Willie Nelson Album: “The Great Divide”

A number of critics have heralded this album as an attempt for Willie to break into the pop music world. True, Willie has not had many Top 40 hits lately, but back in the late 70's and early 80's he was pop (or rather pop decided that Willie was okay). A number of critics have also said that this attempt is an unwise move on Willie's part. I think Willie's reached an age where he doesn't really give a hoot 'n hell what anyone thinks about his musical choices (as if he ever did). That aside, I think the album is pretty good; it's certainly better than last year's Rainbow Connection--which did have its charm. The sound of the album is very polished and "The Great Divide" does stand out as one song that is close to the classic stripped down Willie style. However, I don't think this is a bad thing. "Just Dropped In" is rendered better on this album than RC's version--some songs just need a big sound. It is a trip to hear Willie sing a Cyndia Lauper tune, but he is God afterall, so it works. I was surprised at the number of Bernie Taupin songs (hence the title of this review), and equally surpirsed how good they were. Maybe Bernie should take a leave from Elton and move to Austin for a spell. I seem to be rambling. In any case, I think this album is his best album since Teatro, but not quite as good. A thoroughly entertaining and lively album. I had originally given the album three stars, but as I overlook what I have written, I'll give him another star. I may not be the best critic to listen to since I am a bit biased towards the man (he and James Joyce fight for possession of my soul every day of my life--Willie wins today since I just got this album; however, Jimmy might win out tomorrow if I reread the "Circe" episode for my thesis as planned). In any case, if you are the type of person who thinks Willie Nelson advised Prince Arjuna in the Bhagavad-Gita you will enjoy this album.

But I just was not taken with this album. It sounds, to me, not pop in the radio-pop sense, but like adult contemporary pop: bland and soulless at times. In other words, much of it sounds more like the living room than a juke joint off an open road. It's the drums and the background vocals that bother me. My least favorite has to be the opening track, too Rob Thomas-y. That said, Thomas' Recollection Phoenix is one of the best tracks, one that compensates for some of the others. The Kid Rock duo was relieving, except towards the end when Kid Rock starts to sound like a honky-tonk Rod Stewart. I was disappointed with Time After Time; his off-rhythm singing seems almost calculated and unnatural compared to the usual loose style that we love him for. Best song, of course, is the title track (for which I purchased this album).

An overall ambivalent album. But the title track and Recollection Phoenix are outstanding, and there are more good songs in there. Worth buying if you already like Willie, but for those who are new, don't let this album be an introduction to the man since it's not his best.

I've been anticipating the release of this Willie album for quite some time now. After a release date change (The Great Divide was originally to be released last year) it's finally here, and all I have is one question: What's the point here? By the end of the first track, "Maria (Shut Up & Kiss Me)", it's clear that the listener is in for a lesson in what greatly exaggerated production sounds like. A horn section, backing voices, pedal-steel, Willie's guitar, and a whistle (among others) all struggle to heard in the entanglement as the song winds down. This pretty much sets the pace for the rest of this very uneasy, unassured record. It's desultory sound tries desperatley to pinpoint a single string of semblance, but fails at any attempt at uniform or theme. Pedal-steel wanders aimlessly throughout; Mickey Raphael's trademark harmonica searches hopelessly to find a home, sounding lost whenever it appears; percussive sound effects suddenly appear out of nowhere and out of context, lending nothing but annoyance when they do appear. An orchestra even swells on "This Face", and pointlessly on this simply track. Kid Rock's too-strained vocal (otherwise not a bad vocalist in the past) and Willie's ill-attempt are both buried under the heavy guitar of "Last Stand In Open Country". Perhaps a much more understated instrumental setting and a pointed rap about the homeland from Rock would have fared much more effectively. And he isn't the only guest who's lost in the mix. By the end of the last track I found myself wondering where all those big names were. Bonnie Raitt and Sheryl Crow are reduced to barely audible backing vocalists. Brian McKnight and Willie sound wonderful together, but with its dramatic melody, the dated ballad on which they duet sounds like an 80's piece more suitable for Willie and Julio--one they may have even passed on. Two highly capable interpreters of ballads are wasted. Maybe there'll be a next time. Some really terrific songs do pepper this collection, however, it's just finding them under Matt Serletic's masterbatory production skills that tired this listener out. If it's Willie's extreme apt for broadening the lines of country--or stepping outside them altogether--that you're hoping to find here, this is no Teatro, no Night & Day, no Stardust, no Across The Boderline. Unfortunately, sit this one out.

This album has great material, great performances, and is exquisitely produced. My favorite song is "Maria", an upbeat song written and co-sung by Rob Thomas. [Reminded me slightly of Paul Simon's "Me and Julio Down by the Schoolyard".] THis song is catchy, fun, and the vocals of Willie and Rob are fantastic. Rob contributed two other excellent slower songs - "Won't Catch Me Cryin" and "Recollection Phoenix" - beautiful, melancholy wistful ballads, both depicting emotions of a relationship.

THe other collaborations with Kid Rock, Sheryl Crow, Lee Ann Womack, Bonnie Raitt, and Brian McKnight are all enjoyable to listen to. Willie shines in the more poetic and life-assessing musical moments, such as "Recollection Phoenix". Matt Serletic did a fantastic job of producing all the music on this album, with tasteful orchestrations to enhance where appropriate.

THis is a great album. Willie really shows his diversity in these different styles. And his expertise in choosing great people to collaborate with, especially the excellence in songwriting and vocals by Rob Thomas.

With this album or any from this master is only to look at it from song to song. Overall this album has more of a country feel as opposed to milk cow blues and the rainbow connection. Still it is incredible. The best I would say would have to be "This Face", which really helps one appreciate aging. The album has an overall feel of optimism and at the same time loss. All that is encompased in a life. The cover of Cyndi Laupers time after time is another landmark. The title track which I think is about a life cycle in general or the coming and going of lovers. I have only heard it 2 times and its really growing on me more after each listen. A master work from a master. The guests sdd little to most of the tracks I would have prefered willie took them on alone.