Willie Nelson and Johnny Cash: VH-1 Storytellers (1998) (It Always Will Be - Willie Nelson)

Member Name: Adammico

Product:	It Always Will Be - Willie Nelson
Date:	23/04/03 (354 review reads)
Rating:

Advantages: Legendary Performers, Great Performance, Excellent Sound Recording

Disadvantages: Johnny Cash Was A Little Inconsistent

There are country singers and performers who happen to be living legends with roots in the South (U.S.). The pairing of Willie Nelson and Johnny Cash showcases two living legends miraculously still performing up to that standards over a 1/2 century into their collective careers.
Background:

The 'Man in Black' has been performing his three-barred rugged baritone croon since Elvis began swiveling his hips with the same record company (Sun Records). He has survived although his style has not been significantly altered over the years, but is a one of a kind living legend that has never sold out. His string of standards include: A Boy Named Sue, Ring of Fire, I Walk The Line, Cry Cry Cry, Folsom Prison Blues and etc. He continues to create relevant performances today with his cover of NIN's, 'Hurt' and Soundgarden's, 'Rusty Cage'. Over the years, he has collaborated with numerous artists and is never afraid to put his legend on the line with such pairings. His pairings include (but not limited to) Bob Dylan, Willie Nelson (in the outlaw supergroup, the Highwaymen), Jerry Lee Lewis and Hank Williams Jr.

Willie Nelson started behind the scenes as a songwriter and background musician in the 1960's. As a relative unknown, he wrote THE COUNTRY STANDARD, 'Crazy' that was performed by Patsy Cline. Other huge hits penned for others during that period included, 'Nite Life' performed by Ray Price, 'Hello Walls' by Faron Young and 'Funny How Time Slips Away' by Billy Walker. Finally, in 1975, he became a star with his initial self-titled release, 'Red Headed Stranger'. Although he previously recorded his own music, he was not considered much more than a songwriter prior to the 1975 release.

His singing style is a character-filled croon; almost as if he is crying at times. The description is off-putting because it certainly has a unique beauty that carries his words effo
rtlessly. They encapsulate the soulful offerings like, 'Blue Eyes Cryin' In the Rain'.

After this release, he continued to grow into the 1980's into a glossier (yet adventurous) pop artist as a soloist and collaborator. His hits during this period included: 'Blue Skies', 'On the Road Again', 'Angels Flying Too Close to the Ground' and 'To All the Girls I've Loved Before' (with Julio Iglesias) among an army of others.

In the mid-eighties, Willie removed the sleekness and helped form the Highwaymen with Johnny Cash, Waylon Jennings and Kris Kristofferson. They made four albums in 10 years and spawned more classics like 'Highway Man', 'Desperados Waiting For A Train' and 'Silver Stallion'.

The Setting:

This is a 'live' performance and is recorded as a show for VH-1 in an intimate setting with an audience of approximately 200. The legends are seated on stage with chairs and their guitars, like two buddies relaxing on a porch passing time in the warm summer air.

The Performance:

'Ghost Riders In the Sky' begins with ad lib banter that develops immediately into the song. Quickly, it is revealed that their voices have grown older, but in their case and in this recording; it suits these world-weary works. Willie can still reach his notes with relative ease, while Johnny struggles with more than one note these days (much like Lou Reed has always been).

The song itself is a laid back classic. The lines are traded as each are casually strumming along. It's dark cowboy fare that could be felt being worked at a campfire in order to relax a band of outlaws before a night's sleep prior to reaching a demanding fork in their collective roads.

Worried Man begins with chatter about possibly working on another Highwaymen tour and then segs into the creation of the song (written by Johnny Cash). The title as ex
pected is quite bluesy and follows 'Ghost Riders In the Sky' musically and provides the story about a man that is facing personal crisis.

Following the song, they chat about other recordings and their beverage selection (which is rather amusing). Discussing the next selection, Willie reaches inside and pulls out "The Family Bible".

Musically, it's soft country ballad that expresses that there are solutions to everyday problems when we have the Family Bible.

Willie reveals his beverage and its lack of 'spike'. 'Don't Take Your Guns To Town' is chosen by Cash as the next tune.

This version sounds like the customary Johnny Cash guitar strut, but is worked as a bluegrass number, which makes mesh well the prior selections. With this selection, his voice is not stretched and likely sounded identical to how he originally performed it decades ago.

From bantering 'spontaneously' about quirky scenes from life before they were stars, 'Funny How Time Slips Away' is curved in. Willie penned the song (as above-mentioned) in the 1960's and it became a hit for someone else. This is among Willie's best numbers and he sings it incredibly. Although it is still mellow, 'Funny How Time Slips Away' is slightly livelier than the preceding works and the delivery and arrangement is more dynamic.

Johnny then uses his wife (June Carter) as help to tell the audience (and Willie) the making of 'Flesh and Blood'. It would have been sequenced better of it followed The Family Bible because it's a better song and would make even better use of its slightly better dynamic and a solid Cash vocal performance.

For the 1st time, the dialogue is minimal and 'The Red Headed Stranger' strums right into 'Crazy'. When Cline performed this piece, its simply wonderful, but Willie does his own work justice by the infused character and unique/semi
-playful inflection in his voice. After singing, he revealed that the song originated with a different title, but 'Stupid' would not have been as effective.

'Unchained' was a recent release of Cash's that is very textured with different somber tones. He initially strained when his pitch is stretched, but works itself sounds absolutely brilliant at the end. During the last thirty seconds moany croon is just unbelievable. I never heard Johnny carry a note better.

Night Life is sung and played by Willie. There is so much offered in this performance. Although it was recorded as country, this could have also worked into B.B. Kings catalogue. When Willie plays the blues it's absolutely piercing and the arrangement simply gets it.

'Drive On' was Cash's contribution to his thoughts on the Vietnam War. Even though he did not specifically explain what it meant and only how it was birthed, I still do not know if the song was sarcastic or not. He sings of getting hurt and the response was that it don't mean nothing because of who loves him and you must forget it and move on. Maybe, I put too much thought into this because I am totally incapable of ignoring the obvious and looking at the bigger picture. Chances are, he meant that obstacles can't separate us from what needs to be done; end of discussion.

'Me and Paul' is a ditty that may be my favorite Nelson track. It is a little upbeat bar song, but the story captures me and almost brings me to tears. There's no sad story, but is completely sincere and in he 1st person and filled with amusing little war stories about he and Paul.

'I Still Miss Someone' was written by Cash. It is very folksy and lyrically aims to be early Bob Dylan epic. The song is decent, but not anywhere near Johnny's top tier cuts and was the only disappointment on this record.

Johnny makes a request for Willie to sing, 'Always
On My Mind'. It is an epic love ballad that reaches deep into your soul and pulls at your heart. His regret is obvious and brilliantly packaged with an acoustic guitar, manipulative vocals and simple yet perfect lyrics.

He has the uncanny ability to work with your emotions and make you feel the story within the song. Sincerely, I believe that even if you did not speak English that you could interpret a Willie Nelson song. You could feel and GET him without even closely listening. This skill makes him one of the best songwriters that I ever heard.

Folsom Prison Blues was made just to be heard back in 1952. After years of work, Johnny finally had it played on radio to become a timeless classic. Considering the previous selection, any song would be hard-pressed to and not be passed over after 'Always On My Mind'. Lyrically and musically, this is Cash at the top of his game. He uses this song as a platform to discuss the life of a prisoner as seen through the eye's of one. When this was made, it was a completely bold statement that in most circles would not even be considered by anyone not locked up.

After thanking each other, 'On the Road Again' is cheerfully ripped through (in a minute and a half) to close this wonderful show.

Conclusion On This Historic Performance:

When you listen to this album, it feels as if history is being made. The sound quality is awesome without any instruments bleeding into each other and flawless vocal separation. It sounds like the recording engineers must have really appreciated the performance and were really up to the task.

Some of the above-mentioned performances even improved on some of these classic tracks and their storytelling was very informative and added to luster. Honestly, this record is indispensable because the songs (regardless of how great they are) are secondary due to the sonic pleasure and interaction.

In the future, I anticipate
VH-1 Storytellers CD to be completely indispensable for fans popular music history that both capture two legends late in their career, but without falter. As for now, it's an underappreciated masterwork. There are minor pitch flaws by Johnny, but they act as only barely detectable surface scratches on a Rolls Royce.

Summary: