Archive for the ‘This Day in Willie Nelson History’ Category

Willie Nelson settles with the IRS (February 2, 1993)

Saturday, February 2nd, 2019

On Feb. 2, 1993, Willie Nelson reached an agreement on how to settle his outstanding debt with the IRS. The deal involved both cunning negotiations and clever repayment methods, and was a long time in the making.

Nelson had originally been slapped with an eye-popping $32 million back taxes bill in 1990. The legend managed to get that amount reduced to $16.7 million, a number Rolling Stone notes included $10.2 million in interest and penalties.

Unfortunately, that bit of good news was only a reprieve. Because Nelson was unable to pay up, the government placed liens on his property and then, in November of 1990, seized his assets — including gold records, a piano and his Texas ranch. (His beloved guitar, Trigger, was saved after Nelson’s daughter smartly sent it to Hawaii before the property seizures.)

Although his studio was also locked up, Nelson had a plan on how to generate money: a new album. Enter 1991’s The IRS Tapes: Who’ll Buy My Memories, a stripped-down acoustic record.

“It’s no overproduced album with millions of dollars of studio costs,” Nelson told the New York Times that same year. “But I think it’s the best stuff I got. I’ve always wanted to put out an album with me and my guitar doing my original songs. And my fans like it because it sounds like it’s just me in my living room singing.”

In an interesting twist, Nelson sold The IRS Tapes: Who’ll Buy My Memories via a heartstrings-tugging TV commercial. Fans could purchase the 24-song effort for just $19.95 (plus $4 shipping and handling). Readers can watch that ad above.

“Willie Nelson: He’s been there for those who’ve needed him,” says a voiceover in the spot. “And he’s helped thousands of people across this land. Now, Willie needs your help — and he’s reaching out the best way he can: through his music.”

Of the $6 Nelson received from the sale of each album, half went to the IRS, and $1 went into a fund to pay for a lawsuit Nelson filed against his ex-accountants — the people who allegedly got him in this financial mess in the first place, because they put his money in shady tax shelters. (According to the New York Times, that firm, Price Waterhouse, issued a statement that read, “Mr. Nelson and his advisers made all of the decisions regarding tax shelters in which Mr. Nelson invested. Those decisions and the economic consequences that resulted from those decisions were Mr. Nelson’s responsibility and not that of Price Waterhouse.”)

“We try to work with taxpayers, not just Mr. Nelson,” IRS spokeswoman Valerie Thornton told the New York Times about the intriguing deal with Nelson. “And if we have to come up with some creative payment plan, that’s what we’re going to do, because it’s in everyone’s best interest.”

Sales of The IRS Tapes: Who’ll Buy My Memories helped chip away at the amount Nelson owed, and his debt also decreased after the IRS auctioned off his assets and property. In another fortuitous move, the Washington Post reported in 1993 that “Nelson’s friends organized and bought up much of the booty with low-ball bids, and held it for him so he’ll eventually get it back.” That included his Texas ranch, which a fan bought as a way of thanking him for Farm Aid.

Finally, after years of this wrangling, Nelson and the government reached a payment agreement in 1993. He would pay $2.4 million, spread out over three years, and then tack on a final lump sum payment of $3 million. The Chicago Tribune reports that Nelson coughed up this last payment in 1995. The total Nelson eventually paid? A cool $9 million.

It would be understandable if this turmoil caused Nelson issues. But as he told Rolling Stone in 1995, he wasn’t affected that much by his financial headaches.

“By the time everybody else heard about it, I was already on to other things,” he said. “Mentally, it was a breeze. They didn’t bother me, they didn’t come out and confiscate anything other than that first day, and they didn’t show up at every gig and demand money. I appreciated that. And we teamed up and put out a record.”

read article here

 

Disc 1

  1. “Who’ll Buy My Memories?”
  2. “Jimmy’s Road”
  3. “It Should Be Easier Now”
  4. “Will You Remember Mine”
  5. “I Still Can’t Believe You’re Gone”
  6. “Yesterday’s Wine”
  7. “It’s Not Supposed to Be That Way”
  8. “Country Willie”
  9. “Sound in Your Mind”
  10. “Permanently Lonely”
  11. “So Much to Do”
  12. “Lonely Little Mansion”

Disc 2

  1. “Summer of Roses/December Day”
  2. “Pretend I Never Happened”
  3. “Slow Down Old World”
  4. ‘Opportunity to Cry”
  5. “I’m Falling in Love Again”
  6. “If You Could Only See”
  7. “I’d Rather You Didn’t Love Me”
  8. “What Can You Do to Me Now”
  9. “Buddy”
  10. “Remember the Good Times”
  11. “Wake Me When It’s Over”
  12. “Home Motel”

This day in Willie Nelson history: “The Big Bounce” released (January 30, 2004)

Wednesday, January 30th, 2019

for tgif 1/30/04 photo from movieweb.combigbounce

On January 30, 2004, the movie “The Big Bounce”, opened.

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Thank you, Mark, from Willie Nelson’s Museum and General Store, (www.WillieNelsonMuseum.com), for finding this gem, a still from the movie, “The Big Bounce” released in 2004, also starring Owen Wilson, Gary Sinese, Morgan Freeman, Charlie Sheen, Bebe Neuwirth, Harry Dean Stanton, Gregory Sporleder, Steve Jones, Director: George Armitage

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Willie Nelson’s, “Moment of Forever” (released January 29, 2008)

Tuesday, January 29th, 2019

On January 29, 2008, Willie Nelson’s album, “Moment of Forever” was released by Lost Highway Records, produced by Kenny Chesney.

 

 

This day in Willie Nelson History: “We Are the World” (January 28, 1985)

Monday, January 28th, 2019

On January 28, 1985, Willie Nelson joined 43 other artists to record “We Are The World” under the name U.S.A. For Africa.

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People Magazine
February 25, 1985

A sign outside Studio A bore a single admonition: “Please check your egos at the door.” Bold instructions, perhaps, since polished limousines were already nosing down La Brea Avenue toward these L.A. recording studios bearing 45 of the most luminous stars—and well-developed egos—in rock, pop and country music. Some, like Cyndi Lauper and Lionel Richie, were coming straight from the American Music Awards, an annual TV confection designed to pass out trophies and pull in Nielsens. Here at A & M’s studios, however, something far more substantial was about to take place. Before this glorious hard day’s night would end, the ego check-in counter would be the busiest spot in town.

Singers whose life-styles sometimes seem to celebrate excess were coming here to alleviate want. Their project: recording a song that could be used to raise funds for African famine relief. Their work would put a Yankee twist to a similar Band Aid project by British rockers that has raised nearly $9 million since December. But it would also make for one of the most moving nights in music history.

The progenitor of the project was singer Harry Belafonte who, impressed by the British famine effort and stunned by news accounts of the Ethiopian tragedy, had first conceived the American initiative last December.

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Several days before Christmas, Belafonte called pal Ken Kragen, a high-octane manager, with fund-raising ideas. “He figured, after all, the national song charts are dominated by black artists,” says Kragen. “If Jews were starving in Israel, American Jews would have raised millions.” Belafonte initially suggested staging a megastar-studded concert. Too difficult to pull off, said Kragen, recalling the money woes of the 1971 performance for Bangladesh (see page 33). “Why not a record?” asked Kragen, whose interest in world hunger had first been aroused by the late Harry Chapin, an earlier singer client. “After all, the Band Aid people didn’t copyright the idea.” Kragen then contacted Kenny Rogers and Lionel Richie, both of whom he also manages. Having taken over Chapin’s antihunger crusade in 1981 when the latter died, Rogers readily agreed to participate. So did Richie, who had spent the past several days talking about just such a project with his wife, Brenda.

Kragen next tried to phone Stevie Wonder, but without success. Then, shortly before Christmas, Brenda Richie was shopping in Beverly Hills when Wonder walked into the store to buy some jewelry. She helped him select several items and asked him to return the favor by telephoning her husband about a special project. He did—and was quickly enlisted.

Lionel, meanwhile, was busy contacting Michael Jackson, whom he had been seeing socially for several weeks. Michael, too, agreed to join—provided he could help write the song that would be recorded. No problem, said Lionel happily. Needing a producer for the record, Kragen rang up Quincy Jones, who dropped his work on a new album to donate his services to the project.

At the Jackson home in Encino, Michael and Lionel set to work writing the anthemlike song We Are the World. Progress came in bits and pieces. “I’d go into the room while they were writing,” remembers Michael’s sister, LaToya, “and it would be very quiet, which is odd, since Michael’s usually cheery when he works. It was very emotional for them. Some nights they’d just talk until 2 in the morning.”

In the days between Christmas and New Year’s, Kragen expanded his search for stars. “Basically, I started at the top of the record charts and began making phone calls,” he says. Steve Perry, lead singer and creative heart of Journey, came home to a message on his telephone answering machine. Sign me up, he said. Then Bruce Springsteen, on tour, was called. “Do they really want me?” asked the Boss modestly. Assured that he was indeed wanted, Springsteen also came aboard. “That was something of a turning point,” concedes Kragen. “It gave the project a great deal more stature in the eyes of others.”

Kragen’s final lineup—all of whom performed for free—reads like a Who’s Who of gold record collectors. Among them: Tina Turner, Bette Midler, Willie Nelson, Billy Joel, Huey Lewis and Waylon Jennings. Jeffrey Osborne was approached by Richie just hours before the taping, while both were rehearsing for the American Music Awards. “Keep it silent,” cautioned Lionel. Kragen, who had first envisioned only 10 or 15 performers, eventually had trouble stopping the project’s momentum. “In the last week we went from 28 to more than 40 artists,” he says. “I had to turn down something like 50 or 60 performers who wanted to participate.”

Many of those who came did so with difficulty. Springsteen, because of his notoriously long concerts, never travels and seldom arises before 5 p.m. the day after a show. Yet the next afternoon, after finishing his American tour in Syracuse, N.Y., he boarded a plane and flew to L.A. Daryl Hall and John Oates were also in the East rehearsing for a tour that would start a week and a half after the taping. Stevie Wonder managed to get out of Philadelphia despite terrible weather. James Ingram flew in from London, and Paul Simon showed up despite having spent the entire previous night at work in a recording studio.

On the last Monday in January, as the American Music Awards were ending at the Shrine Auditorium across town, all was in readiness at A&M. Studio C had been set aside as a makeup room, Studio B stocked with fruit, cheese and juices for incoming singers. The building’s large Charlie Chaplin soundstage creaked under a $15,000 spread of roast beef, tortellini, imported cheese and other goodies for the performers’ guests—all provided gratis by Someone’s In The Kitchen catering. The onlookers and guests (each performer was allowed five) included Ali MacGraw, Jane Fonda, Dick Clark and many family members, and all watched the night’s proceedings through TV monitors and the lenses of five video cameras.

At 9 p.m. people began arriving in streams. “During the first hour it was impossible to get anything done,” says Osborne. “Everyone was congratulating each other, meeting people they hadn’t met before.” “Saying ‘hi;’ exchanging lies,” echoes Ray Charles. “It was just like Thanksgiving, all of us together.” Ruth Pointer of the Pointer Sisters came with a camera and quickly shot some snaps of Michael Jackson (“I have two kids, and they would’ve killed me if I hadn’t”). Then sister June Pointer entered the studio with Bruce Springsteen, and the pair plopped down together on the only chair then available.

Bob Dylan showed typical reserve at first, sitting off by himself. But even the legendary loner couldn’t withstand the warmth. Hours later he could be found in a corner, rehearsing his solo lines as Stevie Wonder accompanied him on the piano, singing in Dylan’s own nasal style. Fleetwood Mac’s Lindsey Buckingham found himself chatting with Harry Belafonte. When Buckingham mentioned how much he loved Belafonte’s Calypso classic, The Banana Boat Song, everyone nearby suddenly broke into a spontaneous chorus of day-o’s. Ray Charles asked for a drink of water, and another singer volunteered to lead him to the fountain. Stevie Wonder. And so it went. “For me, the first couple hours were highly charged,” says Kenny Loggins. “I’ve never before felt that strong a sense of community.”

Around 10 p.m. the sheet music was passed out, and several people stepped forth to address the group. Kragen talked of plans for the funds they hoped to raise. Mindful of the decade-long “Bangladesh situation, I assured the artists that if it came down to seeing that the money got to the right places, I would go over with the supplies personally.” Then Bob Geldof, leader of the Boomtown Rats and organizer of the British Band Aid singalong, offered a moving speech about his own travels in Ethiopia, telling of a “good day” in one village he had visited when only five people had died. “Geldof’s opening speech was pretty intense,” noted Loggins later. “You could hear the truth in his voice.”

After Michael Jackson shyly described the piece he and Richie had written—”a love song to inspire concern about a faraway place close to home”—the taping began. Quincy Jones sat on a stool directing his multi-million dollar chorus, Richie on a chair next to him, Michael with the others but off to one side. At one point during the long hours that followed, emotions swept up the 400 guests, who joined the singing from their soundproof stage. During a break, Brenda Richie took orders for Fat Burgers (from Springsteen, Dionne Warwick and others) and sent a chauffeur off to a nearby hamburger stand.

By 3 a.m. the choral section of the song was recorded, and only the solo sections remained. “Everybody was drained, but also hanging on to the thread of magic in the night,” says Ingram. “You could see the fatigue on people’s faces,” remembers Osborne. The group took another break and, prompted by Diana Ross, began autographing each other’s sheet music. Suddenly Wonder came into the room with two African women, representatives of the very people the performers were trying to help. The women, nervous and exhausted, spoke through trembling lips in their native Swahili, thanking the group for all they were doing. Says Ingram, “Everybody was humbled.”

Then Jones positioned the 21 soloists in a semicircle around him. Starting with Ritchie, they all sang their parts, and the singing moved round and round the semicircle until it was completed. Loggins was stationed between Springsteen and Steve Perry during the solos; Springsteen sang his part in a huge, booming voice. “I wanted to do my very best,” Loggins says, “and with Springsteen belting his line like a loud Joe Cocker, I wondered how I should do mine.” Just be yourself, Perry advised. “I think that pretty much sums up how everybody was acting,” says Loggins.

By dawn most of the performers had finished. Dylan and Springsteen, obviously drained by the marathon, remained until around 7:30. His own solo work long since completed, Perry also stuck around to witness the ending. Osborne, after trading a few ad lib vocal licks with Wonder, Richie and others, finally walked out the studio door with Michael Jackson sometime before 8. Off to one side an exhausted Diana Ross sat on the floor, tears filling her eyes. “I just don’t want this to end,” she said.

But end it did, for the moment. Kragen, predicting profits of $150 million from the undertaking, quickly went to work pulling together the fund-raising album that would follow and arranging the single’s release in mid-March. Linda Ronstadt, who had missed the taping because of flu, agreed early on to supply one of the LP’s solo tracks. Prince, recipient of three of the American Music Awards earlier in the night, had passed up the group sing and instead went to a West Hollywood nightspot; later that night his bodyguards were involved in a scuffle with photographers and were arrested by police. Finally, at 6 a.m., the diminutive rocker phoned Jones, offering to lay down a guitar track for the group’s single. Jones declined that contribution but agreed to accept a solo cut for the LP instead. Another track would be taped two weeks later in Toronto, where a group of Canadian artists—including Bryan Adams, Joni Mitchell and Neil Young—gathered to create their own Band Aid-style recording for famine relief.

For the Americans who did take part in the all-night recording session, the rewards were greater than any royalties they might have sacrificed. They had come hoping to help a cause, and in the process discovered their own community. Afterward, most of the musicians quickly resumed the projects they had so suddenly interrupted. Tina Turner flew to New York the next day to start rehearsing for her Saturday Night Live performance later that week. Hall and Oates returned East to prepare for their own four-month road trip and Dionne Warwick jetted to Las Vegas where she performed that night at the Golden Nugget. For some, the sense of purpose felt at the all-night session wouldn’t fade with the dawn. Harry Belafonte, self-effacing initiator of the project, boarded a plane the following day for Washington, D.C. There, one day later, he was arrested while picketing outside the South African embassy.

  • Contributors: Jonathan Cooper, Lisa Russell, Mary Shaughnessy.

Willie Nelson appears on ‘Tony Bennett Duets II’ on PBS Special (January 27, 2012)

Sunday, January 27th, 2019

www.antimusic.com

Tony Bennett: Duets II, a presentation of Thirteen’s Great Performances, features the singer’s greatest hits, performed by Bennett and today’s biggest stars, including John Mayer, Michael Buble, k.d. lang, Sheryl Crow, Willie Nelson, Queen Latifah, Norah Jones, Josh Groban, Faith Hill, Alejandro Sanz, Carrie Underwood and more.

The sessions, filmed to capture the magic of these performers singing with the master of the Great American Songbook, airs on Friday, January 27, 2012, at 9 p.m. on PBS (check local listings).

Great Performances is a production of Thirteen for WNET, one of America’s most prolific and respected public media providers. For nearly 50 years, WNET has been producing and broadcasting national and local arts programming to the New York community.

The album took more than six months to record, with each track recorded face-to-face with his singer partners in studios around the world, from LA to Nashville to London. Among the many highlights is Amy Winehouse’s last recorded track (“Body and Soul”), which was produced in London’s famous Abbey Road Studios in March. Other tracks were recorded in New York in late July: the Richard Rodgers-Lorenz Hart classic, “The Lady Is a Tramp,” with Lady Gaga, and the Alan and Marilyn Bergman classic, “How Do You Keep the Music Playing,” with Aretha Franklin, and “Stranger in Paradise,” with Andrea Bocelli, recorded at the singer’s Italian home

The full song program follows:
“The Lady Is a Tramp” (Lady Gaga)
“One for My Baby (And One More for the Road)” (John Mayer)
“Body and Soul” (Amy Winehouse)
“Don’t Get Around Much Anymore” (Michael Buble)
“Blue Velvet” (k.d. lang)
“How Do You Keep the Music Playing” (Aretha Franklin)
“The Girl I Love” (Sheryl Crow)
“On the Sunny Side of the Street” (Willie Nelson)
“Who Can I Turn To (When Nobody Needs Me)” (Queen Latifah)
“Speak Low” (Norah Jones)
“This Is All I Ask” (Josh Groban)
“Watch What Happens” (Natalie Cole)
“Stranger in Paradise” (Andrea Bocelli)
“The Way You Look Tonight” (Faith Hill)
“Yesterday I Heard the Rain” (Alejandro Sanz)
“It Had to Be You” (Carrie Underwood

Read article here. 

Willie Nelson & Family at the Paradiso (Netherlands) (January 23, 2007)

Wednesday, January 23rd, 2019

Willie Nelson & Family at Municipal Auditorium (January 22, 1977)

Tuesday, January 22nd, 2019

Willie Nelson inducts Allman Brothers into Rock and Roll Hall of Fame (January 12, 1995)

Saturday, January 12th, 2019

www.liveforlivemusic.com
by:  Andrew O’Brien

On January 12th, 1995, the Rock and Roll Hall of Fame hosted their 10th-annual induction ceremony at New York’s Waldorf-Astoria Hotel. The year’s class featured a number of universally-renowned performers including Al Green, Janis Joplin, Led Zeppelin, Martha and the Vandellas, Neil Young, Frank Zappa, and The Allman Brothers Band.

Willie Nelson had the honor of introducing the Allmans, and his speech was appropriately reverent. “When the Allman Brothers Band came up on the scene in 1969,” he said, “They created a whole new genre of music and their southern rock was an exciting fusion of rock, jazz country, and blues, and was reflective of the emergence of the new South. And like many of us in those days who came from the South, we grew up in an environment of music that included a bit of everything. Music was not confined to such rigid formats, and the Allman Brothers Band took what moved them and merged it into something unique that audiences love, a sound that redefined the direction of rock and roll and opened the doors to a spirit of experimentation that continues in today’s music. The Allman Brothers Band defined southern rock. They had tremendous influence on the many who followed in their footsteps, and they could be imitated, but never duplicated.”

Willie went on to speak about how the band hit the road “with a vengeance” to spread their southern rock gospel throughout the country, commend their perseverance in pushing through the deaths of Duane Allman and Berry Oakley, and more.

After Willie’s speech, the band members made their way to the stage to accept their recognition and thank those who helped them. However, for Gregg Allman, this wasn’t a triumphant moment of reflection. Trapped in the throes of alcohol addiction, Allman was a shell of his normal self at the ceremony. When it was his turn to speak, a clearly-inebriated Gregg stepped to the microphone to thank “the greatest friend, brother, guitar player, and inspiration I’ve ever known, my brother, Duane,” adding that “He was always the first to face the fire. He was my greatest motivation.” Gregg did not thank anyone else (unlike most other inductees that evening, like Neil Young).

(more…)

Surfer Dude on DVD December 30, 2008

Sunday, December 30th, 2018

Surfer Dude,  the movie starring Matthew McConaughey, Woody Harrelson and Willie Nelson, will be released on DVD and on Blu-ray Disc on December 30.

Extras features will include a commentary track, behind-the-scenes footage, deleted scenes and webisodes, whatever those are.

Surfer Dude on Blu-ray will carry a suggested retail price of $34.98.



Willie Nelson and Family, Pine Bluff, Arkansas (December 29, 1977)

Saturday, December 29th, 2018

December 29, 1977
Convention Center
Pine Bluff, AR

We had an opportunity to visit with Willie before the concert began and we are happy to report his ankle is doing fine and he looked great.  In keeping with the winter weather, Willie had exchanged his T-shirt for a plaid flannel shirt and his tennis shoes for lace-up hiking boots.  Willie showed us a turquoise watch band he had, quote “Took right off ole’ Johnny Rodriguez’s wrist”, and it’s a beauty.  Willie said he had a good feeling about this tour and I think he is right, for the night before, at the Tarrant County Convention Center, Ft. Worth, TX, 10,000 fans gathered to hear Willie and Family and this night in spite of heavy ground fog and a weather forecast calling for sleet, the Convention Center at Pine Bluff was filled to capacity.

Jerry Jeff Walker got the evening off to a great start with “Bo Jangels”, “L.A. Freeway”, “Desperados” and “Redneck MOther” among many others.  The crowd brought Jerry Jeff back for an encore that closed with “Will the Circle Be Unbroken.”

Willie, in his usual great form, and the fans on their feet from the very beginning with “Whiskey River”, “Hello Walls”, “Funny How Time Slips Away”, the “Redheaded Stranger” album, “Me and Paul”, “If You’ve Got the Money”, “Good Hearted Woman”, “Until I Gain Control Again”, Leon Russell’s “My Song” and many, many more ending with the great gospel songs, “Uncloudy Day” and “Will the Circle Be Unbroken.”  Willie didn’t get a chance to leave the stage.  These fans were not ready for that and they let him know it with shouts of, “More Willie”, “We love you”, “Willie”, bringing him back for an encore of “Whiskey RIver” once more “Milk Cow Blues” and “Goodnight Irene.”  The Hat swapping had been as brisk as the pace set by Willie and Family’s music and  fans were all around the stage by the end of the concert.  Although Willie’s bus was only a few feet from the stage steps, it took him some time to get back to it as he stopped to sign autographs and talk with the fans.  A great evening, thanks to Willie and Family.

— Jan Coney

Willie Nelson & Friends @ Montessori School of Maui Fundraiser (12/28/13) (SOLD OUT)

Friday, December 28th, 2018

scholarship
www.mauitropicalplantation.com/shows/

WILLIE NELSON & FRIENDS (SOLD OUT!)
Saturday, December 28, 2013
with the LUKAS NELSON BAND – PROMISE OF THE REAL
and Lily Meola with Tom Conway

Willie Nelson Live in Concert, Opry House (Austin, TX) (December 28, 1982)

Friday, December 28th, 2018

Willie Nelson, KZEW (12/26/74)

Wednesday, December 26th, 2018

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Pictured left to right are KZEW’s Ira Lipson, January Sound Studio engineer Bob Pickering, KZEW’s Mike Taylor & Mark Addy, Willie Nelson and Tracy Nelson (seated).

http://98kzew.com/zoo/zoo-year-1974

KZEW can trace it’s roots all the way back to 1946 as Dallas’ first FM radio station, the second in the state and 66th in the country. Belo Broadcasting’s new FM station signed on October 5, 1946 as KERA-FM 94.3, only 6 weeks behind Houston’s KTHT-FM.

December 26th 1974

The day after Christmas 1974, Willie Nelson did a live KZEW broadcast from January Sound Studios.  Joined by Tracy Nelson (no relation), they played numerous country standards as well as a number of Christmas tunes, including Santa Claus Is Coming To Town.  This concert would become a ZOO staple and was re-broadcast on Christmas Day throughout the seventies.

This day in Willie Nelson History: Making of ‘Mendocino County Line’ video (December 26, 2001)

Wednesday, December 26th, 2018

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On December 26, 2001, Willie Nelson and Lee Ann Womack filmed the video to “Mendocino County Line” in downtown Austin, Texas.

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Janis Tillerson took the great picture of the sign. I took the blurry picture of the street.

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This day in Willie Nelson history: ‘Electric Horseman’ (December 21, 1979)

Friday, December 21st, 2018

On December 21, 1979, Willie Nelson made his film debut with the opening of “The Electric Horseman,” also starring Robert Redford and Jane Fonda. It includes Nelson’s hits “My Heroes Have Always Been Cowboys” and “Midnight Rider”