According to country music news website “The Boot,” Willie Nelson has classified his freshly released album, Country Music, as his very first album in the bluegrass genre. So, why call it Country Music? Some have speculated the term “bluegrass” wasn’t coined until after Nelson’s music career was well underway, yet, it could be the same old Willie jerking the reins of his loyal listeners with such a disarmingly simplistic album title — his 67th in all.
In the roulette of selecting a name, it’s likely the aim somewhere in the process was at least somewhat satiric, as Nelson’s music has often come with a sense of humor — remember his 2006 tongue-in-cheek “Cowboys Are Frequently, Secretly Fond of Each Other,” and also the devil-may-care line “Whiskey for my men, beer for my horses” from his 2002 collaboration with Toby Keith. Whatever the reasoning, Nelson surely pulls it off with Country Music. And who would expect less from a singer/songwriter/guitarist/harmonica-player/actor/activist who has been making the bandana and gray side-braid look work for all these years.
Although he has apparently dubbed it as such, the fifth track “Satan Your Kingdom Must Come Down” is the first on the album that really emphasizes this bluegrass tagline. If this album is bluegrass, then bluegrass is what Nelson has essentially been doing all along; Country Music has the same slow, thoughtful melodies such as “Stardust” combined with upbeat singles like “On the Road Again” — give or take a few extra fiddles and wheezy, old-time backup singers.
This fact, however, is merely a commentary on Nelson’s ability to stay within the confines of his defined genre; “Satan Your Kingdom Must Come Down” is done very well, and, like many of the other tracks, fully succeeds in capturing the iconic nature of Nelson from the last of the true cowboy era, which included Johnny Cash, Waylon Jennings and just a few others. Sadly, for those who appreciate the roots of America’s definitive music styles, classics like Nelson must now compete for airtime with the likes of Miley Cyrus, and let’s not forget “Honky Tonk Badonkadonk.”
One to listen for is “Man with the Blues,” which is the first song out of a long history that Nelson wrote on his own. And it is not just its nostalgic significance that gives it top billing on the track listing; it is one of the most seamless and warm compositions on Country Music. The instrumentals are unwavering, with terrific fiddling solos throughout, and Nelson’s vocals are always spot on to tell a musical story, whatever it may be.
“Pistol Packin’ Mama” might be the inevitable listener least favorite for Country Music. It really doesn’t add to the album so much as give the rest of the songs an overdone tinge. The song was originally done by Bing Crosby and The Andrews Sisters, and although it was also considered a top country song at the time, Nelson’s rendition is a little too country, much more than even this album would call for.
Overall, Nelson’s newly produced album has not fallen short in creating scintillating high points amid his ever-present blanket of musical talent. However, he has not selected any outstanding works here that will achieve him a new audience; it is more likely that Country Music will inspire listeners to pull out his past works to smile upon.
3 1/2 stars out of 5.
