What I love about Willie Nelson

[November 19th, 2008]

The curse of celebrity is that art gets lost in the mythology and public life of the artist. So here are some thoughts on the fundamentals of his work. As such, there is no mention herein of the IRS, marijuana, Farm Aid, biodiesel or his acting career—just American music at its finest.

Willie Sings:
On first hearing Willie, a Nashville industry type famously said, “That ain’t singin’, that’s talkin’.” He was dead wrong. Singing has always been about style: Willie chops up syllables, lands them on the following beat, catches up quickly, pulls back, staggers his words and then rushes ahead. It all seems so unlikely and so right, even when he’s interpreting a standard (like “Blue Skies”) that has been tackled by the world’s greatest vocalists.

Example: “Red Headed Stranger Medley” (from Willie and Family Live). 14 minutes of glory.

Willie Shreds:
The most overlooked aspect of Willie’s music has always been his guitar playing. In a concert setting with his band, Family, you can’t miss it. His chops are jazz-informed but never too slick. All of which is edgier still thanks to the sound of his famously hole-ridden and battered nylon-string, Martin.

Example: The Dylan song “Señor” from the I’m Not There soundtrack. Willie’s solo on this collaboration with Calexico kills so hard it almost falls apart.

Willie Writes a Mean Song (and Some Nice Ones, Too):
Willie’s early songs are filled with the kind of pain that goes far beyond “tears in your beer” sentimentality. Songs like “Crazy,” “Night Life” and “Hello Walls” are filled with ache and were huge hits for other artists. When the ’70s brought Nelson fame on the wave of outlaw country, he penned many of the movement’s signature whiskey-soaked anthems. His originals have incorporated blues, jazz, Latin, country and rock influences into something truly and deeply American.

Example: “Angel Flying Too Close to the Ground” from Honeysuckle Rose. If this doesn’t break your heart, you must be dead inside.