With her many appearances on record and in performance with Jason Isbell and His 400 Unit, along with the high profile of the super group, The Highwomen, likely have many fans of each thinking that Amanda Shires is a Nashville type or at least a true Southerner. Yet, Shires, who began playing fiddle with the legendary Texas Playboys when she was just 15, is a down-home Texan. Feel free to check out some of her records from twenty years ago and don’t miss the Thrift Store Cowboys. Anyway, that’s an introduction to this collaborative date, Loving You, with the late pianist and singer Bobbie Nelson, Willie’s sister, recorded prior to Nelson’s passing with a set of Nelson’s favorite songs, most of which will be familiar.
Perhaps you’ve already heard the single, “Always on My Mind,” a hit for Elvis and later for Willie Nelson, sung emotively by Shires who has all the vocals on the album, along with Nelson’s sensitive piano playing. God only knows how many times she’s played this same song in support of her brother. This song, originally meant for inclusion in Shire’s acclaimed Take It Like a Man, was the catalyst for this collaboration between the two Texas natives. The album begins with Nelson’s chime-like piano on “Waltz Across Texas,” the dancehall favorite penned by Ernest Tubbs (aka Billy Talmadge in the credits) and made famous by Ernest Tubb and His Texas Troubadours. It sets the tone for a genuine Texas-sounding album, where aside from guests on select tracks, the fiddle/piano duo is joined by Bobbie Nelson’s son, drummer Freddy Fletcher, guitarist Chris Maresh, and bassist Quentin Flowers.
The standard “Old Fashioned Love” is a feature for Shires’ fiddle and Nelson’s barrelhouse piano, with Jay Bellerose as a second drummer. The ageless Gershwin chestnut, “Summertime,” may be the best display of Nelson’s sensitive piano on the album and brother Willie steps in to harmonize and duet with Shires, who makes this version far more emotive than most. “Angel Flying Too Close to the Ground” is obviously another we associate with Willie, but the vocal here is all Shires, who excels, soaring in the high register while Nelson accompanies in her incomparable style. “Dream a Little Dream of Me,” long associated with Ella Fitzgerald and Louis Armstrong gets the Western Swing treatment but somehow pales in comparison to the preceding tracks, perhaps sweetened too much by the orchestral sound of the additional strings, which is true for the gospel “Tempted and Tried” as well although Shires vocal, especially at the end, is roof-raising.
Nelson’s piano shimmers brightly and Shires’ fiddle adds just the right touch on the Tex-Mex instrumental “La Paloma” while the title track, penned by Bobbie, is the album’s lone original and is a delectable, melodic solo piano excursion, epitomizing Nelson’s style that finds its sweet spot between dancehall, vaudeville, and swing. The orchestral backdrop emerges again in the closer, “Somewhere Over the Rainbow,” where Shires delivers another stellar vocal, thereby redeeming the rather bland arrangement. Importantly, it was Nelson who chose this repertoire, this tune in particular as she knew her end was near. Shires sequenced the selections to mirror Nelson’s life.
Shires displays her reverence for Nelson in her fiddle playing and with some of the most impassioned vocals in her career while showcasing Nelson’s pianism, giving her a fond, tender farewell, Texas style.
One Response
Ms. Amanda,
I love the collaboration you did with Bobbie Nelson. What a beautiful tribute to a wonderful musician. I’m not a fan of country music per se, however I love your music including the HighWomen. I became a fan after watching your interview with Dan Rather along with your husband. You are truly a very strong woman who believes in herself. Please never stop creating music as you are truly admired and beloved.
P.S. I love your fiddle playing!
May God bless you and your family!
Regards,
Ed Ulibarri