed through the lead and came into the store to look for me. He found me in the checkout line and leaped into my arms.  The owners at Nick's let Lou come inside now; he's his usual shy self when people try to talk to him but he's cool. I managed to repair the leash and we still use it today. 

I love that Lucky Lou gets to come in the market now. 

 

[Eephus]

Jimmy Buffett and Jerry Jeff Walker wrote this song. Jimmy says he and Jerry Jeff took a long train ride together (on the Panama Limited), and wrote it on the train. Jerry Jeff doesn't remember helping write it (they drank on the train), but Jimmy says he helped and gave him credit for it. Lefty Frizzell was the first to release the song in early '73, and Jimmy released his version that summer. Jerry Jeff's version came out the same year as Willie's version. Anyway, I love the song.

I guess I should have looked up the songwriting credits before doing the writeup.  Eight of the songs were Frizzell originals, "Railroad Lady", "She's Gone, Gone, Gone" and "A Little Unfair" were written by others and recorded by Lefty.

I listened to a Frizzell compilation yesterday as an introduction to the artist.  Willie generally played it pretty straight with the covers but his versions have less of the 60s reverb than the originals. There's also a weird fuzz guitar part on Frizzell's version of "She's Gone, Gone, Gone" that Willie wisely eschewed.

Frizzell's last #1 Country hit was a song called "Saginaw, Michigan" from 1964.  His rhyming of Saginaw, Michigan with Saginaw fisherman made me laugh out loud.

 

[simey]

I guess I should have looked up the songwriting credits before doing the writeup. 

Frizzell's last #1 Country hit was a song called "Saginaw, Michigan" from 1964.  His rhyming of Saginaw, Michigan with Saginaw fisherman made me laugh out loud.

I'm glad you didn't look them up, and I could give a little trivia on JB and JJW. 

I just listened to "Saginaw, Michigan." 

 

[Eephus]

The Great Divide (2002)

Willie was pushing 70 in 2002 and had just moved to yet another record company. Lost Highway was a hot roots-based indie label at the time but somebody there decided it was a good idea for Willie to attempt another Pop crossover.  The Great Divide teamed him up with young producer Matt Serletic who'd made his reputation with Matchbox Twenty. 

You'd think after 40 years of making records, people would understand what works for Willie yet here we are with an album that lays on the strings and drums and buries Trigger way down in the mix.  There are a bunch of duets with established AOR artists Sheryl Crow, Bonnie Raitt, LeAnn Womack, Brian McKnight and...checks notes...Kid Rock .  The one with Womack "Mendocino County Line" is the best of the duets which isn't really saying much.  There are songs written by Rob Thomas and Bernie Taupin as well as covers of hits by Cyndi Lauper and Kenny Rogers.  Willie only contributes one song of his own, the title track which is one of the album's few highlights that lets Willie be Willie.  Instead I'll spotlight one of Thomas' songs "Recollection Phoenix" that is the album's most successful attempt at a contemporary AOR update to Willie's sound.

The album cover is a black and white portrait of Willie and Trigger. The top half of Willie's head and Trigger's fretboard are cropped out of the photo.  Willie's hair is braided and he's wearing a black tank top. The album title is made to look like it's etched into Trigger's surface. Thankfully it's just an effect because it would be a constant reminder of a sub-par album.

Louis did some heavy (for him) barking this weekend. Mrs. Eephus woke up in the middle of the night and couldn't fall back to sleep so she decided to set-up the coffee maker for the morning.  Lou heard her stirring in the kitchen and barked a few times; they wouldn't have scared a home invader unless but they were sincere.  They were loud enough for her to hear in the next room and to wake me up.  We shared a good laugh when she came back to bed.

 

[Eephus]

The duet with Kid Rock "Last Stand in the Open Country" is as bad as you'd imagine it would be.  It's a Western fantasy about outlaws and gunfights and golden calves.  Willie sounds like he wandered into the wrong studio but in his defense he was probably off playing golf somewhere when the arena rock guitars and drums were added to the mix.  I'm a peaceful man but I want to punch Kid Rock even more than usual when he sings over Willie in the bridge.

 

[Eephus]

Across the Borderline (1993)

Across the Borderline came after an uncharacteristically long layoff between albums and was released shortly after Willie settled his case with the IRS. It's an especially strong bid by Willie to crossover to AOR complete with an A-list producer (Don Was), big star duets (Paul Simon, Bonnie Raitt, Bob Dylan and Sinead O'Connor), and a set of songs by Simon, Dylan, Peter Gabriel, Lyle Lovett and John Hiatt.  The large cast of collaborators makes for an album that's a bit unwieldy but one that still hits on all cylinders.

Producer Was gives the record a sound that's polished and radio friendly without ever being too slick.  Willie and Trigger are in their usual great form at the center of the room.  His duet partners all bring something different to the party but don't outshine the star.  "Getting Over You" with Raitt is the best of the duets but they're all pretty good.  Among the covers, Willie's version of "Graceland" is closer to Tennessee than South Africa and his cover of the title track is more understated than the Freddy Fender/Ry Cooder classic.  My pick for the playlist is "Farther Down the Line", Willie's stripped down version of Lyle Lovett's tale of a broken down cowboy.  It sent me down a mini-tangent of listening to a couple of Lovett albums. 

The album cover goes for a sepia tone picture of Willie and a horse separated by some barbed wire. He's resting after his ride against a stump.  Willie's wearing a black hat and some pants or chaps with buttons all down the leg. The album title is in a red font that pops against all the earthtones.

Louis is doing well.  We went to the park yesterday; he's still avoiding encounters with other dogs but he's much more comfortable going off the trail than he used to be.  While walking back from the park we ran into @ditkaburgers and her friend having a drink at a table outside of a bar. Lou was really excited to see her. He sat patiently on my lap while I joined them for a beer.

 

[Eephus]

I reread my post and think I might have undersold Across the Borderline a bit.  It's a very solid and enjoyable album that maintains its quality over a CD length (59 min).

 

[CletiusMaximus]

I reread my post and think I might have undersold Across the Borderline a bit.  It's a very solid and enjoyable album that maintains its quality over a CD length (59 min).

I really like American Tune. Nice to hear that one again. Also the Peter Gabriel / Kate Bush tune he does with Sinead - Don’t Give Up. Then I guess somewhat oddly he decided to put She’s Not For you from Shotgun Willie on at the end.  Not sure why that’s on there, but it’s a great song. 

 

[Eephus]

Willie, Louis and I are taking this on hiatus until late April. 

I'm planning on revisiting Red Headed Stranger and a couple of other Nelson albums in advance of his new album A Beautiful Time on April 29th.  It'll be his 72nd studio album which is still fewer than Zappa but is an amazing body of work.

 

[Uruk-Hai]

Willie, Louis and I are taking this on hiatus until late April. 

I'm planning on revisiting Red Headed Stranger and a couple of other Nelson albums in advance of his new album A Beautiful Time on April 29th.  It'll be his 72nd studio album which is still fewer than Zappa but is an amazing body of work.

Hope all is ok, Eephus. Take care and I'll be looking for the thread bump.

 

[CletiusMaximus]

Willie, Louis and I are taking this on hiatus until late April. 

I'm planning on revisiting Red Headed Stranger and a couple of other Nelson albums in advance of his new album A Beautiful Time on April 29th.  It'll be his 72nd studio album which is still fewer than Zappa but is an amazing body of work.

I reckon the timing should be perfect for you to do Pretty Paper around Christmas time. 

 

[Eephus]

I reckon the timing should be perfect for you to do Pretty Paper around Christmas time. 

I could do his Reggae album on 4/20

 

[neal cassady]

It'll be his 72nd studio album which is still fewer than Zappa but is an amazing body of work.

I propose that you and Louis tackle Zappa’s catalog next! 

 

[Eephus]

I propose that you and Louis tackle Zappa’s catalog next! 

Back when Boz was still around, I thought about alternating Sinatra and Zappa albums in a battle of the Franks. 

I love Willie more than I did in January but his albums are tough to write up after a while. The strong ones, which is most of them, don't stray far too from Willie's soul. The ones that try to do something different are generally the ones that I didn't like as much. But even those are still pretty solid because Willie's singing (and playing when he's allowed) is always authentic.

Louis and I still go on walks and need tunes to listen to. I'm considering another artist with a more idiosyncratic catalog but I have to run it past Lou.

 

[UncleZen]

The duet with Kid Rock "Last Stand in the Open Country" is as bad as you'd imagine it would be.  It's a Western fantasy about outlaws and gunfights and golden calves.  Willie sounds like he wandered into the wrong studio but in his defense he was probably off playing golf somewhere when the arena rock guitars and drums were added to the mix.  I'm a peaceful man but I want to punch Kid Rock even more than usual when he sings over Willie in the bridge.

I actually just heard this for the 1st time today. I didn't think it was that bad. I mean, it's not Whiskey River but it wasn't bad. 

 

[Eephus]

I was dreading having to bump this thread before April due to a death in the family.  RIP Sister Bobbie who passed away yesterday at the age of 91.

Willie recorded with lots of different keyboard players in his long career.  Some of them had stronger chops and bigger reputations but none played in simpatico with Willie like she did.

 

[Eephus]

Willie's new album A Beautiful Time comes out next Friday.  I've consciously avoided the pre-release songs except for the first single.

Lou and I will probably listen to some other Nelson albums to get back in the mood. 

 

[Eephus]

Pancho & Lefty - Merle Haggard & Willie Nelson (1983)

Willie has always been generous sharing the spotlight.  He's recorded more collaborative albums than most artists have albums.  He's paired up here with Merle Haggard who was also under contract to a CBS affiliated label at the time.  Willie and Merle have a similar understated singing style; Merle's deeper baritone is a nice complement to Willie's voice.  They don't do a ton of harmonizing, many of the songs are more like solo numbers with the other singer joining in on the chorus.  They occasionally swap verses as well which are some of the most memorable moments on the album.

Pancho & Lefty was produced by the legendary Chips Moman who brought in his usual Memphis Boys house band to anchor the tracks.  Willie brought along Mickey Raphael to blow the harmonica and Merle's horn playing ace Don Markham features on a couple of tracks.  Moman had produced Willie's Always on My Mind a couple of years previous.  Pancho & Lefty has a similar Pop feel but it doesn't get in the way of Willie and Merle's singing.

It's a very nice album with a passel of fine songs.  Willie and Merle sound like a couple of old friends sitting around talking.  The title track is one of Townes Van Zandt's greatest songs.  The two great singers embody the spirit of Lefty, the old survivor remembering the outlaw past of he and Pancho.  Merle's solo number "My Mary" is another elegiac song that could bring a tear to wikkidpissah's eye.  There's an inspired bit of sequencing with "Reasons to Quit" followed directly by Merle's re-recording of his hit "No Reason to Quit".  But I'm spotlighting "All the Soft Places to Fall" a lovely waltz written by frequent Haggard collaborator Leona Williams. It's another tale of old cowboys reminiscing about  the good old days while dreaming of "a home life and clean-smelling sheets and all the soft places to fall".

The album cover is a two-shot of the Merle and Willie standing in front of a painting of the desert.  Willie looks particularly happy in his big sombrero while Merle puffs out his chest a little in defiance of his receding hairline.  The album title is in very fine print sandwiched between the names of two music legends.  Merle gets top billing this time.

It's been almost two months since my last report on Louis.  He is still a very good boy but remains frightened of almost every dog he meets. I still think he's made some progress though. He's a bit more self-assured, especially after dark.  There are occasions where he's not terrified during a one-on-one encounter with another small dog.  But you can forget about it when he encounters a bunch of dogs.  A couple of weeks ago we were at the dog park on Page Street. It has a small fenced in garden when the neighborhood dog people chat.  Lou was in there but not particularly happy about even though the other dogs were leaving him alone.  He was hiding behind my legs per usual while keeping an eye on the competition.  As soon as the other dogs turned their back on Lou, he took purposeful but casual steps toward the gate.  I was saying my goodbyes to the dog people so Lou reached the gate well before I did.  He slithered under the gate, turned and looked back at me as if to ask what was taking me so long.

 

[Eephus]

Two Men with the Blues -Willie Nelson & Wynton Marsalis (2008)

In my initial pass through the Willie Nelson catalog I stuck to his solo studio Country albums. I consciously avoided collaborations, live albums and his recordings of the Great American Songbook. This 2008 release is a triple makeup pick because it's a collaborative live album of standards recorded as part of the Jazz at Lincoln Center program in early 2007.

Willie is accompanied by Wynton Marsalis and his quintet with the ever present Mickey Raphael sitting in on the harmonica.  As the title suggests, the setlist is mostly the Blues with a couple of ballads thrown in.  The songs are structured as Jazz numbers with Willie usually singing the head before the band passes the baton around with sixteen bar solos.  Willie's voice has sounded better but his guitar playing is enlivened by playing with the younger Jazz cats.  He sometimes gets drowned out by the band a bit but he seems to be having a good time.

Say what you will about Marsalis' ultra traditionalist approach to Jazz music, he does have impeccable technique on the trumpet and has always picked excellent sidemen. He sings a little on this album and does so about as well as Willie plays the trumpet. It must have been a special couple of nights that I'm glad was captured on record. It's kind of a nonessential curiosity in both artists' catalog but it's a fun one nonetheless.  My favorite cut was their take on Willie's classic "Night Life" led off by Marsalis' trumpet intro and featuring some lovely picking by Willie.

The album cover is Willie and Wynton sitting and smiling backstage.  Trigger is slung over Willie's neck and Marsalis is holding whatever pet name he's given to his horn. Willie is dressed all in black while Wynton opts for a a light brown waistcoat with lapels.  The writing follows the black and brown theme in a typeface with rounded serifs.

Louis is sleeping in Bosley's old dog bed now. We had stashed it away after he died but recently found it again. It's nice that Lou is finding comfort in someplace where Boz spent so much time.

 

[Dr. Octopus]

I don't know the album (yet) so my love was for the last line about Lou sleeping in Bosley's old bed.