Kimmie Rhodes – West Texas Heaven / Waylon Jennings – Right for the Time / Willie Nelson – Spirit

Those of us who share a Lone Star state of mind frequently feel that Texas music fails to receive due justice from the music industry at large, that the cross-bred styles that are the state’s stock in trade don’t fit neatly within the categorical boxes where much of the world puts its music. Thank heaven, then, for Justice Records. The Houston label initially specialized in jazz, but has more recently begun concentrating on the sort of Texas country music that breaks all of Nashville’s rules. It twice offered Willie Nelson refuge when he was between major labels; commissioned the Twisted Willie tribute album (with mixed results); resurrected the recording career of kindred spirit Kris Kristofferson; and most recently signed Waylon Jennings and Kimmie Rhodes.

The Rhodes album is the revelation, one that will introduce her to most of America after three previous releases overseas won her a following in Britain. It also should remove her from the shadows of more renowned luminaries on the Lubbock-Austin axis. The purity of her performance throughout this album is as powerful as it is unadorned, as Kimmie’s voice reflects an inner beauty beyond mere prettiness. Think of Iris DeMent’s trill sharpened to Lucinda Williams’ edge. Though her songs have previously been covered by Nelson and Wynonna, Rhodes makes her own material sound less like craft than testament.

Among those paying their respects are Nelson, Jennings and Townes Van Zandt — each of whom duets with her — while fellow Lubbockite Joe Ely contributes a vocal cameo as well. Rhodes’ luminous vocal transparency inspires her partners to strip away their own masks, with the two Nelson duets in particular sounding like an intimate eavesdrop on souls sharing secrets. The production by Rhodes and husband Joe Gracey avoids clutter, letting the songs stand on their own. The range on West Texas Heaven extends from the airy plaintiveness of “Wild Roses” to the Bobbie Gentryish “Git You a Job”; through it all, country music rarely rings more honest and true.

As for Jennings, it has been decades since he as sounded as unforced and unfettered as he does on Right For The Time, like a man who is no longer straining to keep pace with the trends or trying to recapture former glories. Produced by label head Randall Jamail, the album has a relaxed, one-take feel to it, with primarily acoustic instrumentation allowing Jennings to sing conversationally (instead of clenching to convey intensity). The material mixes a variety of Texas-inspired originals by Jennings, along with one he co-wrote with Rhodes and a cover of Paul Simon’s “The Boxer” as a ringer. Though “Hittin’ the Bottle Again” shows he can still rock with a vengeance, the playfulness that marks “Kissing You Goodbye” and the “Living Legends” talking blues finale shows Jennings having fun with his status as elder sage.

Nelson’s Spirit marks his return to the majors — as the first country artist ever signed to Island — following an album and tribute on Justice. The album is a song cycle on the order of 1975’s Red-Headed Stranger breakthrough, and it’s Nelson’s first in ages filled with all original and mainly new material. A meditation on the heart’s loss, the spirit’s renewal and the timelessness of memory, the music has a spare and sturdy quality to it, reminiscent of Southern gospel music or campfire singalongs, with the minimal backing of Nelson’s sister Bobbie on piano, Jody Payne on rhythm guitar and virtuoso fiddler Johnny Gimble striking the perfect balance between regret and resilience. Though the album is a little slight for the CD age (nine vocal songs, plus recurring instrumental bridges), the best stuff is brilliant, in particular the tender “I’m Not Trying to Forget You Anymore” and the sinner’s hymn, “Too Sick to Pray”.

Nelson has also reportedly completed a reggae album for release on Island later this year, and is in the midst of a blues project. If Nashville can no longer market Nelson within the constraints of contemporary country, he sounds all the freer for it. As do Rhodes and Jennings.