Willie Nelson - Milk Cow Blues
Outlaw goes Blues-CD, 15 zum großen Teil Klassiker, die durch die Hauptrolle Nelsons eine neue Note hinzugewinnen. Blues-bewährt die Mitstreiter, mit denen das Album Gestalt annahm: u.a. Francine Reed, Keb Mo, Dr. John, Johnny Lang, Susan Tedeschi, B.B. King, Kenny Wayne Shepherd. Co-produziert hat Willies Neffe Freddy Fletcher.
Meet the culture crusadežs next target: Willie Nelson. After all, that titular Bob Wills standard sure ainžt about a four-legged cow. Francine Reed churns up a fair froth in retorting "youžre gonna need my help someday," so that one skates by on equal time. Then, on "Outskirts of Town," Nelson sings, "If we ever have any children, I want žem all to look like me." Nobody ever said the blues was pretty, least of all Shotgun Willie. The old man just wants his milk and butter, and if he wants to sing a Billie Holiday song (with Jonny Lang!), it ainžt nobodyžs business if he does. Who wouldnžt prefer his duetting with B.B. King on "Night Life" to Eric Clapton? The way the Antonežs blues band hits its collective mark every time, Nelson could sing the Sesame Street theme song and have kids searching for the nearest E-Z Bake Oven. The blues is sad music, and hežs all too familiar with the heartbreak that makes it the blues. Therefore, itžs no great surprise the best song, "Lonely Street," sounds scads more personal than the rockinž "Crazy" duet with Susan Tedeschi. That, "The Thrill Is Gone," and "Funny How Time Slips Away" are all hoots, but when the red-headed stranger takes you "where broken dreams and memories meet," you learn more about life than anyone seeking the landžs highest office -- even Williežs man Ralph Nader -- will ever tell you. (Austin Chronicle)
"It is no surprise that Willie Nelson has recorded a blues albu
|his is a career that recognizes no musical barriers. The question is, what took him so long? Nelson has always seasoned his country muse with a subtle pinch of blues, but on `Milk Cow Blues“ the latter is the main course. Like everything else he plays, Nelsonžs blues are unforced and natural. The well-chosen program features material associated with fellow Texans Bob Wills (through whom Nelson first learned Kokomo Arnoldžs ūūMilk Cow Bluesūū), Stevie Ray Vaughan (who popularized Larry Davisž ūūTexas Floodūū) and Charles Brown (a shiveringly good version of the late singeržs ūūBlack Nightūū). Given the recordžs Lone Star-heavy flavor, itžs odd that therežs nothing here by T-Bone Walker, but the late guitar slingeržs sensibility is nonetheless evident in the mellow timbre of the single-note solos and jazz-blues chords played by Nelson and his guests. On board as duet partners and sidemen are legends (B.B. King, Dr. John) and youngbloods (Jonny Lang, Kenny Wayne Shepherd) alike. But the show belongs to Nelson, who has fashioned from these blues a sagebrush poetžs autumnal meditation on faded love and the wages of the sporting life. The result is emotionally rich, musically savory and languidly blue from end to end. (Rolling Stone US)
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