Renegade Music Alternative Rock Album Puts New Spin On Music Of Country ‘Outlaw’ Willie Nelson
What does the alternative rock of the ‘90s have in common with the outlaw country music of the ‘70s?
The answer: Willie Nelson.
The bond between the two genres is apparent on a startling new record, “Twisted Willie,” which is due out today and contains gleefully warped rock treatments of Nelson songs. It brings together alt-rock figures from Nirvana, Soundgarden, Screaming Trees, Steel Pole Bathtub and others, together with enduring country “outlaws” such as Waylon Jennings, Johnny Cash and Kris Kristofferson.
“Willie’s devil-may-care attitude really appeals to young, alternative bands,” says project spokesman Mark Satlof. “They see him saying, ‘I’ll smoke pot when I want to. I’ll fight the IRS. And I’ll be on Howard Stern’s show.’ All that stuff.”
Nelson, who has given many young rockers their first taste of national exposure on his Farm Aid concerts, even shows up to sing his campy “Hello Walls” with Reverend Horton Heat.
The album kicks off with Cash joined by bassist Krist Novoselic of Nirvana, guitarist Kim Thayil of Soundgarden and drummer Sean Kinney of Alice In Chains. They manically careen through the fuzztone-enhanced “Time of the Preacher” from Nelson’s “Red Headed Stranger” concept album.
Another surprise teaming occurs on Nelson’s “She’s Not for You,” with members of Dinosaur Jr. and Mudhoney joining the sonic maelstrom.
Make no mistake: This is a rock, not country, album, though perhaps a daring country DJ might still be able to sneak on a track or two late at night.
Highlights include Jello Biafra cawing through “Still Is Still Moving to Me,” the Supersuckers revving up “Bloody Mary Morning,” Tenderloin putting a psychobilly stamp on “Shotgun Willie,” the Presidents of the United States of America motoring through “Devil in a Sleepin’ Bag” and punk legends X adding a frantic edge to “Home Motel.”
Only a couple of songs don’t work, one being Nelson’s sympathetic Hell’s Angels portrait, “Angel Flying Too Close to the Ground.” It’s given a monotonous tone by Breeder Kelley Deal with a final verse from Kristofferson.