Published on Dec 9, 2003
With the surge of MP3s and other forms of online downloading, CD
sales have been taking a beating. Some say that if this trend takes
its full course, there will be no such things as albums, just
collections of songs, available for the user to make his or her own
collection of tunes. While I remain optimistic, I have to admit
that with the rise of mass online swapping of music, the format
that seems likely to be the first casualty is the compilation
CD.
Who needs a compilation CD when you can just download all of
your favorite artists of a particular genre to your hard drive?
That option has not stopped Compadre records from releasing
Texas Outlaws, a solid array of roots-centered songs from
some of Texas’ country and alt-country scene. The collection ranges
from loyal covers (Roger Creager’s dead-on cover of Steve Earle’s
“Guitar Town”) to legends like the late, great Townes Van
Zandt.
Some could argue that compilations like
Texas Outlaws are a quick and thrown-together attempt to
cash in on a hot musical movement (alt-country). However, since
artists like Steve Earle and Lucinda Williams aren’t exactly
burning up the charts, it’s hard to doubt the sincerity of Compadre
records. Texas Outlaws gives listeners the chance to hear Willie
Nelson do a great duet with Lil’ Black, but also gives the listener
to sample lesser-known, but definitely worth your ear talent like
Cory Morrow’s barren “The Preacher.”
Texas Outlaws does contain some throwaway tracks. Reckless
Kelly does a fairly uninspired cover of “Rodeo Man” and Robert Earl
Keen’s “Whenever Kindness Fails” fails to register, even after
repeated listens. Dale Watson’s “In the Jailhouse Now” is too slick
to do the original justice and John Evans’ “Folsom Prison Blues” is
one step up from an average karaoke version of Cash’s
masterpiece.
Wisely,
Texas Outlaws ends on two masterful notes: Townes Van
Zandt’s “Pancho and Lefty” and Willie Nelson’s duet with Lil’
Black, “Back on the Road.” The creators wisely mix up the
compilation, adding live recordings in addition to the studio
recordings. Combine that with some loyal covers and some genuinely
good originals by some of Texas’ brightest stars of country and
alt-country and you have a great introduction to roots music. If
you’re looking for the next step after Johnny Cash’s
American recordings and
O Brother, Where Art Thou,
Texas Outlaws is a good place to start.