Willie Nelson spends the majority of First Rose Of Spring gazing back over his life with the nostalgic perspective of a man approaching ninety years of age.
The placid tone of its title track sets the stage for this thematic arrangement. The simplicity of its structure and his emotional delivery evoke memories of the country singer’s first hit song, 1975’s “Blue Eyes Crying In The Rain.” This new song – more of a poem, really – gives the impression of being a typical romantic ballad, yet as Nelson meanders through his lines the realization slowly dawns that its narrator is saying goodbye to a lover on her deathbed. Unexpected details such as this are ripe throughout the album, and even those familiar with the timeless quality of Willie Nelson are likely to find First Rose Of Spring to be startlingly sad.
Following in the footsteps of Johnny Cash, Leonard Cohen, and more recently, Steve Perry; Nelson has worked out a way to meet the challenges age presents to a singer’s voice without deviating too far from the style he developed decades earlier. What he’s lost or gained vocally has less to do with the album’s success than how he uses it. When Nelson digs in with a deep vibrato during “Yesterday When We Were Young” or “Our Song,” he stirs a hard pang of wistful regret. Regardless of whether this is skillful acting or practical experience, his commitment to the moment continues to be genuine.
Co-written by the singer himself, “Blue Star” serves as something of an epitaph for the title track, assuring his muse that should he leave this life before her, they’ll be joined together in “heaven’s bright.” The theme of mortality extends into Toby Keith’s “Don’t Let The Old Man In,” albeit with a positive spin, advising listeners to stand defiant in the face of Father Time.
Speaking of, Nelson revisits that concept in his rendition of “Stealing Home,” a retrospective which looks back on childhood and family life after time has carried them away. He also penned “Love Just Laughed,” seemingly shaking his head at the ease at which romance can sweep one’s inhibitions away, even when experience dictates the necessity of caution. Not all is doom and gloom however; a fresh interpretation of Billy Joe Shaver’s “The Cowboys” implores American men of all colors and creeds to unite. It’s a fine tune with an admirable message, but stumbles in comparison to the rest of the album, aiming for poignancy but lacking the punch.
Willie Nelson willfully imbues First Rose Of Spring with his own brand of bitter honesty, giving the album the sort of emotional resonance that the majority of his contemporary peers forgo in exchange for switchboard instrumentation and hollow lyricism. Granted, his past success allows him the freedom they lack, but there is something to be said for his art which is uncompromising.
