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It Always Will Be
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It Always Will Be
Current price: $16.99
Barnes and Noble
It Always Will Be
Current price: $16.99
Size: CD
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On his millionth album (or does it just feel that way?),
Willie Nelson
teams with a new band -- except for
Family Band
harmonicat
Mickey Raphael
-- and duets with some major leaguers. Most of the time,
It Always Will Be
feels like a
Willie
album of old. Recorded for the
Lost Highway
label and produced by
James Stroud
in Nash Vegas, it's an inspired collection of fine songs for the most part, and
Nelson
is in fine voice with the edges beginning to show just a tiny bit. He wrote the title cut, one of the strongest here. Lyrically, it's tender without being overly sentimental, sweet without being saccharine, and delivered with his trademark elegance and grace. The cover of
Tom Waits
and
Kathleen Brennan
's
"Picture in a Frame,"
though faithful, puts
's stamp firmly on it. With
Raphael
's harmonica,
's acoustic, and a skeletal band featuring an understated pedal steel,
's dignity in the delivery is deeply moving. When he's this on fire, the only place he usually blows it is in duets -- at least on his own records. There are duets here.
"Be That As It May,"
with daughter
Paula
and written by her, is just a gorgeous
country
song. The pair's voices contrast beautifully and the tune itself is tight and hooky in a Texas
music way.
"Dreams Come True,"
with
Norah Jones
, is a pretty swing tune that is forgettable but far from offensive, and
Lucinda Williams
is the star on her own
"Overtime."
Lucinda
were made to sing together; the melancholy of the tune lends itself well to her whiskey contralto and his easy baritone. The tune sweetly drifts and lilts with swaying guitars, an accordion, and whispering brushwork.
Toby Keith
makes an appearance singing background vocals on his
"Tired,"
but
makes the song his own.
"Texas"
is a wonderful
mariachi
blues
song that gives way to bittersweet Southwestern
honky tonk
balladry and showcases his excellent guitar work. The set closes with the album's only dog, a big-beat over-produced dancy punch-up of
Gregg Allman
's classic
"Midnight Rider."
It sucks bad. Why this song made the cut is a mystery, but it's a typical thing for
, to add something that just doesn't fit. Thankfully, it's the album's final song and can be skipped. Be that as it may,
is the best outing for
since
Teatro
. ~ Thom Jurek
Willie Nelson
teams with a new band -- except for
Family Band
harmonicat
Mickey Raphael
-- and duets with some major leaguers. Most of the time,
It Always Will Be
feels like a
Willie
album of old. Recorded for the
Lost Highway
label and produced by
James Stroud
in Nash Vegas, it's an inspired collection of fine songs for the most part, and
Nelson
is in fine voice with the edges beginning to show just a tiny bit. He wrote the title cut, one of the strongest here. Lyrically, it's tender without being overly sentimental, sweet without being saccharine, and delivered with his trademark elegance and grace. The cover of
Tom Waits
and
Kathleen Brennan
's
"Picture in a Frame,"
though faithful, puts
's stamp firmly on it. With
Raphael
's harmonica,
's acoustic, and a skeletal band featuring an understated pedal steel,
's dignity in the delivery is deeply moving. When he's this on fire, the only place he usually blows it is in duets -- at least on his own records. There are duets here.
"Be That As It May,"
with daughter
Paula
and written by her, is just a gorgeous
country
song. The pair's voices contrast beautifully and the tune itself is tight and hooky in a Texas
music way.
"Dreams Come True,"
with
Norah Jones
, is a pretty swing tune that is forgettable but far from offensive, and
Lucinda Williams
is the star on her own
"Overtime."
Lucinda
were made to sing together; the melancholy of the tune lends itself well to her whiskey contralto and his easy baritone. The tune sweetly drifts and lilts with swaying guitars, an accordion, and whispering brushwork.
Toby Keith
makes an appearance singing background vocals on his
"Tired,"
but
makes the song his own.
"Texas"
is a wonderful
mariachi
blues
song that gives way to bittersweet Southwestern
honky tonk
balladry and showcases his excellent guitar work. The set closes with the album's only dog, a big-beat over-produced dancy punch-up of
Gregg Allman
's classic
"Midnight Rider."
It sucks bad. Why this song made the cut is a mystery, but it's a typical thing for
, to add something that just doesn't fit. Thankfully, it's the album's final song and can be skipped. Be that as it may,
is the best outing for
since
Teatro
. ~ Thom Jurek
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