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|Willie Nelson||Primary Artist, Acoustic Guitar, Vocals|
|Emmylou Harris||Vocals, Background Vocals|
|Brian Griffiths||Guitar, Mandolin, Slide Guitar|
|Victor Indrizzo||Percussion, Drums|
|Daniel Lanois||Mandolin, Omnichord|
|Brad Mehldau||Piano, Vibes|
|Bobbie Nelson||Organ, Strings, Wurlitzer|
|Tony Mangurian||Percussion, Drums|
Posted October 1, 2010
Willie Nelson apparently decided to follow Bob Dylan by enlisting Daniel Lanois as producer for this album. I liked Oh Mercy but felt Time Out Of Mind was more easy to admire than enjoy. Unlike Dylan, Willie manages not to be immersed in Lanois's trademark swampy echoes. It helps that the songs are mostly penned by Nelson and that Emmylou Harris duets on most of them. A couple more up-tempo numbers might have made this a classic to stand beside Willie's 70s work. This CD is an example of an artist still willing to try something different 40 years into his career.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted October 1, 2010
Willie Nelson and Daniel Lanois must have felt the Latin Invasion coming. In Teatro (Spanish for ¿theater¿), released in 1998, Nelson's traditional country sound is supplemented with a generous helping of Latin arrangements and instrumentation. Producer Lanois, however, puts the spotlight on Nelson¿s vocals, keeping them front and center in what sounds like a huge, empty, and echoing theater hall. At first this struck me as a sparse and emotionless setting, but upon closer listening, I heard the warmth of Nelson¿s trademark nasal voice within the echo, delivered with just the right touch of warble and impeccably phrased. Then, I began to appreciate the elegant interplay of the instruments: shimmery wurlitzer, souful harmonica, and homey mandolin provide the accents to Nelson¿s mostly acoustic guitar playing. Emmy-Lou Harris turns in supporting vocals on 10 of the songs. While they are important to the mix, Lanois keeps them in the background and lagging just a touch behind Nelson¿s, almost as if she is singing in the upper mezzanine of this imagined theater, to lovely and understated effect. This is a superb artistic collaboration, and well deserves the repeated listening it may take to truly appreciate it.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.