Customer Reviews

Teatro

5 star:		(40)
4 star:		(13)
3 star:		(3)
2 star:		(3)
1 star:		(2)

 

 

I first heard some 'Teatro' tracks when Willie played Farm Aid in 98. I knew then that I had to get this album. Like I said, I am not a fan of Nelson, nor am I of country music, but the music on this album is superb. It is perfect for those 'lazy' days, or when you just need a stress reliever. My favorite track has to be the version of Lanois' 'The Maker'. Daniel Lanois, who produces 'Teatro', for those who don't know, is a musician who seems to have better success as a producer. He has produced such greats as U2, Peter Gabriel, and Bob Dylan ('Time Out of Mind' was heralded as Dylan's best work in years, largely due to Lanois). I highly recommend this album to anyone who is at all hesitant in picking it up. You will not be disappointed.

I will admit to hating (and that's being kind) the majority of country mucky muck that pollutes the airwaves of this great nation, but, this is a really great record. From the opening minutes of Teatro, we are entered into a spookier, dustier affair, full of sorrow and regret, a record that is as real as a record can get. This, of course, comes from Willie. One gets the sense of personal struggle and heartbreak, but without all the cheesy, twangy hang-ups that plague CMT. Another reason for the record's success is the hauntingly beautiful production from Daniel Lanois. Listeners may know his work with Scott Weiland, Bob Dylan or U2's masterful Joshua Tree. Lanois adds this chilling quality to this very Texan/Mexican guitar album, you can almost feel the sun dried hands that these songs where created with. I esp. loved the cover of Daniel Lanois' very own tune, "The Maker". It's a song that sounds like it's an out-take from The Joshua Tree, U2 fans will absolutely love this one. Another highlight is the regretful, "I Never Cared For You". Strangly upbeat, it best represents what the disc has to offer, a lot of feeling and Spanish stylings - it just plain beautiful! I expected this to be a interesting, smart record at the very least, it well surpassed that and a whole lot more. Thanks Willie for giving country a respectable name once again.

This CD was recommended by the concession cashiers at a Willie Nelson concert. There were five CDs on sale. There were four cashiers and they were unanimous about Teatro. They were right. Brilliant shuffles with rock solid rhythms alternate with contemplative ballads featuring Willie's perfect emotional pitch. The first time you play it, it becomes a familiar old friend; you can't believe you haven't owned it for years. Ou Es-Tu, Mon Amour, an instrumental tribute to Django Reinhart, feeds directly into I Never Cared For You, where a man struggles to convince a distrustful woman that he truly loves her, using her mistrust as the tool that will make her believe. Both music and voice are dead on. Darkness On The Face Of The Earth is the type of straight ahead rocker that you keep singing along with even after you've parked your car. These Lonely Nights similarly captures Willie in his best Whiskey River mode. And anytime you're in a lull, just punch in track 12 (Three Days). Despite a middle section of slow tunes, Teatro is the pefect road companion. The best tracks on this CD don't just make your body move, they make your car sail down the highway. I haven't played another CD in the car in six months. Just teriffic.

I had been slowly listening and rediscovering the Willie Nelson catalog when I bought Teatro. From the opening chords I knew this would be different. The production of Daniel Lanois really complements Willie's distinctive guitar, and seemingly effortless vocals. Emmylou Harris adds her brilliance on backing vocals on most of the songs, but shines brightest on "Just can't let you say goodbye," and "Everywhere I go." This CD contains some of the most haunting and moving songs I've heard in a long time. With each listen I've come to love it more. This album reminds me of two of my favorites, Neil Young's Harvest Moon, and Cassandra Wilson's New Moon Daughter. This CD defies categorization in my opinion, it's just very good music. Willie (as well as Emmylou)is a timeless American treasure that many of today's artists could learn alot from.

I mostly enjoy classical and opera. However---- my Texas girlfriend recently introduced me (not personally) to Willie Nelson. I am struck. So struck in fact, that this is my first review for Amazon. I was that moved on hearing Teatro. Its rhythms are with me now. You must hear this CD, especially on a great audio system. It is superbly recorded. But even on a boombox, its beat and its message are arresting. I thought, at first, it might be one of those CDs you love cause you are in a certain MOOD. But I have been through many moods, and this CD is always as wonderful and as beautiful as it was on first hearing. Just inventive and propulsive and.. what else can you say. Sadly, I've bought several other Willie albums since this, and I just cant seem to recapture the feeling this one gives me. Moonlight in Vermont jus' don' cut it. It is no Teatro. Nothing is.

Not a big Willie Nelson fan, I bought this CD because I love Emmylou. But they sound great together. It has become one of the most treasured cds in my collection.

If you are reading this you probably already know that Willie is one of the most creative, powerful, and diverse performers of all time. In this review, I'm not going to rate the albums, just offer some insights into the CD's and DVD's that I have purchased - and I'm glad I've purchased them all.

"The Essential Willie Nelson" is essential. Be that as it may, Willie's individual CD's are so strong and the songs are so interrelated, often in a story or a tight thematic format, that they almost make the "essential" Willie Nelson unessential - but it is such a great collection of songs, that you can't get as easily any other way. Definitely worth the buy.

"The Red Headed Stranger" is one of the greatest albums of all time. It is pure genius. If you get the 70th birthday edition, you get a remastered track and extra songs. There are no less than six "A" level songs on this CD, nothing short of amazing. Plus, you get fourteen minutes of great story telling. As a story teller, Willie is only rivaled by Native American artist Robert Mirabal ("Indians Indians", "Taos Tales", "Music From A Painted Cave", "Mirabal", etc.).

"Willie and Family Live", done around 1975, is a great live album. It has lots of energy. A highlight for me was Willie Nelson, Emmy Lou Harris, and Johnny Paycheck singing "Amazing Grace" together. It also contains the fourteen minute story of the Red Headed Stranger, including "Blue Eyes Crying In the Rain". This live performance of Willie's first #1 hit is the best I have heard on any album. There is a little extra "oomph" on every song in the CD. Again, make sure you get the 70th birthday edition, it has extra goodies.

If you like the early super hits that Willie wrote for everyone else, like "Crazy", "Night Life", and "Funny How Time Slips Away", then you need to also get the "Milk Cow Blues" CD. Willie performs these and more Blues standards, usually in a duet format, with outstanding artists such as B.B. King - Rolling Stone Magazine's choice as the 3rd greatest guitarist of all time. Hearing BB and Willie strum and sing together on "Night Life" and "The Thrill is Gone" is indeed a thrill. Willie performs this album with a first class Blues band and it is a first class Blues album.

Willie's latest album, "It Will Always Be" is once again a solid piece of work. Duets with Norah Jones and Lucinda Williams help make it special, but the best part of this album is the haunting duet of Willie and Paula Nelson on the song "It Will Always Be". This is a song that hits you in the gut, and it rivals Bruce Springstein's "Streets of Philadelphia" in terms of its raw emotion. A number of people, including me, cried the first time they heard it: "I'm tied of this and I'm running out of time; feels like dyin', feels like cryin'; and I'm running out of time." Say it ain't so, Willie!! A second good song was written by another member of the Nelson clan. The title song is very beautiful. The tribute to the land Willie loves, "Texas", is too short but very meaningful. If this was Willie's last CD, he went out as "The Midnight Rider", a great song for the leader of the outlaw movement: "They ain't gonna catch me, I ain't go let `em catch the Midnight Rider."

"Spirit" and "Teatro" are brother/sister CDs. Both have a strong thematic core, although they are not stories. "Spirit" is one of those rare CD's when every note seems important. For most, you'll listen to it less than the other CD's, but love it equally as much. For a few, you'll play it by the hours. It is essentially a story of coping with lost love, redefining your relationship with yourself and with God, and finding love again. The music and the whole CD are moderately paced, with a strong, steady spiritual tone to it. It has a light Latin sound, essential to Willie's roots. Pictures of Willie on this album look like he came from an ancient Holy Land.

"Teatro" is the mirror of "Spirit". Again, it is a story of coping with lost love, but the story goes south, ending in murder and psychological ruin. Teatro means "theater" in Spanish and this is good to keep in mind in listening to the CD. It is just a play folks! The CD is very hard-hitting, because Willie's music is very hard-hitting and very close to the heart. The music tends to have a lively beat, with strong Latin overtones. Its haunting nature is reinforced by Emmy Lou Harris, who accompanies Willie on most of the songs. The back picture on the back of the CD case is one of the best pictures of Willie ever taken.

The "My Life" DVD is well worth the buy. The story ends before the 90's, but there is a brief update. I knew about Willie and Farm Aid, but I didn't know about the scope of his philanthropy and the diversity of populations targeted in his giving until this DVD. I was also amazed to learn that he paid his $16 million IRS debt off in one year, selling $17 million worth of songs as info-mercials to radio stations. That's a lot of love, translated into a lot of power.

A number of people criticize the "Live In Amsterdam" DVD and some of the criticisms are merited. But hey, the DVD has a large collection of great songs. Some criticisms are not fair. You perform differently and 70 than you do at 40, it is a biological rule. Willie's shows have always moved quickly from one song to the other, so the pace of the concert is nothing new. The love from the audience is shown at the end when Willie is signing autograph after autograph. The bottom line is this, if you like Willie, if you would like to watch him live occasionally instead of just hearing him through the box, and if you want those images of him at 70, then you should buy this DVD. You'll find it worthwhile.

In the final analysis, the raw power of Willie's work, formed by singing in the cotton fields with Black and Mexican laborers, and his keen insight into what people really want in music, formed not through record company analysis but through live performances on the ground, make Willie Nelson one of the most creative, powerful, and loved performers of all time.

I've been a fan of Willie for as long as I've been listening to music. Though I wouldn't consider myself old it still means I've been listening to him for some 21 years. I remember a trip to Arizona in our motor home where there was only one 8-track played for the 16 hour trip and it was Willie's "Honeysuckle Rose". Throughout all my fazes Duran Duran, Motley Crue, and Public Enemy, the music Mr. Nelson was putting out was still being played by me in secret. Like old chevy his music is always reliable to pick you up or sometimes break you down. This new record "Teataro" is no different, some 30 years in the making and still as fresh as anything being put out. This is because his music is timeless, the guitar playing and melodies fit over any accompiment you, Daniel Lanois or me can imagine. Ever hear Erasure's cover of "Always on My Mind" the transition was flawless. The not so secret weapon that helps push this over the top is Emmy Lou Harris radiant voice which drapes the backgrounds constructed by Lanois intricate production and Willie's finger pickin. The records percussive streaks and instrumentation is also impressive like the snake charming harmonica that twists its way around the salsa rhythm in "Everywhere I Go" my personal favorite. Forget those slicky boys with the quaffed hair and chiseled good looks and pick up this slab of good old-fashioned grey whiskered soul.

In many ways, this is a typical Willie Nelson album but the music here is a little different. For this album, Willie acquired the services of Daniel Lanois as producer. He had revitalized Emmylou's career by producing her 1995 album, Wrecking ball. Emmylou, who has recorded several duets down the years with Willie, provides backing vocals on several tracks here, most prominently on Everywhere I go. The credits show that many of the tracks feature Bobbie Nelson on Wurlitzer - this is one of the differences in the sound. There are other unusual instruments on some tracks such as congas, vibraphone and omnichord.

The album begins with an instrumental cover of a French song and closes with another instrumental. Between them are twelve excellent songs, some from Willie's own back-catalog and some new, plus a couple of songs written by others - one of them (The maker) by the producer.

If you wish to compare the difference in sound compared to earlier Willie Nelson albums, listen to My own peculiar way. Willie wrote this song in the sixties and has recorded it a few times since. Several other oldies are included, both of which Willie also wrote or co-wrote in the sixties, these being I never cared for you, Darkness on the face of the earth Home Motel, I just can't let you say goodbye, I've just destroyed the world and Three days.

Overall, this is a very relaxing album on which Willie's voice is great despite his age (he was in his sixties when he recorded this album). When I first played it, I wasn't sure about it but I have since come to recognize its brilliance.

What a brilliant combination - famous producer Daniel Lanois lining up with one of America's finest singers. I heard Willie perform some of these songs live in Frankfirt before the album was released and couldn't wait to get my hands on the CD. And it was well worth the wait! An eerie musical melange so typical of Daniel Lanois productions previals throughout the album, alllowing Willie Nelson's unique voice to hover over a background of beautiful Mexican guitars and sometimes weird drums - an unforgettable musical experience. I love both Willie's own material and his interpretations of standards, but this album goes beyond anything he's ever done. And Emmylou Harris' voice plus Mickey Raphael's harmonica add to the thrill. Whatever you used to think of Willie Nelson before - this album is a treasure which appeals to anybody who appreciates good music!