Willie Nelson may hold to countrified optimism but that does not mean he has lost the sharp edge. His songwriting often details the world around him, not the world according to his listeners. Crucial to this disparity is understanding the gap. Nelson continues to perform and create after a hundred albums or more, over sixty years in the business, because there is belief in his world view. There is a hopefulness to it, often misplaced in recent years, as was the case for lead single, Oh What a Wonderful World, but part of the charm is this is what Nelson sees before him. He is an artist filled with a hope that has lasted far longer than his contemporaries, both their perspective and their careers. Banks of the Old Bandera is a sweet and sincere song. We should expect nothing less from Nelson.
The songs of Rodney Crowell are safe in his hands. Banks of the Old Bandera featured on The Houston Kid and, as is the expectation of recent works from Nelson, he covers what he finds moving. His heart is affected by Banks of the Old Bandera, and clearly so. His wispy voice, the older style which presents itself to his country outputs, is a welcome change. Reflective tones are almost inevitable with this range and, armed with that reliable acoustic guitar, it is a delightful encounter with a consistent voice of country music. Banks of the Old Bandera is an exemplary moment for late-stage Nelson offerings. Those who want more of his covers would do well to check out Last Leaf on the Tree. Some truly exciting covers can be found on there, not least of The Flaming Lips and Tom Waits. Cover songs are not a shortcut; there is no safe passage for those who wish to adapt the works they find moving.
Covers are rarely stand-out moments for either artist. Often, it is respect between two contemporaries and nothing more. But the act of one artist covering another is steeped in a love which is often enough to carry the song over. It is for Banks of the Old Bandera. A nice and breezy piece of work which relies on the ever-present, enjoyable sounds of Nelson’s voice and guitar style. Countrified charms yank nostalgia from their resting place and re-adapt them to the modern world. Nelson longs for the old country, the calmer waters of a not-quite-simpler time, but a time when everything was understandable. Or at least, that is the hopeful attitude he gives to this Crowell cover.
Whether the world will ever get to a point of simpler understandings or not, it sounds like hollow hope from Nelson. How many creeks and rivers are the modern-day livers exploring? Few, if any. The world has been tarmacked. Memories are all the veteran class of artists now have. Oh What a Wonderful World may present bright and sparkling days ahead, but the truth is they are all in the past. What it makes you feel is more important than how you will feel. The beforehand is the sought-after emotion, rather than the modern-day insights. Reflection and memory are two separate experiences. Nelson uses the words of others to remember what appear to be the glory days. A bit of a drop from Nelson, especially considering the high bar he set just a short while ago with The Border, but more stock from the legendary artist is nothing to be sniffed at.
