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Walkin' with Willie Nelson - 90th Birthday Celebration Concert on video and record (1 Viewer)
- Thread starter Eephus
- Start date
simey
Footballguy
Willie started being able to be himself with Shotgun Willie. He wouldn't get complete creative control until joining Columbia and doing Red Headed Stranger, but Outlaw Willie had arrived. He also formed the Family as his backing band starting with this album.
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Uruk-Hai
Footballguy
Yep. Gram Parsons & Big John Cash had laid the groundwork, but this was Outlaw's launching pad.
Eephus
Footballguy
They dressed Louis in cat clothes at the party last night. He was pretty good natured about it but you can tell by the angle of his ears that he wasn't really digging being the center of attention.
wikkidpissah
Footballguy
it almost looks like his ears have been Brylcreemed back to be more mom-ready
Uruk-Hai
Footballguy
Eephus
Footballguy
The Promiseland (1986)
Allmusic only gives The Promiseland two stars which makes it eligible to be called an underrated gem. It was one of two albums Willie released in 1986. He was supported this time out by The Strangers who were better known as the backing band for Merle Haggard. The Strangers are a tight outfit who sound great playing with Willie. It's a shame they only worked together on this album and one of the Nelson-Haggard collaborations. Jimmy Belken's fiddle figures prominently on the album, at least I'm guessing it's Belken rather than Johnny Gimble who is also listed in the credits. I checked all the usual references but the track-by-track information about the musicians has been scattered to the winds since 1986.
The album kicks off with the hit single "Living in the Promiseland" a pro-immigration song that probably wouldn't reach #1 today because of how the issue has trended since the Reagan years. No matter what your views are on the subject, I hope we can reach consensus that it's not a good song. It's more Pop than Country and more schlock than Willie. It reminds me a little of Christopher Cross' "Sailing". Fortunately the rest of the album is nothing like the first track. The Strangers replace the studio musicians and Willie kicks back and sings. He sounds completely in his element and even more relaxed than usual. The song choices are all over the map including one Willie original, another Texas song "No Place Like Texas", a swinging version of "Basin Street Blues" and J.S. Bach's Minuet in G. but they all work. My pick for the playlist is a lovely Gypsy Jazz cover of singing cowboy Jimmy Wakely’s song “You’re Only in My Arms (To Cry on My Shoulder)". It only has 8,338 streams on Spotify which seems criminally low.
Guess what? the album cover is a portrait of Willie. Who saw that coming? He's dressed like a mountain man this time and he's standing in front of a big rock. No hat today, just a black bandanna. Willie's name is bolded because he was huge in 1986. The album and the single reached #1 on the Country charts.
Louis and I had a nice walk this morning. We met a 14 year old dog named Lady Gaga who had a large tumor on her hind leg. Her owner also had three other small dogs who were more interested in Lou than vice versa. Lou adopted his usual posture of tucking his tail and ears and finding a spot where he was screened by my legs. I chatted with the guy for a couple minutes of mindless dog talk. As soon as I made a motion to leave the park Lou's tail popped up and started wagging. This happens a lot.
Allmusic only gives The Promiseland two stars which makes it eligible to be called an underrated gem. It was one of two albums Willie released in 1986. He was supported this time out by The Strangers who were better known as the backing band for Merle Haggard. The Strangers are a tight outfit who sound great playing with Willie. It's a shame they only worked together on this album and one of the Nelson-Haggard collaborations. Jimmy Belken's fiddle figures prominently on the album, at least I'm guessing it's Belken rather than Johnny Gimble who is also listed in the credits. I checked all the usual references but the track-by-track information about the musicians has been scattered to the winds since 1986.
The album kicks off with the hit single "Living in the Promiseland" a pro-immigration song that probably wouldn't reach #1 today because of how the issue has trended since the Reagan years. No matter what your views are on the subject, I hope we can reach consensus that it's not a good song. It's more Pop than Country and more schlock than Willie. It reminds me a little of Christopher Cross' "Sailing". Fortunately the rest of the album is nothing like the first track. The Strangers replace the studio musicians and Willie kicks back and sings. He sounds completely in his element and even more relaxed than usual. The song choices are all over the map including one Willie original, another Texas song "No Place Like Texas", a swinging version of "Basin Street Blues" and J.S. Bach's Minuet in G. but they all work. My pick for the playlist is a lovely Gypsy Jazz cover of singing cowboy Jimmy Wakely’s song “You’re Only in My Arms (To Cry on My Shoulder)". It only has 8,338 streams on Spotify which seems criminally low.
Guess what? the album cover is a portrait of Willie. Who saw that coming? He's dressed like a mountain man this time and he's standing in front of a big rock. No hat today, just a black bandanna. Willie's name is bolded because he was huge in 1986. The album and the single reached #1 on the Country charts.
Louis and I had a nice walk this morning. We met a 14 year old dog named Lady Gaga who had a large tumor on her hind leg. Her owner also had three other small dogs who were more interested in Lou than vice versa. Lou adopted his usual posture of tucking his tail and ears and finding a spot where he was screened by my legs. I chatted with the guy for a couple minutes of mindless dog talk. As soon as I made a motion to leave the park Lou's tail popped up and started wagging. This happens a lot.
simey
Footballguy
Back in 2018, I saw Kris Kristofferson at the Merlefest, and he had The Strangers and Ben Haggard (Merle's son) play as his backing band. They did a couple Merle numbers, and I was so excited that one of those songs was "Sing Me Back Home."
Waylon Jennings
Footballguy
Dr. Octopus
Footballguy
Eephus
Footballguy
I had to search upthread because I didn't remember being so unequivocally negative about one of Willie's songs.
Eephus
Footballguy
Moment Of Forever (2008)
Willie was 75 when he recorded this album. This time out he was paired with Kenny Chesney and his producer Buddy Cannon. who try a little of everything but unfortunately a lot of their efforts fail flat. There's a duet with Chesney, a song that sounds like U2 ("Over You Again"), a monumentally dumb pirate song by Big & Rich ("The Bob Song") and covers of Randy Newman, Bob Dylan and Dave Matthews. I had a hard time writing this album up because it's kind of meh. The mainstream Country production isn't bad, it just isn't right for the artist.
One of the things that makes Willie such a great singer is how he is able to take a song and make it his own. He seldom sounds as as ill at ease as he does on the DMB song "Gravedigger". I don't know if it's the meter of the lyrics or the words themselves but Willie and the rhythm section seem at odds with each other. But all of Willie's albums have their charms and this one is no exception. I chose a Nelson original "Always Now" for the playlist because of breeziness of its vaguely Latin rhythms and its simple message to live in the moment
It's always now
There never was a used to be
Everything is still with me
And it's always now
The album cover is one of my favorites so far. I believe it's the first to show Trigger. The golden brown of the guitar stands out against a black background. Willie is wearing a snazzy Western shirt. He's looking down at his fingers on the fretboard so you can only see part of his face. The name and album title are written in a way that reminds me of the stitching on Willie's shirt. Album art had to adapt to the reduced working space of CDs vs. LPs. This cover is simple and effective.
Louis is generally a low drama dog. There's not much to write about from our daily walks unless he gets bumrushed by another dog which both try to avoid. I'll fill the quota by telling some old Louis stories so they're written down for posterity. When we first got Lou, he was underweight. He probably hadn't been eating in the shelter because he was so nervous. We still had some cans of Bosley's kidney formula dog food around so we started Lou on that. The new diet coupled with the excitement of being in new surroundings were tough on his stomach. He didn't have accidents but he did have some horrendous gas for the first week or so. I remember us all sitting in @ditkaburgers apartment talking about what a nice boy Louis was and how lucky we were to have him around. The conversation got around to how we couldn't imagine why anyone could have let Louis go because he's so sweet. At that moment, we all got a lungful of one of Lou's farts which cracked us up. I guess you had to be there but it was extremely hilarious by early pandemic standards.
Willie was 75 when he recorded this album. This time out he was paired with Kenny Chesney and his producer Buddy Cannon. who try a little of everything but unfortunately a lot of their efforts fail flat. There's a duet with Chesney, a song that sounds like U2 ("Over You Again"), a monumentally dumb pirate song by Big & Rich ("The Bob Song") and covers of Randy Newman, Bob Dylan and Dave Matthews. I had a hard time writing this album up because it's kind of meh. The mainstream Country production isn't bad, it just isn't right for the artist.
One of the things that makes Willie such a great singer is how he is able to take a song and make it his own. He seldom sounds as as ill at ease as he does on the DMB song "Gravedigger". I don't know if it's the meter of the lyrics or the words themselves but Willie and the rhythm section seem at odds with each other. But all of Willie's albums have their charms and this one is no exception. I chose a Nelson original "Always Now" for the playlist because of breeziness of its vaguely Latin rhythms and its simple message to live in the moment
It's always now
There never was a used to be
Everything is still with me
And it's always now
The album cover is one of my favorites so far. I believe it's the first to show Trigger. The golden brown of the guitar stands out against a black background. Willie is wearing a snazzy Western shirt. He's looking down at his fingers on the fretboard so you can only see part of his face. The name and album title are written in a way that reminds me of the stitching on Willie's shirt. Album art had to adapt to the reduced working space of CDs vs. LPs. This cover is simple and effective.
Louis is generally a low drama dog. There's not much to write about from our daily walks unless he gets bumrushed by another dog which both try to avoid. I'll fill the quota by telling some old Louis stories so they're written down for posterity. When we first got Lou, he was underweight. He probably hadn't been eating in the shelter because he was so nervous. We still had some cans of Bosley's kidney formula dog food around so we started Lou on that. The new diet coupled with the excitement of being in new surroundings were tough on his stomach. He didn't have accidents but he did have some horrendous gas for the first week or so. I remember us all sitting in @ditkaburgers apartment talking about what a nice boy Louis was and how lucky we were to have him around. The conversation got around to how we couldn't imagine why anyone could have let Louis go because he's so sweet. At that moment, we all got a lungful of one of Lou's farts which cracked us up. I guess you had to be there but it was extremely hilarious by early pandemic standards.
Doug B
Footballguy
Eephus
Footballguy
Willie was already almost 30 when he released his debut album in 1962.
His voice has been a remarkably durable and consistent instrument over the decades. He's lost a bit of his upper register to age but he never spent a lot of time up there in his prime. He's had some respiratory issues recently which caused his voice to sound a little thin on his most recent album but the only time I've ever heard him sound ragged is on that Karen O duet that rockaction posted a page back.
Eephus
Footballguy
I should have mentioned this in the writeup for ...And Then I Wrote but Willie is unique among beloved musicians in that he never seemed young.
There's skinny Sinatra, pre-Army Elvis, the Beatles in Hamburg, etc. etc. but Willie was an old soul beyond his years when he made his first recordings. He was 40 when he moved to Austin and 52 when he appeared on "We Are the World". That's not exactly Susan Boyle but it's pretty close for the always youth obsessed music industry.
There's skinny Sinatra, pre-Army Elvis, the Beatles in Hamburg, etc. etc. but Willie was an old soul beyond his years when he made his first recordings. He was 40 when he moved to Austin and 52 when he appeared on "We Are the World". That's not exactly Susan Boyle but it's pretty close for the always youth obsessed music industry.
Eephus
Footballguy
Words Don't Fit the Picture (1972)
This was the final album Willie recorded for RCA before packing up and heading out to Austin. the label released other Nelson albums afterwards but they were pieced together from earlier sessions. It was a pivotal point in Willie's personal life as well. He and his second wife Shirley had just gotten divorced which is reflected in the track listing. All ten songs were written or co-written by Willie and most of them are about breakups and heartbreak. Phases and Stages is Willie's most famous divorce record but Words Don't Fit the Picture can be viewed as a bit of a dry run.
Words Don't Fit the Picture is the best of the RCA records I've heard. The big Nashville Sound is turned down and completely muted on some tracks. Even when the backing voices are laid on thick, they accentuate the sadness of the weepier numbers like "Will You Remember?" The songs are all strong except for the atmospheric throwaway "London". The best known one is "Good Hearted Woman" but I always consider that more of a Waylon song. My pick for the playlist is the title track. It's a breakup song of course but the end is described in a very matter of fact manner. It's a great song and one that wouldn't be out of place on his more critically acclaimed 70s classics.
And speaking of not fitting the picture, let's talk about the album cover. Willie stands center stage holding a well-traveled guitar case. He's wearing a straw cowboy hat, gold Elvis sunglasses, a tan leather jacket and bell bottomed jeans with studs down the seams. He's flanked by a blonde woman in a white fur hat and a chauffeur (played by producer Felton Jarvis) standing behind the driver's side door of a silver Rolls Royce. The name and title are printed in a very 70s looking font. The cover is a hoot but without a hint of the sadness within.
Louis was approached today by a little white poodle who was off leash. Lou got really defensive and bared his teeth as he sometimes does when he feels threatened. If I spoke more fluent dog, I'd tell him to cut that out because some dog may take it wrong one day and kick his ###. But when Lou is that frightened, there's not much I can do with him. It took a couple of blocks before he relaxed enough to raise his tail but by then, we were approaching Duboce Park and he went back into his shell.
This was the final album Willie recorded for RCA before packing up and heading out to Austin. the label released other Nelson albums afterwards but they were pieced together from earlier sessions. It was a pivotal point in Willie's personal life as well. He and his second wife Shirley had just gotten divorced which is reflected in the track listing. All ten songs were written or co-written by Willie and most of them are about breakups and heartbreak. Phases and Stages is Willie's most famous divorce record but Words Don't Fit the Picture can be viewed as a bit of a dry run.
Words Don't Fit the Picture is the best of the RCA records I've heard. The big Nashville Sound is turned down and completely muted on some tracks. Even when the backing voices are laid on thick, they accentuate the sadness of the weepier numbers like "Will You Remember?" The songs are all strong except for the atmospheric throwaway "London". The best known one is "Good Hearted Woman" but I always consider that more of a Waylon song. My pick for the playlist is the title track. It's a breakup song of course but the end is described in a very matter of fact manner. It's a great song and one that wouldn't be out of place on his more critically acclaimed 70s classics.
And speaking of not fitting the picture, let's talk about the album cover. Willie stands center stage holding a well-traveled guitar case. He's wearing a straw cowboy hat, gold Elvis sunglasses, a tan leather jacket and bell bottomed jeans with studs down the seams. He's flanked by a blonde woman in a white fur hat and a chauffeur (played by producer Felton Jarvis) standing behind the driver's side door of a silver Rolls Royce. The name and title are printed in a very 70s looking font. The cover is a hoot but without a hint of the sadness within.
Louis was approached today by a little white poodle who was off leash. Lou got really defensive and bared his teeth as he sometimes does when he feels threatened. If I spoke more fluent dog, I'd tell him to cut that out because some dog may take it wrong one day and kick his ###. But when Lou is that frightened, there's not much I can do with him. It took a couple of blocks before he relaxed enough to raise his tail but by then, we were approaching Duboce Park and he went back into his shell.
rockaction
Footballguy
I was going to ask how apt the title was in comparison to the cover, but you might have planted that sort of seed in my head. I'm beginning to think that Willie's career would have been tragic but for his publishing royalties from his songwriting, really, unless the Austin years leave us nuggets of gold in them there plains.Eephus said:
Eephus
Footballguy
Willie's RCA records weren't smash hits but they sold well enough to keep him in the lower reaches of the Country albums and singles charts. Even after leaving RCA, Shotgun Willie and Phases and Stages fared about the same before Red Headed Stranger went to #1 in 1975.
Charlie Pride dominated the Country album charts during the year Willie released Words Don't Fit the Picture. Three different albums by Pride held the #1 spot for a total of 42 weeks in 1972.
Eephus
Footballguy
Charley Pride - Sings Heart Songs (1972)
One of the things most interesting to me about Willie is his move away from the Nashville establishment and the start of Outlaw Country. I don't know much about Charley Pride so I had no idea how how big of a Country superstar he was in the early 70s. As mentioned in the previous post, Pride dominated the charts around the time Willie made his move. Pride was contracted to RCA but he was African American which is rare in Country music even today. He was also a contemporary of Willie's born one year later (Pride died of COVID in December 2020). So I hope nobody minds a quick detour to listen to Pride's biggest album.
Sings Heart Songs doesn't include covers of "Barracuda" and "Crazy On You". It's ten songs worth of commercial sounding Country with a heavy dose of the Nashville Sound. The album was produced by Cowboy Jack Clement who worked with almost everyone in the music biz except Willie. Pride wasn't a songwriter; the songs are credited to a variety of professional tunesmiths. The only name I recognized was Johnny Duncan who had a singing career of his own. When I queued Sings Heart Songs up, I wasn't sure if I'd ever heard a song by Pride, I remember seeing his albums when I first began prowling record store racks as a child but he never crossed over to Pop and cut a low key figure in an industry that likes it's legends to be larger than life. As I listened, I immediately recognized "Kiss an Angel Good Mornin'" which was one of Pride's biggest songs but the others were all unfamiliar. It seemed like most were about love and matrimony, I only remember one that mentioned cheating and heartbreak. The only song with a hint of the Black experience in America is "Miracles, Music and My Wife" a sentimental number sung from the perspective of a Southern sharecropper whose race is never mentioned.
Pride is a fine singer with a richer, more traditional tone than Willie's. Pride's voice cracks a bit when he reaches for high notes and his Mississippi accent comes out when he sings long vowel songs like the word "you". He's probably sound funny calling for Lou but Louis only really responds to me anyway. I chose "No One Could Ever Take Me From You" for the playlist because it's a song I could imagine Willie singing.
The album cover is a head and half torso photograph of Pride who's wearing a long collared blue shirt. He's a handsome guy with a small gap between his front teeth. The bokeh background looks like some kind of blossoms. The name and title are in another swinging 70s looking font. Nothing about the cover screams Country music to me. It's about as generic as can be which may have something to do with marketing a Black artist to the predominantly White audience of Country music.
Louis and I met two other small black dogs today that looked a lot like him. One had some white marks on his front legs and the other had a light patch on his chest. Lou is all-black with only a little gray in his muzzle. I've read that premature graying in the muzzle is sometimes associated with high levels of anxiety so I guess that fits. We don't know how old Lou is; I always tell people he's 6 but the women give him the benefit of the doubt and say he's 5. Lou's not telling anybody anything anyway.
One of the things most interesting to me about Willie is his move away from the Nashville establishment and the start of Outlaw Country. I don't know much about Charley Pride so I had no idea how how big of a Country superstar he was in the early 70s. As mentioned in the previous post, Pride dominated the charts around the time Willie made his move. Pride was contracted to RCA but he was African American which is rare in Country music even today. He was also a contemporary of Willie's born one year later (Pride died of COVID in December 2020). So I hope nobody minds a quick detour to listen to Pride's biggest album.
Sings Heart Songs doesn't include covers of "Barracuda" and "Crazy On You". It's ten songs worth of commercial sounding Country with a heavy dose of the Nashville Sound. The album was produced by Cowboy Jack Clement who worked with almost everyone in the music biz except Willie. Pride wasn't a songwriter; the songs are credited to a variety of professional tunesmiths. The only name I recognized was Johnny Duncan who had a singing career of his own. When I queued Sings Heart Songs up, I wasn't sure if I'd ever heard a song by Pride, I remember seeing his albums when I first began prowling record store racks as a child but he never crossed over to Pop and cut a low key figure in an industry that likes it's legends to be larger than life. As I listened, I immediately recognized "Kiss an Angel Good Mornin'" which was one of Pride's biggest songs but the others were all unfamiliar. It seemed like most were about love and matrimony, I only remember one that mentioned cheating and heartbreak. The only song with a hint of the Black experience in America is "Miracles, Music and My Wife" a sentimental number sung from the perspective of a Southern sharecropper whose race is never mentioned.
Pride is a fine singer with a richer, more traditional tone than Willie's. Pride's voice cracks a bit when he reaches for high notes and his Mississippi accent comes out when he sings long vowel songs like the word "you". He's probably sound funny calling for Lou but Louis only really responds to me anyway. I chose "No One Could Ever Take Me From You" for the playlist because it's a song I could imagine Willie singing.
The album cover is a head and half torso photograph of Pride who's wearing a long collared blue shirt. He's a handsome guy with a small gap between his front teeth. The bokeh background looks like some kind of blossoms. The name and title are in another swinging 70s looking font. Nothing about the cover screams Country music to me. It's about as generic as can be which may have something to do with marketing a Black artist to the predominantly White audience of Country music.
Louis and I met two other small black dogs today that looked a lot like him. One had some white marks on his front legs and the other had a light patch on his chest. Lou is all-black with only a little gray in his muzzle. I've read that premature graying in the muzzle is sometimes associated with high levels of anxiety so I guess that fits. We don't know how old Lou is; I always tell people he's 6 but the women give him the benefit of the doubt and say he's 5. Lou's not telling anybody anything anyway.
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rockaction
Footballguy
Eephus
Footballguy
The shelter said Lou was 4 or 5 but his vet said his teeth looked like those of a younger dog. That was almost a year and a half ago.
It's been so long now and it seems that
It was only yesterday
Mmm, ain't it funny how time slips away?
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Eephus
Footballguy
Songwriter (1984)
Since I've gone down the rabbit hole of Willie's outlaw move to Austin, it seemed like a good time to catch up on the heavily mythologized version from Willie's 1984 feature film Songwriter. He plays Doc Jenkins, a successful songwriter and unsuccessful businessman and husband who's been cheated out of his publishing rights. His implausible plan for revenge involves moving his operations to Austin along with a crew of colorful characters. Kris Kristofferson plays Doc's sidekick Blackie Buck who doesn't figure much in the plot but gets to sings a little and grin a lot. Lesley Ann Warren plays a young singer named Gilda (that's it just Gilda) who is Willie's ticket back to the big time. The great Rip Torn steals every scene he's in. Willie's music friends get some screentime too with Mickey Raphael in a speaking role as Gilda's boyfriend/harmonica player.
As an actor Willie is no Olivier but since he's basically playing himself that's not a problem. He speaks his lines with the same sincerity that makes his singing special. He's not a big man but there's an intensity in his gaze that gives his character strength. Willie has good chemistry in the scenes with his ex-wife Melinda Dillon who made a career out of playing similarly long suffering women in A Christmas Story and Close Encounters. Of course Willie sings a few songs too including a lovely acoustic version of "Who'll Buy My Memories".
The film was directed by Alan Rudolph who was a protege of Robert Altman. The script comes from one of Willie's golfing buddies Bud Shrake who later co-wrote Willie's first autobiography. I was pleasantly surprised by Songwriter--the movie has a loose improvisational feel and an undeniable shaggy dog charm. Pauline Kael and Roger Ebert both liked it too. Lou Bob says check it out.
Streaming on Amazon Prime
Since I've gone down the rabbit hole of Willie's outlaw move to Austin, it seemed like a good time to catch up on the heavily mythologized version from Willie's 1984 feature film Songwriter. He plays Doc Jenkins, a successful songwriter and unsuccessful businessman and husband who's been cheated out of his publishing rights. His implausible plan for revenge involves moving his operations to Austin along with a crew of colorful characters. Kris Kristofferson plays Doc's sidekick Blackie Buck who doesn't figure much in the plot but gets to sings a little and grin a lot. Lesley Ann Warren plays a young singer named Gilda (that's it just Gilda) who is Willie's ticket back to the big time. The great Rip Torn steals every scene he's in. Willie's music friends get some screentime too with Mickey Raphael in a speaking role as Gilda's boyfriend/harmonica player.
As an actor Willie is no Olivier but since he's basically playing himself that's not a problem. He speaks his lines with the same sincerity that makes his singing special. He's not a big man but there's an intensity in his gaze that gives his character strength. Willie has good chemistry in the scenes with his ex-wife Melinda Dillon who made a career out of playing similarly long suffering women in A Christmas Story and Close Encounters. Of course Willie sings a few songs too including a lovely acoustic version of "Who'll Buy My Memories".
The film was directed by Alan Rudolph who was a protege of Robert Altman. The script comes from one of Willie's golfing buddies Bud Shrake who later co-wrote Willie's first autobiography. I was pleasantly surprised by Songwriter--the movie has a loose improvisational feel and an undeniable shaggy dog charm. Pauline Kael and Roger Ebert both liked it too. Lou Bob says check it out.
Streaming on Amazon Prime
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simey
Footballguy
I can imagine Willie singing that song too.Eephus said:
I remember a month before Charley died, he was flown to the CMA awards show to sing, and to receive the Willie Nelson Lifetime Achievement Award. I talked to my mom during the performance, and we talked about how great Charley looked at age 86. When he died a month later of Covid, many of his colleagues questioned whether he contracted it in Nashville at some point while there for the CMAs. He tested negative before leaving his home state of TX, while in Nashville, and arriving back in Texas, and so it seems like he would have caught it after getting back home to TX. No matter how he got it, it was shocking to hear of his death a month after seeing him look so good. RIP Charley
Sings Heart Songs was an album played in my house growing up. My parents were fans of Charley. My favorite song on the album of course was "Kiss An Angel Good Morning," and I also remember liking the song "Jeanie Norman" too.
Eephus
Footballguy
Loretta Lynn - One's On the Way (1972)
I'm going back to Willie's records after this but I wanted to listen to one more album from the 1972 Country music establishment before I plunge into Outlaw Country. Lynn was the1972 CMA Entertainer of the Year that year, the first woman to win the award. Her label Decca made her earn it--she released three solo albums in 1972 along with a compilation of early singles and an album of duets with Conway Twitty.
One's On the Way was the first of the five and the highest charting reaching #3 on the Country albums chart. None of her albums this year have ever reached RIAA gold record status which makes me think Country remained a predominantly singles oriented market even after the Rock albums explosion of the late 60s. All of Lynn's albums of this era put the single/title track at the beginning and haphazardly scatter a bunch of other songs to follow it. The single off this record "One's On the Way" is a corny comedic number about pregnancy with topical references to Raquel Welch, The Newlywed Game and Women's Lib. Lynn is another great Country singer whose spunky personality through from every song. She has an even more traditional sound than Nelson's or Pride's 1972 efforts did, perhaps because there's a trace of the hills she came from in every note she sings. It's tough to pick a song for the playlist because none have much of a Willie vibe. Lynn's album has songs with lyrics that lean into the singer's femininity and a production that is more danceable. There's also a heaping helping of wildcat sexuality in a few of the songs that bring an energy that I haven't heard from Willie so far. I took the easy route and picked Lynn's cover of "Blueberry Hill" which Willie also recorded in 2005 as a collaboration with Polka King Jimmy Sturr.
The album cover has a rustic feel with a lot of earthtones. Loretta's standing on the porch wearing red top with a long printed skirt. The name and title are a stylized logo with roses--it's a little too bright for the photograph but that's a minor complaint. It's a nice cover overall.
Louis got a bath today. He's pretty chill about the process compared to my other dogs. I'm too old to be chasing a wet dog around the house. Lou is fastidious for a dog; he's not one of those dogs that you see rolling around the grass. Lou has done that exactly once a few months after we got him. It was such a quick tumble that I thought he had hurt himself at first. He was back on his paws in a flash and we continued our walk. Nothing that exciting happened today.
I'm going back to Willie's records after this but I wanted to listen to one more album from the 1972 Country music establishment before I plunge into Outlaw Country. Lynn was the1972 CMA Entertainer of the Year that year, the first woman to win the award. Her label Decca made her earn it--she released three solo albums in 1972 along with a compilation of early singles and an album of duets with Conway Twitty.
One's On the Way was the first of the five and the highest charting reaching #3 on the Country albums chart. None of her albums this year have ever reached RIAA gold record status which makes me think Country remained a predominantly singles oriented market even after the Rock albums explosion of the late 60s. All of Lynn's albums of this era put the single/title track at the beginning and haphazardly scatter a bunch of other songs to follow it. The single off this record "One's On the Way" is a corny comedic number about pregnancy with topical references to Raquel Welch, The Newlywed Game and Women's Lib. Lynn is another great Country singer whose spunky personality through from every song. She has an even more traditional sound than Nelson's or Pride's 1972 efforts did, perhaps because there's a trace of the hills she came from in every note she sings. It's tough to pick a song for the playlist because none have much of a Willie vibe. Lynn's album has songs with lyrics that lean into the singer's femininity and a production that is more danceable. There's also a heaping helping of wildcat sexuality in a few of the songs that bring an energy that I haven't heard from Willie so far. I took the easy route and picked Lynn's cover of "Blueberry Hill" which Willie also recorded in 2005 as a collaboration with Polka King Jimmy Sturr.
The album cover has a rustic feel with a lot of earthtones. Loretta's standing on the porch wearing red top with a long printed skirt. The name and title are a stylized logo with roses--it's a little too bright for the photograph but that's a minor complaint. It's a nice cover overall.
Louis got a bath today. He's pretty chill about the process compared to my other dogs. I'm too old to be chasing a wet dog around the house. Lou is fastidious for a dog; he's not one of those dogs that you see rolling around the grass. Lou has done that exactly once a few months after we got him. It was such a quick tumble that I thought he had hurt himself at first. He was back on his paws in a flash and we continued our walk. Nothing that exciting happened today.
rockaction
Footballguy
I decided to give "Coal Miner's Daughter" and "The Pill" a listen. What I noticed was that I think I dislike the backing bands in Nashville circa 1972 and earlier. "Coal Miner's Daughter," for all its soul, almost tries to swing a little bit while the piano trinkles off in the distance.
So I decided to listen to Lynn with Jack White and checked out Van Lear Rose. White does a better job as a backing band's frontman than Nashville did in '72, and the songs are compelling ones. "Van Lear Rose" and "Portland, Oregon" are fine songs, and I'm enjoying the album.
So I decided to listen to Lynn with Jack White and checked out Van Lear Rose. White does a better job as a backing band's frontman than Nashville did in '72, and the songs are compelling ones. "Van Lear Rose" and "Portland, Oregon" are fine songs, and I'm enjoying the album.
Eephus
Footballguy
I forgot to mention that Lynn's album was produced by Owen Bradley. He was a Country music legend who also recorded classic sides by Patsy Cline, Kitty Wells and Brenda Lee. He had a late career revival when he produced k.d. lang's 1988 album Shadowland. It's a gorgeous recording that honors the Nashville Sound without drowning in it.
A thread of Jack White's work would probably get better engagement but Lou's afraid of loud guitars.
CletiusMaximus
Footballguy
I guess you kind of have to do Barbarosa now - the Willie + Gary Busey Western. I bet they had a good time making that one.
Eephus
Footballguy
Barbarosa is also on Amazon. Honeysuckle Rose would be another option but I'd have to pay for it.
Everybody looked like they were having a great time making Songwriter too. I bet the outtakes with Willie, Kristofferson and Rip Torn were something.
Uruk-Hai
Footballguy
I chose either Van Lear Rose (the album) or "Portland, Oregon" (as a song) in a recent draft, can't recall which. I may have recounted this story then, but here it is again (I'm paraphrasing the quotes from memory, but think I have the feeling down):
Back when this album came out, the World Cafe radio program had the White Stripes on and the conversation turned to his work with Lynn. White said she came in with about 100 songs she had written for the sessions. He asked her which dozen or so she wanted to record. Loretta told him "They're all good - you pick". White starts freaking out - "How the hell am I going to tell Loretta Lynn which of HER songs to record?". So, he starts going through the songs she brought and thought "JFC, these are ALL great! I haven't written 100 good songs in my entire life". Somehow they got them whittled down to an album's worth and did a fantastic job.
simey
Footballguy
Women also had/have a tougher time in the Country genre. Loretta does have a couple gold proper albums from around the late 60s, although one didn't turn gold until later. She was the first female Country artist to sell over 500,000 copies, and have a certified gold proper album for her '67 album Don't Come Home A' Drinkin' (With Lovin' on Your Mind). She co-wrote the title track with her sister, Peggy Sue. It reached gold status in 1970. Her Coal Miner's Daughter proper album from '71 also went gold, although it didn't reach gold until 1983. She wrote that title track too. She didn't have another gold album in the 70s, although she was named and awarded by the Academy of Country Music "Artist of the Decade" (for the 70s). She has tons of accolades, and was/is a huge deal, and broke down a lot of doors in the Country music genre for women.
You aren't wrong though about Country remaining predominantly singles orientated in the late 60s and early 70s. There would be number one Country albums on Country charts during that time, but not big selling albums. George Jones, Dolly Parton, Waylon, Willie, Merle, Tammy, etc. did not have gold albums until the mid 70s started. Johnny Cash only had two gold albums ('64 and '70). However, some crossover Country artists did have some big selling albums pre-mid 70s. Glen Campbell had 8 platinum or gold albums from '67 to '70. Kris Kristofferson had 3 gold albums from 70 to 72.
Eephus
Footballguy
Kris Kristofferson - Border Lord (1972)
simey and Songwriter sent me back to 1972 for one more go around. Border Lord is Kristofferson's third album and the first after his singing career took off with "Lovin' Her Was Easier (Than Anything I'll Ever Do Again)". Kristofferson like Willie began as a songwriter but his songbook of material written earlier for others was running low. He had to crank out nearly a full album's worth of new songs in a short time between records and touring. The result was a little short on classics but still has a lot going for it.
Border Lord sounds more like what I consider Outlaw Country than Willie's albums of the period. There's more crossover with Rock 'n Roll than every Willie album I've listened to save the Ryan Adams project. The drums are pushed forward in the mix while the backing vocals are earthbound compared to the heavenly angels from the Nashville Sound. Kristofferson isn't the greatest singer of all time but like Willie the actor his sincerity overcomes his limitations. He almost sounds like Leonard Cohen at times when he drops into his lower register. The songs seemed to be mostly about women and the road. He's a fine songwriter, perhaps a little more emotionally distanced than Nelson but I'd need to listen to more of both. The song du jour is the closing track "Kiss the World Goodbye" which sounds like an old cowboy's farewell. I checked to see if Willie ever covered it because it would be perfect for him.
Kristofferson is a lot more photogenic than Willie which helps in the album cover paragraph department. I don't know what a border lord is but it looks something like this. It's a very magenta drawing of a messianic looking Kristofferson. Maybe the messianic reference comes from my subconscious memories of a two-color illustrated hymnal from when I was a kid. It looks more like a Rock album than a Country one. The other three 1972 album covers are pure Hee Haw compared to this one.
I cooked some pork last night and trimmed a piece of shoulder bone that was a good size for Louis. I give out bones sparingly because I don't want to harm their teeth but Lou acts so undogly at times it was nice and sort of primal to see him happily chomping on a bone. I set a 15 minute alarm on my phone when I gave it to him because I didn't want him to make a career out of it. He went after it pretty good at first but lost interest around the 13 minute mark and was standing by the door to be let back inside when my timer went off.
simey and Songwriter sent me back to 1972 for one more go around. Border Lord is Kristofferson's third album and the first after his singing career took off with "Lovin' Her Was Easier (Than Anything I'll Ever Do Again)". Kristofferson like Willie began as a songwriter but his songbook of material written earlier for others was running low. He had to crank out nearly a full album's worth of new songs in a short time between records and touring. The result was a little short on classics but still has a lot going for it.
Border Lord sounds more like what I consider Outlaw Country than Willie's albums of the period. There's more crossover with Rock 'n Roll than every Willie album I've listened to save the Ryan Adams project. The drums are pushed forward in the mix while the backing vocals are earthbound compared to the heavenly angels from the Nashville Sound. Kristofferson isn't the greatest singer of all time but like Willie the actor his sincerity overcomes his limitations. He almost sounds like Leonard Cohen at times when he drops into his lower register. The songs seemed to be mostly about women and the road. He's a fine songwriter, perhaps a little more emotionally distanced than Nelson but I'd need to listen to more of both. The song du jour is the closing track "Kiss the World Goodbye" which sounds like an old cowboy's farewell. I checked to see if Willie ever covered it because it would be perfect for him.
Kristofferson is a lot more photogenic than Willie which helps in the album cover paragraph department. I don't know what a border lord is but it looks something like this. It's a very magenta drawing of a messianic looking Kristofferson. Maybe the messianic reference comes from my subconscious memories of a two-color illustrated hymnal from when I was a kid. It looks more like a Rock album than a Country one. The other three 1972 album covers are pure Hee Haw compared to this one.
I cooked some pork last night and trimmed a piece of shoulder bone that was a good size for Louis. I give out bones sparingly because I don't want to harm their teeth but Lou acts so undogly at times it was nice and sort of primal to see him happily chomping on a bone. I set a 15 minute alarm on my phone when I gave it to him because I didn't want him to make a career out of it. He went after it pretty good at first but lost interest around the 13 minute mark and was standing by the door to be let back inside when my timer went off.
wikkidpissah
Footballguy
shoulda named him Kazak then
simey
Footballguy
I think Kris is a great songwriter, and one of my favorites in any genre. I agree he isn't a great singer, but his writing makes up for it. His voice does fit his songs that are more folk country sounding, versus some of his hits that sound better by someone with a good voice. He always sounds sincere, as you mentioned, no matter what.
He is an interesting guy. A Rhodes Scholar who studied at Oxford, and then became a captain and helicopter pilot in the Army. He was offered a teaching position at West Point, but turned it down to go to Nashville and try to make it as a musician. He came from a military family, and his parents disowned him when he left the military to make music. His mother wrote him a letter telling him what a disappointment and embarrassment he was to the family. They never patched things up. He got a job as a janitor at Columbia Records, and he would slip demo tapes of his music to June Carter asking her give them to Johnny. Kris also got a gig flying helicopters for someone or another, and he eventually would fly one of the helicopters on to Johnny Cash's lawn to get his attention. It got his attention, and Johnny recorded Kris's song "Sunday Morning Coming Down," which won Kris the Songwriter of the Year award at the CMAs, and put Kris on the map. The rest is history.
I have a lot of favorite songs by him, and the one I've played the most recently is a song he wrote in 1970, and was recorded by Johnny Cash in 1974, and Johnny even titled his album after it. Kris's recording surfaced later as an "extra," and it is called The Junkie and the Juicehead Minus Me. Some of his play on words reminds me of Leonard Cohen. Eephus, you said he almost sounds like Leonard (I assume a young Leonard) at times when he lowers his register. Kris has said that when he dies he wants the first three lines from Cohen's "Bird on the Wire" written on his tombstone.
Like a bird on the wire
Like a drunk in a midnight choir
I have tried in my way to be free
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simey
Footballguy
Uruk-Hai
Footballguy
simey
Footballguy
You forgot his greatest accomplishment, simey. He married Rita Coolidge
Whenever she is mentioned, I think of her being on the cover of his Jesus Was A Capricorn album with the cowboy hat on. My mom went through a spell where she played that album constantly.
Uruk-Hai
Footballguy
:swoon:
wikkidpissah
Footballguy
met Kris, Rita & Claudie Lennear (Brown Sugar) backstage at a Leon Russell show @ Foxboro's ol' Schaefer Stadium (single-floor outhouse) in the 70s. my eyes havent properly re-focused sinceYou forgot his greatest accomplishment, simey. He married Rita Coolidge
Eephus
Footballguy
I love Claudia Lennear. It was nice for her to get some belated attention when Morgan Neville's documentary 20 Feet From Stardom won the best documentary Oscar in 2014. She's been a teacher since retiring from performing and once worked at San Dimas HS of Bill and Ted fame.
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Eephus
Footballguy
Phases and Stages (1974)
I always find it easier to do a write-up of an obscure album than a stone cold classic. With an obscurity, I can pick a few nits, make some facile comparison, highlight some new songs and tell a story about my dog. But most people here are probably already familiar with Phases and Stages because it's one of Willie's best known and finest records.
Phases and Stages is s a concept album about divorce. There are two separate song cycles: side 1 looks at a breakup from a woman's perspective while side 2 takes the male's point of view. Willie has said they're not specifically about his divorce from his second wife Shirley which makes sense. The songs don't seem to be about a single relationship at all but instead track the emotional stages of the end of a relationship from its end to a new beginning of the next one. Willie ties the album together by repeating a fragment of the title track five times on the record. It helps reinforce the theme but the songs (all Nelson originals) do the heavy lifting.
It's a testament to Willie's sensitivity and songwriting skills that he's able to present a female perspective on side 1. Two songs explicitly about a woman are written in the third person while the other three are less gender specific and could probably be swapped to side 2 without a huge change to the album. He sings of the breakup in matter of fact terms on both sides of the album--there is more regret than anger but they rarely wallow in sadness. There are so many good songs here it's impossible to spotlight just one. They are great on their own but the track sequencing amplifies their power. I went with "Pretend I Never Happened" with its odd little stop-start rhythm and mandolin backing but it's an album that's best heard as a whole.
Nelson's battles with the record industry were still going on. This was the second album (after Shotgun Willie) that he made for Jerry Wexler at Atlantic. Atlantic gave Willie much greater artistic freedom than he had at RCA. He responded with two of the best albums of his career but unfortunately, neither album was a hit. Atlantic shut down their Country division shortly afterwards and Willie was unceremoniously dropped from the label.
If I must nit pick Phases and Stages, it's with the album cover. It's another portrait of Willie, this time he's bathed in red stage light that's very reminiscent of the cover of The Troublemaker. The lower half of his face is obscured by an out of focus guitar headstock. The name and title are printed in yet another funky 70s font. The cover is boring and doesn't tell me anything about the record. That's all I got, it's still great.
Lou is sitting beside me enjoying the sun. Have I mentioned he never used to wag his tail? It took almost a year for him to start doing it. He's not a tail wagging fool now but when he does, he wags with sincerity and not just to scam us out of some treats.
I always find it easier to do a write-up of an obscure album than a stone cold classic. With an obscurity, I can pick a few nits, make some facile comparison, highlight some new songs and tell a story about my dog. But most people here are probably already familiar with Phases and Stages because it's one of Willie's best known and finest records.
Phases and Stages is s a concept album about divorce. There are two separate song cycles: side 1 looks at a breakup from a woman's perspective while side 2 takes the male's point of view. Willie has said they're not specifically about his divorce from his second wife Shirley which makes sense. The songs don't seem to be about a single relationship at all but instead track the emotional stages of the end of a relationship from its end to a new beginning of the next one. Willie ties the album together by repeating a fragment of the title track five times on the record. It helps reinforce the theme but the songs (all Nelson originals) do the heavy lifting.
It's a testament to Willie's sensitivity and songwriting skills that he's able to present a female perspective on side 1. Two songs explicitly about a woman are written in the third person while the other three are less gender specific and could probably be swapped to side 2 without a huge change to the album. He sings of the breakup in matter of fact terms on both sides of the album--there is more regret than anger but they rarely wallow in sadness. There are so many good songs here it's impossible to spotlight just one. They are great on their own but the track sequencing amplifies their power. I went with "Pretend I Never Happened" with its odd little stop-start rhythm and mandolin backing but it's an album that's best heard as a whole.
Nelson's battles with the record industry were still going on. This was the second album (after Shotgun Willie) that he made for Jerry Wexler at Atlantic. Atlantic gave Willie much greater artistic freedom than he had at RCA. He responded with two of the best albums of his career but unfortunately, neither album was a hit. Atlantic shut down their Country division shortly afterwards and Willie was unceremoniously dropped from the label.
If I must nit pick Phases and Stages, it's with the album cover. It's another portrait of Willie, this time he's bathed in red stage light that's very reminiscent of the cover of The Troublemaker. The lower half of his face is obscured by an out of focus guitar headstock. The name and title are printed in yet another funky 70s font. The cover is boring and doesn't tell me anything about the record. That's all I got, it's still great.
Lou is sitting beside me enjoying the sun. Have I mentioned he never used to wag his tail? It took almost a year for him to start doing it. He's not a tail wagging fool now but when he does, he wags with sincerity and not just to scam us out of some treats.
Eephus
Footballguy
Phases and Stages is surprisingly upbeat considering its subject matter. The recurring Phases and Stages theme brings the mood down a little each time it's repeated but there's a resilient spirit in even the most down tempo songs.
Uruk-Hai
Footballguy
It is, but it still cuts closer to the bone than I sometimes want when listening music.
CletiusMaximus
Footballguy
You talkin about the jeans fitting a little bit tighter than they did before? That's harsh man.
simey
Footballguy
simey
Footballguy
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Eephus
Footballguy
I think the female side one is cheerier than side two. There's nothing as jubilant as "Sister's Coming Home/Down at the Corner Beer Joint" on the flip side. The side one closer "(How Will I Know) I'm Falling in Love Again" is more hopeful and less ambivalent than the end of side two.
CDs and streaming have made the brilliance of Phases and Stages sequencing a little less obvious. The transition from the latter song to "Bloody Mary Morning" is abrupt when you don't have to cross the room to flip the record over.
Eephus
Footballguy
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.
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.
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CletiusMaximus
Footballguy
Good review once again @Eephus. Willie kept trying to make "I Never Cared For You" work - I think he put it on at least 3 or 4 of his records. The Teatro version with Emmylou is the one I like best. Lanois somehow made the bongo drums work (not sure they are actually bongo drums, but they have that latin feel to them.)
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