Willie Nelson Shotgun Willie/Phases and Stages 2 on 1 MFSL Gold CD Neu OVP Sealed UDCD 581 mit J-Card

Erscheinungsdatum:  10. Mai 1993
Label: Mobile Fidelity Sound Lab
Import aus: USA
Format: Audio CD

     Tracks


1. Shotgun Willie (2:43)
2. Whiskey River (4:06)
3. Sad Songs And Waltzes (3:08)
4. Local Memory (2:21)
5. Slow Down Old World (2:55)
6. Stay All Night (Stay A Little Longer) (2:36)
7. Devil In A Sleepin' Bag (2:41)
8. She's Not For You (3:15)
9. Bubbles In My Beer (2:34)
10. You Look Like The Devil (3:27)
11. So Much To Do (3:11)
12. A Song For You (4:27)
13. Phases And Stages (Theme) / Washing The Dishes (1:43)
14. Phases And Stages (Theme) / Walkin' (4:07)
15. Pretend I Never Happened (3:01)
16. Sister's Coming Home / Down At The Corner Beer Joint (3:47)
17. (How Will I Know) I'm Falling In Love Again (3:29)
18. Bloody Mary Morning (2:50)
19. Phases And Stages (Theme) / No Love Around (2:25)
20. I Still Can't Believe You're Gone (4:18)
21. It's Not Supposed To Be That Way (3:30)
22. Heaven And Hell (1:54)
23. Phases And Stage (Theme) / Pick Up The Tempo / Phases And Stages (Theme) (3:27)


Review by Stephen Thomas Erlewine
Transferring his allegiance to Atlantic (where he would record two remarkable albums that would get him kicked off the label), Willie Nelson offered his finest record to date for his debut — possibly his finest album ever. Shotgun Willie encapsulates Willie's world view and music, finding him at a peak as a composer, interpreter, and performer. This is laid-back, deceptively complex music, equal parts country, rock attitude, jazz musicianship, and troubadour storytelling. Nelson blurs the lines between his own tunes and covers to the point that "Whiskey River," this record's best-known song, seems thoroughly original, yet it was written by Johnny Bush and Paul Stroud. This, along with two songs apiece by Leon Russell and Bob Wills, provides context for his originals, with Shotgun Willie becoming a musical autobiography, offering not only insights into his musicality (witness how he slows down "Stay All Night [Stay a Little Longer]" to a slow shuffle) but, seemingly, into himself (most notably on the title track and the wonderful, funny travelogue "Devil in a Sleepin' Bag"). Nelson wasn't just at a peak of performing here — he also wrote some of his greatest songs, highlighted not just by the previously mentioned tunes but also by the lovely slow waltz "Slow Down Old World" and "Sad Songs and Waltzes." All of it adds up to possibly the finest record in a career filled with hits and highlights.
 


Review by Stephen Thomas Erlewine
If Shotgun Willie played a bit like a concept album, Phases and Stages was a full-blown one, tracing the dissolution of a marriage and devoting one side to the wife's perspective, the second to the husband's. If anything, Willie overplays his hand a bit, insisting on grafting the "Phases and Stages" theme between crucial songs to the point of genuine irritation. But, pretend that never happened, erase it from your mind, and Phases and Stages is easily the equal of its remarkable predecessor, a wonderful set of music that resonates deeply, as deeply as the words. Make no mistake — the deceptively relaxed arrangements, including the occasional strings, not only highlight Nelson's clever eclecticism, but they also heighten the emotional impact of the album. And this is a hell of an emotional record, where even each side's celebratory honky tonk numbers (the medley "Sister's Coming Home/Down at the Corner Beer Joint" and "Pick Up the Tempo," respectively) are muted by sadness. Then, there are the centerpieces: "Walkin'," where the woman decides it's time to move on; "Pretend I Never Happened," perhaps the coldest ending to a relationship ever written; "Bloody Mary Morning," a bleary-eyed morning-after tale that became a standard; "It's Not Supposed to Be That Way," a nearly unbearably melancholy account of a love gone wrong; and "Heaven and Hell," a waltz summary of the relationship. Any two of these would have formed a strong core for an album, but placed together in a narrative context, their impact is even more considerable. As a result, this is not just one of Willie Nelson's best records, but one of the great concept albums overall.