There’s a long history of popular actors using their celebrity status to make records. Some have been earnest attempts to present the artist as simply a talented figure who happens to be famous from film or television. Others are more exploitative ventures that use the figure’s stage persona to sell records. From Robert Mitchum’s take on Calypso to Scarlett Johansson’s covers of Tom Waits, the star quality of the performer has added a touch of magic to what might otherwise seem to be vanity projects. That’s the case with Amy Irving’s latest release, Always Will Be.
On the surface, there is nothing special about the album. Irving covers ten Willie Nelson songs with the help of a ten-piece band and several notable guests, including Willie himself. Let’s be honest. Anyone who can stay in tune can make a decent record of the Red Headed Stranger’s material because the Texan has written so many great songs. He even wrote a wonderful one for Irving after meeting her while filming Honeysuckle Rose. He penned “I Guess I’ve Come to Live Here in Your Eyes” after Nelson noted that both he and Irving had eyes set far apart.
Irving has a good voice, and her acting skills help her inhabit the material. The songs are frequently character studies. She captures the persona of the romantic hero who may be unlucky in love, but happy to feel the pain. On tracks such as “Angel Flying Too Close to the Ground”, “I Wish I Didn’t Love You So” (featuring Steve Earle), and “If You Want Me to Love You, I Will”, Irving convincingly captures the pathos of the protagonist with a knowing leer. There’s something latently sexual about her delivery, which is somewhat enhanced by the audience’s knowledge of the performer’s physical beauty.
Always Will Be benefits from the variety of styles presented. It opens with the 1950s sound of “It’s a Dream Come True”, whose doo-wop flavor is heightened by Lizzie No’s shadowy contributions and the saxophone solo that punctuates the melody. Other cuts venture into big band territory (“Getting Over You”), Mariachi music (“Everywhere I Go”), folk/singer-songwriter intonations (“Always Will Be”) and a mix of styles (“I’d Have to Be Crazy”) to convey the absurd consciousness of the protagonist. The one genre missing is country.
Perhaps that’s a wise choice. No one could outdo Country Willie, so why try? The closest this record comes to country is Irving’s duet with Nelson on “Angel Flying Too Close to the Ground”. Irving sings it like a torch song full of sad sentimentality. Nelson doesn’t sing on the cut, or at least I couldn’t hear him. He adds his distinctive guitar (nicknamed Trigger) sound after Irving croons the melody. It may not add anything substantial to the tune, but it offers a pleasant accent.
Does the world need another Willie Nelson record? He has released over 100 studio albums, as well as a slew of live and compilation discs, and plans to make even more. The 91-year-old is still touring and entertaining audiences. The answer is sure, why not? Irving may not have been able to put out an LP like this if she weren’t a movie star, but she has the good sense to cover the great Willie. She does him proud.