Like Willie Nelson himself, Red Headed Stranger holds
a unique place in the history of country music. Willie is the country artist
who most stretches the boundaries of what it means to be a country artist,
while Red Headed Stranger completely flips the script on
what country music was supposed to sound and feel like. Coming from the
traditions of lushly produced and orchestrated hits, Willie strips away the
pretense and offers an album equally split between original material and
covers, but one that hangs together as a fully realized concept album telling a
story of remarkable emotional complexity. Willie was making the first album of
a new contract with Columbia Records that gave him complete artistic control
and he flummoxed executives when he delivered an album of stripped-down
arrangements that focused on his voice and guitar, his sister Bobbie’s piano
and embellishment from Mickey Raphael’s harmonica, (which can sound like
anything from an accordion to a crying baby). The results are unforgettable.
Initially rejected by the executives, Willie
stood his ground and the album came out in 1975, burning up the charts ("Blue
Eyes Crying In The Rain" was
Willie’s first #1), giving the “Outlaw Country” movement its crossover flashpoint,
and cementing Willie’s reputation as an American musical icon, mentioned in the
same breath as Sinatra, Dylan or Guthrie. He has since become the most reliable
standard bearer for American song, turning every cover he touches to gold, and
continuing to write songs that define that cross-section of the American psyche
where rural wisdom meets city sophistication. He is the thinking man’s cowboy
and proof that there is intellectual life running down every Main Street of
this country.
The album itself goes by like a dream, but is
structured like a book. The narrative of betrayal, lost love, revenge and
redemption is told directly, yet the narrator’s emotional state is illustrated
by the use of other people’s songs. The action is broken up like chapters by
several evocative instrumental passages. The result is total immersion in the
story, giving the listener the illusion of living this cowboy love story with
Willie. The dust, the whiskey, lipstick traces, the bitter regret are all as
palpable as the mud on Willie’s boots. There are few country albums that tell a
story so coherently and offer such musical satisfaction at the same time. The
simple arrangements make the true star of the show so apparent. Willie Nelson
has THE voice. If any doubt remains in your mind about what an American voice
can and should sound like, and that this man is the possessor of that voice,
one listen to Red Headed Stranger will remove any lingering
confusion. He sings in a way nobody else can, but he gives the illusion that anybody
could do this, and his natural magnetism invites all to sing along. What a
gift! His guitar playing has a similar quality. His beautifully articulated,
single note lines encourage all players with their simplicity yet confound
experts with the structure and tone from his battered guitar named Trigger. In
a career packed with accomplishment and great albums, this one rises above
because of its narrative strength and musical excellence.
There is another aspect of Red Headed Stranger that
makes it close to my heart. It has deep connections to our state. Allegedly,
Willie wrote the album while driving from a ski trip in Aspen back to Austin to
begin recording. It’s hard to describe, but the album has a certain Colorado-ness
that really resonates with me. Side two
begins with the song "Denver," which
opens “The bright lights of Denver are shining like diamonds, like 10,000
jewels in the sky” Every time I hear this line, I am reminded of standing at
Red Rocks on a warm night looking out over the lights and pondering my future
and fortunes. Yes, this album goes deep for me, and if you give it a good
listen I can’t help but believe you will feel the same way.
-
Paul
Epstein
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