Willie and Family Live (1978) [disc 2]

This disc opens with a version of Rodney Crowell’s “Till I Gain Control Again” that also appears on the compilation “One Hell of a Ride” (which I have previously reviewed). What’s interesting is that the mixing (or re-mixing) is quite different in these two versions. I actually prefer the version on “One Hell of a Ride” because the vocals stand out clearer. Either way, this is a five-star performance of this song, and Mickey Raphael continues to have one of his finest performances in this concert.

This version of “Bloody Mary Morning” may be the fastest I’ve heard. I have about seven versions so far, but this may be my favorite. I’m not sure why, but this has never been one of my favorite songs; however, this one has my attention. Maybe because Willie seems to be enunciating the lyrics more clearly. They often get lost in the raucous live versions of this song, but here he seems to maintain both blazing speed and clear vocal phrasing. Maybe it’s Willie’s Taoist skill of hurrying slowly.

I’m a sucker for “I’m a Memory,” and this may be my favorite version of the five or so I have thus far. It’s short (at 1:49), but Mickey blows the heck out of his harmonica and makes this one of the most packed 1:49 of the 2 ½ days worth of Willie’s music I have so far on my 8 gig nano (which is almost full). It’s good to hear Willie re-do one of his oldest hits, “Mr. Record Man,” live in 1978. I only have three versions of this so far, and again, this may be my favorite. Ditto for “Hello Walls,” which Willie segues directly into after “Mr. Record Man.” I only have three versions, but I also like the one from the early album “Country Willie.” “One Day at a Time” is another song I have three versions of (the others are on “Me and Paul” and “Country Willie”). Another topic for future blogs would be to listen to great pairings of Willie’s albums (like pairings of wines). “Willie and Family Live” would go well with “Country Willie.” A lot of the same songs, but done very differently. This version of “Will the Circle Be Unbroken” may be too fast for my taste, but it is interesting. Mickey and Bobbie have impressive solos. Not sure who’s on back-up vocals (it isn’t listed in the liner notes), but she features prominently on this track and the next. Then Johnny Paycheck steps on stage to help with “Amazing Grace.” I’ve got four versions of this song, but I’m not sure which I prefer. I’ll need to compare them side-by-side. Not sure why Willie brings Johnny Paycheck on stage. He doesn’t add much. I’d rather hear Willie do it straight up. This is the only version of “Take this Job and Shove It” I’ve heard Willie do. Seems blasphemous to sing this right after “Amazing Grace.” But I wouldn’t be surprised if Willie planned it this way. It certainly provides a startling contrast. Mickey spruces it up with his harmonica, but Willie doesn’t participate as far as I can tell. Then, as if to purge the stage of the outlaw Johnny Paycheck, Willie goes into a rousing version of the gospel tune “Uncloudy Day.” I only have three versions of this (also on “Honeysuckle Rose” and “The Troublemaker”). I’m hearing the instrumental “The Only Daddy That’ll Walk the Line” for the first time. I love Leon Russell’s “A Song for You,” and I give Willie a 5 every time he sings it. He sings it better than Leon. It’s an “Always on My Mind” kind of song. I love you in theory. “I love you in a place where there is no space or time.” But who wants to be loved in such a place? We want to be loved in time, in space, or we are making love to air. But this notion sums up Willie’s and Proust’s ideas about love. And it’s pure, naked, solo, acoustic Willie. And then he jumps into “Roll in My Sweet Baby’s Arms.” The audience really gets into it, goaded by Mickey’s harmonica. First time I’ve heard him do this one. Surprisingly, this is only my third version of “Georgia on My Mind” (also appears on “Stardust” and “Two Men with the Blues”). Willie’s version on “Stardust” can’t be improved, so I can see why he doesn’t re-do it as much. This one is a close second, though. And it is 1978, the same year “Stardust” came out. Mickey’s solo sounds just like the album. This is my third version of “I Gotta Get Drunk,” and I think I prefer the version from “Crazy: The Demo Sessions.” It sounds a lot more like Hank Williams. Willie sounds more like himself on this version. And then he does a reprise of “Whiskey River.” I don’t know how he does this song every night. He must have the discipline of Phillip Glass to not forget what he’s doing and go on auto pilot. I actually like the reprise version better than the opening one. You can feel the momentum of the concert coming to a head here. The audience response adds to this recording, as it does on “Honeysuckle Rose.” And then another “The Only Daddy That’ll Walk the Line.” Not sure why we needed another, and why he would end on an instrumental, but there it is.