- Teatro is the forty-fifth studio album by Willie Nelson, released in September 1998 via Island Records
- First time ever issued on vinyl
- Features duets with and backing vocals by Emmylou Harris
- Produced by Daniel Lanois (U2 "Joshua Tree"; Bob Dylan "Time Out of Mind"; Emmylou Harris "Wrecking Ball")
- Remastered from the original tapes
- Vinyl pressed at RTI and housed in a deluxe gatefold jacket
- Includes booklet with photos and a new interview with Daniel Lanois and Willie Nelson
A1 Où es-tu, mon amour? (Where Are You, My Love?)
A2 I Never Cared For You
A3 Everywhere I Go
A4 Darkness On The Face Of The Earth
B1 My Own Peculiar Way
B2 These Lonely Nights
B3 Home Motel
B4 The Maker
C1 I Just Can't Let You Say Good-Bye
C2 I've Just Destoyed The World
C3 Somebody Pick Up My Pieces
D1 Three Days
D2 I've Loved You All Over The World
Location is everything. When Willie Nelson and album producer Daniel Lanois set out to create a cinematic-sounding album, "Teatro", they took over a disused movie theatre in Oxnard, California, and pictured its dusty glory on the LP sleeve. Recorded as-live in situ amid the red velvet seats, "Teatro" sees Nelson working extensively with his frequent collaborator Emmylou Harris, who joins him for duets and on backing vocals on 11 of the 14 tracks. The other major player is U2 and Paul McCartney collaborator Daniel Lanois, who produces the album, plays guitar and bass, took the cover photo and wrote one of the album’s songs, "The Maker”, a stunning performance with glacier-thick vibe.
Reinvention is key on "Teatro", with Nelson revisiting a number of songs he first wrote in the 1960s, including 1968’s "I Just Can’t Let You Say Goodbye” and 1962’s “I’ve Just Destroyed the World” and “Three Days”. Though the songs are familiar, the sounds aren’t: "Teatro" found Nelson experimenting with rhythms and flavors as never before, from the Spanish-influenced “Darkness on the Face of the Earth” to the double-drum-kit percussive groove of “My Own Peculiar Way”.
Accompanied by a nine-piece band that included Nelson’s sister, Bobbie Nelson, on piano, the group conjure up an atmosphere informed by the howling harmonicas and distant mariachi bands of spaghetti western soundtracks, the end result being a Willie Nelson album quite unlike any other in his career, and one that reveals it widescreen vision through arresting sonic imagery.