Lyle Lovett - My Baby Don’t Tolerate (2003)
Genre: Country | MP3 192 kbps | 80 Mb | 57 min.
Pure Texas country with a little laid-back blues sound. After a seven-year wait, Lovett defied expectations with My Baby Don’t Tolerate. His new songs proved not to be wry, ever-so-clever setpieces like some of his most popular ’80s tunes, but more economical creatures full of small observations and very little of Lovett’s trademark stylistic quirks. Aside from the occasional oddball touch, like name-checking German director Wim Wenders in a song about trucks, this is a pretty straightforward affair. The Western Swing-tinged arrangements are too tasteful (and tasty) for mainstream Nashville, but otherwise this is the most accessible Lyle Lovett album to date. ~: Amazon

Tracks:
01. Cute As A Bug
02. My Baby Don’t Tolerate
03. The Truck Song
04. In My Own Mind
05. Nothing But A Good Ride
06. Big Dog
07. You Were Always There
08. Wallisville Road
09. Working Too Hard
10. San Antonio Girl
11. On Saturday Night
12. Election Day
13. I’m Going To Wait
14. I’m Going To The Place

Personnel:
Dean Parks - acoustic & electric guitars
Paul Franklin - steel guitar
Russ Kunkel - drums
Lyle Lovett - vocals, acoustic guitar
Viktor Krauss - bass
Shannon Sanders - background vocals
Also: Matt Rollings, Stuart Duncan, Sam Bush

D/L Link:

http://rapidshare.com/files/1174109/Lyle.rar

Lyle Lovett is in a nostalgic mood on My Baby Don’t Tolerate, his first studio album of all new and original songs since the country-minded The Road to Ensenada in 1996. This is a mixed blessing–several songs sound like retreads from Lovett’s earlier efforts, even as a listener welcomes the reprised, syncopated, hep-cat, Louis-Jordan-meets-Sister-Rosetta-Tharpe signatures that help define his quirky style. While a key tune, “In My Own Mind”, turns around a family man who seeks solace from a busy household, drawing restorative power from nature (”no rain, just the sunshine”), the album finds itself when Lovett begins revisiting dark places in his mind. Forget “Cute as a Bug”, a by-now formulaic song of lust, and get right to the bleak antagonist who narrates the confused loss of the elegantly jazzy “You Were Always There”, the snaky blues of the title song, the pointy-toed send-up of bygone Music City hillbillies (”Nashville”) and the sly portrayal of the bribes of luckless blacks (”Election Day”) in the old-time south. As the infectious, if repetitious gospel numbers prove, the man with “Eraserhead” hair isn’t breaking any new ground. But he still fuses country, blues, jazz, folk, big band and pop like no-one else on the planet. –Alanna Nash

Lyle Lovett is many things, but prolific is not one of them. Yes, at the outset of his career, he released an album every year or two, but by the time he became a star in the early ’90s, he slowed down quite a bit. Between 1992’s Joshua Judges Ruth and 2003’s My Baby Don’t Tolerate, his first release on Lost Highway, he only released one album of new original material: The Road to Ensenada, in 1996, which followed 1994’s I Love Everybody, a clearing-house of songs he wrote before his first album. So, My Baby Don’t Tolerate is his first album of new songs in seven years, and two of its 14 songs — “The Truck Song” and “San Antonio Girl” — were previously released on 2001’s Anthology, Vol. 1 (which is bound to frustrate fans that bought that uneven collection just for the new tunes), leaving this as a collection of 12 new songs. Given the long wait between albums and since the record is so firmly in the tradition of The Road to Ensenada that it could be branded a sequel, there may be an initial feeling of anticlimax, since there’s not that many songs and they all feel familiar. Such is the complication of a long wait — it invariably raises expectations — but judged as a collection of songs against Lovett’s other albums, My Baby Don’t Tolerate holds its own very well. As mentioned above, it is very similar to The Road to Ensenada, sharing that album’s clean, unadorned production, directness, and preponderance of straight-ahead country songs. And it’s not just that the album is country; it’s that many of his eccentricities are toned down, to the point that when Lovett ends the album with two gospel numbers, they sound like shtick. Even the handful of ballads are lighter, lacking the somber introspection of Joshua Judges Ruth or the subtleness of I Love Everybody. Everything here is out in the open, and it’s the better for it; musically, it may offer no surprises, but its directness is appealing, particularly because Lovett simply sounds good singing country songs. And that’s what My Baby Don’t Tolerate offers — Lovett singing good country songs and sounding good. It’s not a complicated pleasure, but it doesn’t need to be, and after a long dry spell, it sure is nice to have a new collection of songs from this reliable songwriter.
Stephen Thomas Erlewine

My Baby Don’t Tolerate is Lyle Lovett’s first album of new music since 1996’s Grammy Award-winning Road To Enseñada. In a press conference earlier this year the ever self-deprecating Long Tall Texan put this seven year glitch down to ‘Dumbness…laziness’ but in truth he has been very busy of late. Whilst quietly amassing the material for My Baby Don’t Tolerate he had a heap of other projects on the go; his excellent tribute to fellow Texan singer-songwriters, Step Inside This House, the Live In Texas album, Smile, a diverse collection of his contributions to film soundtracks, some music for his old buddy Robert Altman’s film Dr. T & The Women and a continuation of his acting career with a role in The New Guy. Then there was that nasty incident involving a bull with very sharp horns and a dislike of Lovett’s sophisticated style of country music which put him in hospital for several weeks. But he got here in the end.
Those who bought Cowboy Man: Anthology Volume One will recognise ”The Truck Song” and ”San Antonio Girl”, two brilliant little Western Swing gems which were included on this greatest hits collection as a taster for things to come. Melodically theyre basically the same song, and both offer flashes of Lovett’s intellect, gentle humour and reluctance to let rhyming conventions get in the way of a good story (’I've been to Paris / And I don’t mean Texas/ I met Wim Wenders/ one time in London’).
Apart from these two tracks, co-produced with Tony Brown, it is long time collaborator Billy Williams who joins Lovett at the mixing desk. The musicians are familiar too. There’s no horn section, but Large Band members Matt Rollings and Viktor Krauss are back on keyboards and bass, and Francine Reed and Sweet Pea Atkinson add vocals to the two gospel numbers which close the show. Choice session musicians including Paul Franklin (steel), Stuart Duncan (fiddle) and Sam Bush (mandolin), who often joins Lovett’s touring band, are there too. On top of this already polished bed of music flows Lovett’s ever velvety and gentlemanly vocal, adding that special gleam that makes all his albums such dignified affairs.
He takes the opportunity to further explore two familiar themes - relationships with beautiful, interesting women and his love for the minutiae of life in Texas. At one point he does take a rare look outside his home state for inspiration, with ”Nashville”, but it is only with a wry eye (’They live in Nashville/ They drive a coupe de ville/ They all take little pills/ On a Saturday night’). You can take the boy out of Texas, but you can’t take Texas out of the boy…
Sue Keogh (2007-06-21)

Original news:
YouTube: Lyle Lovett singing My Baby Don’t Tolerate 13 Sep.’06 Tennessee Theatre. 02:57

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