Archive for the ‘Duets and collaborations’ Category
On August 2, 1979, the duet album, ‘One for the Road’ sung with Leon Russell, is certified gold.
by: Jasper Rees
It’s not quite true to say no one would have heard of JJ Cale without Eric Clapton. Clapton’s cover of “After Midnight”, released in 1970 as the first single on his debut solo album, put Cale on the map as a songwriter and paved for his own inimitable recording career. But Clapton didn’t actually record “Cocaine” until Slowhand in 1977. In between Lynyrd Skynyrd slipped in with their account of “Call Me the Breeze”, the song which lends its name to this Clapton-led tribute a year on from Cale’s death.
Cale was a reticent inspiration to more than Clapton. The major singer-songwriters of a certain age queuing up to pay homage here include Willie Nelson, Mark Knopfler, Tom Petty and Don White, plus the realtively youthful John Mayer (b. 1977) and, submitting backing vocals on the final track “Crying Eyes”, Cale’s widow Christine Lakeland.
A soothing ramble through the timeless byways of Cale’s back catalogue, The Breeze is a more artistically robust compilation of covers than can often happen when famous fans crowd onto one album to say hi. Cale released 15 albums of chugging rock. The songs come in two speeds (“fastish” and “slowish”) and are so well built that there’s not much any singer can do with them other than be faithful to their cool, rhythmic spirit, and mix in a bit of their own personal chemistry. Knopfler sounds like Knopfler on “Someday” and Willie Nelson is very much himself on “Songbird” and “Starbound”, while White adds a country tinge to “I’ll Be There (If You Ever Need Me)”. Petty sounds like a dead ringer for Cale on “I Got the Same Old Blues” and “The Old Man and Me”. Clapton is everywhere, subsuming himself to the project on backing vocals, now and then popping up to lead. He submits a lovely “Cajun Moon”. Completists may regret the absence of a reprise for his two JJ Cale covers from 1970s.
US singer-songwriter JJ Cale died of a heart attack at the age of 74. He became famous in 1970, when Eric Clapton covered his song ‘After Midnight’. In 1977 Clapton also popularised Cale’s ‘Cocaine’. The two worked together on an album which won a Grammy award in 2008.
JJ Cale – Call Me The Breeze
From the album : Naturally (1972)
This day in Willie Nelson History: President Jimmy Carter joins Willie Nelson on stage in Georgia (7/27/2008)Sunday, July 27th, 2014
On July 27, 2008, Jimmy Carter joined Willie Nelson and Family on stage and played harmonica on “Georgia On My Mind” during a concert at Chastain Park Amphitheatre in Atlanta.
“Five different times I’ve been on the stage with Willie Nelson,” Carter said. “He always calls me up on his final number, which is usually ‘Amazing Grace,’ and we sing a duet together. He’s very careful to turn the microphone completely away from my voice.” – Jimmy Carter
Former President Jimmy Carter once told Rolling Stone magazine that “all the good things I did as president, all the mistakes I made – you can blame half of that on Willie.”
Yesterday, Mary Sarah turned 19 years old. Today, she’s releasing Bridges, a duet-filled album featuring cameos by some of the biggest living legends of country music.
It’s one thing to cover songs from the country songbook. It’s another thing to sing those tunes with the people who originally made them famous. As a result, Bridges serves as a tribute to the classic music Mary Sarah sang in churches and regional Opry houses during her younger days, as well as a testament to the longevity of old-school crooners like Dolly Parton, Willie Nelson, Ronnie Milsap and Merle Haggard, all of whom lend their voices to the project.
Sarah turns on the waterworks with “Go Rest High on That Mountain,” performed alongside Vince Gill, and dips her toe into more contemporary waters with the Big & Rich duet “My Great Escape.” The most impressive duet, though, may be “Heartaches by the Numbers,” recorded with Ray Price months before the singer’s death last year. The song feels like a passing of the torch between different generations, and Sarah’s performance — confident, tuneful and rarely overshadowed by her vocal partner — bodes well for a songbird who’s just now leaving the nest.
Mary Sarah, Bridges Track List:
1. “Jolene” (featuring Dolly Parton)?
2. “Crazy” (featuring Willy Nelson)
?3. “Fightin’ Side of Me” (featuring Merle Haggard)?
4. “Heartaches By the Number” (featuring Ray Price)
5. “Go Rest High on That Mountain” (featuring Vince Gill)
?6. “Dream On” (featuring the Oak Ridge Boys)?
7. “Texas, When I Die” (featuring Tanya Tucker)?
8. “Rose Garden” (featuring Lynn Anderson)
?9. “What a Difference You’ve Made in My Life” (featuring Ronnie Milsap)?
10. “Where the Boys Are” (featuring Neil Sedaka)
11. “My Great Escape” (featuring John Rich and Big Kenny)
?12. “All I Wanna Do Is Sing My Song” (featuring Freddy Powers)?
13. “I’m Sorry”
by: Peter Cooper
The text said “Roll me up and smoke me when I die.”
Its sender was a fellow named Willie Nelson.
“I got out of bed, picked my phone up and that text was there, and I laughed my (posterior) off,” Cannon says. “Since then, we’ve written probably 25 songs together by texting back and forth.”
How do you write a song with 81-year-old Country Music Hall of Famer Willie Nelson? It helps to have a good mobile plan. Cannon has never been in the same room with Nelson to write a song, but the two co-wrote nine of the 14 songs on the new, Cannon-produced “Band of Brothers” album. That album just made its debut atop the “Billboard” country albums chart.
“I’ll get up, look at my phone and there’ll be a text from him, with a verse or some lines,” Cannon says. “I’ll start tweaking and adding, and we’ll pass it back and forth. When it looks like it’s where we ought to be, we hum a melody to teach each other over the phone. Then he has me go in and cut a track, and he comes in and sings it and plays guitar.”
Easy enough, then. At least for Cannon. For the rest of us, it’s tougher to get Willie’s cell phone number than it would be to get a healthy (or unhealthy, depending on your point-of-view) inhalation of Willie’s favorite herb. But Willie trusts Buddy, and has since 2007, when Nelson added a vocal to Kenny Chesney’s version of the Cannon-produced classic “Lucky Old Sun.”
“He came in and did his vocal, and I made a rough mix and sent it to him,” Cannon says. “A couple of days later, he called my cell and said, ‘Hey, Buddy, this is Willie. That’s the best version I’ve ever heard on that song. Let’s find some songs and go make a record.’ ”
And so Cannon and Chesney produced Nelson’s 2008 album “Moment of Forever,” which included gems from the pens of Kris Kristofferson, Randy Newman, Guy Clark, Gary Nicholson, Bob Dylan and Paul Craft, among others.
Cannon has been working with Nelson ever since, blending Nelson’s acoustic guitar and longtime Nelson cohort Mickey Raphael’s harmonica with session honchos including drummer Eddie Bayers, bass man Kevin “Swine” Grantt and steel guitarists Mike Johnson and Tommy White.
“Every time he sings a song, he does something spectacular,” Cannon says. “The magic of Willie is his phrasing and his choice of notes. Nobody else on the planet does what he does. But you have to let him do it. I’ve seen people start trying to give him direction, and he’s apt to walk out the door, get on his bus and leave.”
Nelson doesn’t skip out on Cannon-produced sessions. They’ve done five albums together, and Cannon recently accompanied Nelson on a northeast trip to do television appearances in support of “Band of Brothers.” Cannon has grown comfortable around his text-happy friend, but Nelson is also a hero to Cannon, who has worked with industry honchos including Chesney, Vern Gosdin, Mel Tillis and Jamey Johnson.
“Recording with him is the ultimate,” Cannon says. “The first memory I have of him was driving around in Chicago in the 1960s and hearing his versions of ‘Columbus Stockade Blues’ and ‘Home in San Antone’ on the radio. The phrasing was so out there that it hooked me.”
These days, Cannon doesn’t have to check the radio to hear from Nelson. He can usually just check his text messages, and find lines such as “Bring it on,” “Wives and girlfriends” and “I thought I left you.” Lately, the texts are coming fast.
“We’ve got a record that just came out, and Willie’s head is already in the next album,” Cannon says. “Sometimes, he’ll send me a lyric where I can’t figure out what he’s talking about. One, he sent me a year ago, and I’m still trying to figure out what he’s saying. I dig it out and look at it a lot because I know there’s something there.”