Archive for the ‘Interviews’ Category

“Always Look for Hope” — Willie Nelson

Tuesday, March 20th, 2018

Willie Nelson

www.telegraph.co.uk
by: Martin Chilton

Willie Nelson, who was born on April 30, 1933, in Abbott, Texas, is one of the finest country music singers and songwriters of modern times. Nelson has won 11 Grammys and acted in more than 30 films. He has also campaigned for the legalisation of marijuana. This interview with Martin Chilton was originally published in December 2012.

If there’s one soothing voice you want talking to you about the end of the world, then I guess country singer will do just fine. But it’s just one of the odd subjects of an enjoyably eccentric conversation with one of America’s finest musicians in the lead-up to when the Mayans predicted it would all be over.

Nelson is still touring with a prodigious schedule, and has just published a memoir with the witty title Roll Me Up And Smoke Me When I Die. The book went straight into the New York Times bestsellers list. The Texan, who was born on April 30, 1933, seems to be in remarkably good shape. Nelson says: “I have always been interested in keeping fit and doing boxing and wrestling. As a youngster, I loved Charles Atlas, Bruce Lee and Kung Fu. But when I lived in Nashville I switched to doing Taekwondo.

“Last year, at the age of 78, I got my second degree black belt [he went on to get a higher degree black belt]. And singing is the best exercise – two hours a day will keep you in pretty good shape. I think it’s very important to learn from your own body. It doesn’t lie to you. If it feels good, do it. If it don’t feel good, don’t do it.”

Nelson is asked ad nauseum about drugs, because he is co-chair of the advisory board of the National Organisation for the Reform of Marijuana Laws and is in favour of marijuana legalisation. I’m more intrigued by the fact that he now supposedly uses a vapouriser for his recreational inhaling. “Yes,” he cackles, “I now have what they call a vapouriser apparatus. It means there is no heat and no smoke, which is better for the throat of an old singer. But every so often someone will pass me a joint, and it would be impolite to refuse.”
His brilliance as a singer and songwriter has been widely recognised. This is the man who wrote Crazy (such a massive hit for Patsy Cline) more than 50 years ago, and who has won 37 major music awards, including 11 Grammy trophies. Yet he still talks modestly and enthusiastically about other musicians. Of jazz maestro Django Reinhardt, he says: “There is no doubt that he is the best guitar player ever. I never saw him live but I have watched him on video and have hundreds of his songs. I play Nuages most every concert, and I especially love Vous & Moi.”

Willie Nelson
Willie Nelson Credit: Rex Features 

Willie Nelson’s 20 best songs

British music never made much of an impression on the man who was born in Abbott, Texas. He explains: “I didn’t hear a lot of UK music, although I did record a version of the Beatles song Yesterday. I was more interested in the European jazz players. I loved Americans such as Miles Davis, and Dave Brubeck, who just died, of course. I would loved to have recorded with Brubeck. Good musicians can play and record jazz and country. I grew up with country music and can adapt to jazz but sometimes jazz musicians have more trouble the other way because country is just not something they have grown up with.

Ray Charles could do both but then he could do anything. I still do everything off the top of my head, and if I make a mistake then it’s like the old joke . . . make one mistake people notice, make three and it becomes a hot lick.”

Songwriting is a craft he has always admired. He talks admiringly of somewhat neglected lyricists such as Lefty Frizzell. “I love him still,” says Nelson, “but I guess it’s only really people my age who know his work well. But the younger generation should know his music, and I always sing If You’ve Got The Money.”

Before Nelson made it as a singer, he paid his way writing songs for established artists. Once he’d made the breakthrough, he was free to write hit compositions for himself. Is it true he scribbled down On The Road Again on an airline sick bag? “It was pretty much like that,” he laughs. “I was travelling on an aeroplane with Sydney Pollack and Jerry Schatzberg and they said they needed a song for the film Honeysuckle Rose. So I just started singing, “I’m on the road again,” and I told them not to worry, the melody would come later. That was an easy song. My hardest song, I haven’t written it yet. I write less now than I ever did. I did a lot of writing when I was younger. I still write but don’t try to force a good idea. Once it starts coming you can’t put it off, anyway. It’s like labour pains.”

Love of music is in his bones. He spent a year teaching guitar in Houston and, like BB King, liked working as a radio disc jockey. Nelson says: “I enjoyed that and it was also a way to stay in music when I wasn’t playing regularly in clubs. I loved the fact that you could just go in an play a bunch of records that you liked. In those days, the DJ could just make his own show and play what he wanted, like Eddie Arnold, Django and Hank Williams. People used to love my programmes but in the end, and this is common now, programme directors always thought they knew best and there would be a falling out over what records should be played. I still do a bit for my XM Radio.”

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There really is no stopping him. Already set in motion for 2013, when he turns 80, are two new albums. Nelson says: “I have one coming out called Face The Music And Dance, with my band. I’ve always loved that Irving Berlin song. Then I have an album of duets with girls called To All The Girls. I sing with Emmylou Harris, Rosanne Cash and Barbra Streisand – that’s something I have long wanted to do. There will be 12 collaborations in all, with songs old and new. One song, brought by the producer Buddy Cannon, is a unknown song written by Waylon Jennings, one of the last he wrote, called She Was No Good To Me. And I get the chance to sing with Dolly Parton again, on a beautiful song she has written called From There To The Moon And Back.”

For good measure, he’s also just done a Christmas film called When Angels Sing with Lyle Lovett and Kris Kristofferson, and Nelson is talking about a couple of western movies in 2013, too. Does he call on his close pal (an incongruous duo they must make) Woody Harrelson for advice? “Oh, Woody’s great fun. He stays all the time. We hang out and play dominoes, poker and chess. He usually beats me at chess and I win at dominoes.”

He says it was fun writing his new book (his favourite novel is Huckleberry Finn) which ranges across music, anecdotes and politics. He talks about the struggles of ordinary American and farmers, environmental problems and about President Barack Obama. Nelson says: “He has been good for America and I knew him from when he was a young politician in Chicago. But when you get elected President I think the first thing they do is take you in a room and say you know you’re not gonna do sh-t. Your hands are tied and Congress have the whole thing locked down and we all get screwed. But Obama will do better this time. There are so many things going on in the world that he will be kept real busy with some major decisions.”

Willie Nelson
Willie Nelson Credit: Rex Features

 

The book has downbeat moments (“the world is a sinking ship,” he writes) but in conversation he seems an optimistic man. Is that right? Nelson says: “Well, I really do believe that you can’t worry about yesterday or dwell on mistakes. There is a lot to worry about if you choose to. The doom-and-gloom people are out there. Only this week I was reading about how many people believe the world’s coming to an end this December 21st. But I see reasons for optimism. It’s like my song, It’s Always Now. Look for the hope.”

It’s always now,
And nothing ever
Goes away.
Everything
Is here to stay.
And it’s always now.

Who’d have thought it? Hope in a country music song. That’s Willie Nelson for you.

 

Mickey Raphael talks Willie Nelson, his career, and set lists

Friday, March 2nd, 2018


Mickey Raphael. Photo by Jack Spencer

Mickey Raphael has played harmonica for just about everyone in the business over his 45-year career, from Snoop Dogg to Blue Oyster Cult to Wynton Marsalis to Neil Young. In fact, last year, he toured with red-hot country singer Chris Stapleton. At least he did until his friend, mentor, and longtime boss, Willie Nelson, said it was time to come back to the Family. Raphael left Stapleton and joined up with Nelson to go on the road again, if you will.

Raphael has been playing with Nelson since 1973, and he’ll be onstage with Nelson when the Red-Headed Stranger takes the Peace Center stage on Monday, digging into classic hits like “If You’ve Got the Money Honey,” “Whiskey River,” and “Shotgun Willie,” alongside newer songs like Nelson’s wry commentary on the constant death-rumors surrounding him, “Still Not Dead.”

We spoke with Raphael recently about Nelson’s health (he recently canceled a string of shows due to illness), his career, and the band’s opinion of set lists.

First of all, how is Willie feeling?
I think he’s doing good, because we start up in about 10 days. He had a bad cold, and with all of this flu going around, he did the right thing by just laying low.

You’ve built up quite a list of sessions and gigs beyond just Willie’s band. What keeps you with him after all these years?
Loyalty, for one thing. Both his loyalty to me and my loyalty to him. I started out with Willie when I was 20. I grew up under his tutelage. Because of him I’ve been able to make all these other musical connections and had the opportunity to play with a lot of other people on their records, and so my loyalty is really to him.

The band is called Willie and Family, and that’s what it is because we’ve been together for so long. I owe him for the opportunity to be able to work with all of these other artists.

Willie is famous for changing the way he sings and plays his songs; what do you like about that approach?
It’s all improv. We don’t ever rehearse. We know who starts the songs and how they end. Everything else is up for grabs. That means I can experiment with new stuff. In the studio, once you play it, it’s in stone. Onstage, I can change it every night. I can try something new, and if it doesn’t work I know it immediately and I don’t do it again. We have a lot of freedom to experiment; that’s how you grow and get better.

So you probably don’t use set lists much these days.
We’ve never had a set list at all. 

Never? In 45 years?
Nope. He starts the song, and once we hear the intro, we come right in and we know what’s going on. The set follows a certain template; he starts off with “Whiskey River,” and … I can’t remember what happens after that, but his intro is the only cue.

So how many songs does the band have ready to go?
I have no idea. With him, all you need is him and the guitar, so if we don’t know it, we lay out. We’re good musicians, so we can just kind of follow him. The song doesn’t have to be rehearsed for us to play it. In fact, that’s the way it is in the studio, too. I’m hearing the song for the first time and playing what I feel. We’re in the studio so much now I can’t remember what’s come out and what hasn’t. We’re actually working on an album of [Frank] Sinatra songs right now.

We know he’s a great songwriter, but what do you think makes Willie such a great interpreter?

I think he just loves the music and he’s a great musician. And he’s a unique singer. His phrasing is very unique. A lot of them are songs he grew up with. They’re part of his life, and he really enjoys doing it.


Willie Nelson & Family
When: Monday, March 5
Where: Peace Center, 300 S. Main St.
Tickets: SOLD OUT
Info: 864-467-3000, https://www.peacecenter.org/

Willie Nelson interview with Paul Leslie

Wednesday, February 28th, 2018

Willie Nelson New York Times interview (Feb. 23, 1995)

Friday, February 23rd, 2018

Image result for new york times willie nelson

www.nytimes.com

by Alex Witchel
February 23, 1995

Most men will tell you Willie Nelson is a hero. With a copy of his 1982 hit “Always on My Mind” and the phone number of a good florist, they can get away with murder. “Girl, I’m sorry I was blind,” indeed.

They learn from a master. Mr. Nelson, who is married to wife No. 4, may be most recognizable for his Pocahontas braids, but it’s those eyes that start the trouble. Even now, at 62, they are perfectly almond shaped, deep brown and, well, just deep. Look into them for too long and you may regret it.

Mr. Nelson’s misfortune in love may be the reason he can wail his songs about heartbreak so well. Not to mention write them. When he went home drunk and passed out cold for the thousandth time, his first wife sewed him into the bedsheets “buck naked,” as he likes to say, and piled his clothes and the kids into the car and left. It makes you wonder whom he really wrote “Crazy” about.

These days, though, Mr. Nelson insists, he’s a cheating heart no more. His newest album, “Healing Hands of Time” (EMI Liberty), is filled with classic love songs, his and other people’s, accompanied by a 63-piece orchestra. But life can be funny for a crooning cowboy. A new album means going on the road to sell it, so he has to sing his love songs to everyone but his wife, Anne Marie, back in Spicewood, Tex., for whom they are meant.

And being on the road again means living on his bus, Honeysuckle Rose II. The previous night, he played Syracuse; this night, in early February, the United States Military Academy.

At 5 P.M. it’s not quite dark outside, but it certainly is dark in the bus. Up front, there are built-in couches along the sides, and thanks to a satellite dish, CNN is on TV. At the back is the door to Mr. Nelson’s bedroom. In the middle is a small kitchen area with a cut watermelon in the sink. Mr. Nelson sits at the table wearing a sweatshirt, sweatpants and thick white socks. Behind him is what he calls the art museum, snapshots of his two youngest sons, Lucas, 6, and Micah, 5, and a drawing with the message “Hi, Dad From Lucas” surrounded by hearts. His hair, reddish-brown and finely sifted with gray, hangs loose down his back. And his face! It is marked with so many creases, hollows and furrows it looks almost geological. He sits quietly, watching, like a cornered animal that can’t decide if he should pounce, flee or purr.

How was Syracuse? “It was cold.”

What did he do today? “Slept till noon.”

Why did he make this new album? “It seemed like the thing to do.”

How’s his back? (He fractured it baling hay as a teen-ager.) “Let me tell you a strange story,” he says, suddenly animated, as if a quarter dropped into his slot. And with the passion of pain he starts his tale of woe and redemption, which culminates in Rolfing.

“My wife recommended it highly,” he says. “I heard it was painful, but I didn’t care. The first of 10 sessions fixed it.” He rests his thick hands on the table. His wedding band looks loose on his finger. That seems right.

It’s hot in here. Navy velvet curtains hang over the windows, and the dark brown paneling and dark carpet seem to soak up light. “It’s kind of like living in a submarine,” Mr. Nelson acknowledges, showing a small smile. “But I’m happy on the bus. Home is where you’re happy. It can be anywhere, out there playing music, wherever I’m at. I refuse to stay where I’m not happy, and if I can’t change it, because of bad vibes or whatever, there’s no reason to stay.”

“A lot of people get tired of the road,” he continues. “But as much as I enjoy being at home with the toys I have there, I still need to leave that and go play music. I have the best of two worlds, though it’s hard to balance them. They’re both fragile. There’s the desire to be where you are plus the desire to go back where you were.”

The phone rings. It’s his eldest daughter, Lana, 41.

“Hey, nothing. What do you know?” Mr. Nelson asks affectionately. “Oh, we’re traveling to the gig. West Point. Yes, the West Point. As opposed to the east point. I don’t know what we’re doing. We’re playing for the folks.”

He speaks so quietly, barely above a whisper, that it’s hard to conjure visions of his legendary temper. Does he still have one? “If I said I didn’t I’d be lying,” he says. “I don’t show it every time. At least I hope I don’t. People say about me, ‘He’s a tough old bird.’ I must be or I wouldn’t be here.”

He says he doesn’t know exactly how many albums he’s made. “Somewhere in the neighborhood of 75 to 100 legitimate albums, but there’s also bootleg.” From which he doesn’t make money, of course.

Money has been a loaded issue for Mr. Nelson since 1990, when the Internal Revenue Service seized his house and all his assets for nonpayment of $16.7 million in taxes. What happened, he says, was that he owed $2 million in taxes, and on advice of his accountants, Price Waterhouse, was told to borrow $12 million to invest in tax shelters so he wouldn’t have to pay the $2 million. The only problem, he says, was that, after the fact, the shelters were disallowed.

But the story has ended happily. He settled out of court with Price Waterhouse and paid back the Government. When his house was auctioned, a group of farmers bought it for him, grateful for the singer’s Farm Aid concerts, which have raised $12 million, so now he has it back. “There’s a lot of good people out there,” Mr. Nelson says simply.

So, why bother touring, especially if his debts are paid? “Well, I don’t know,” he says. “I seem to be happier when I’m working. I tend to get into trouble with too much time on my hands.”

Like what?

“Like you name it,” he shoots back.

He started working by the age of 5, picking cotton in Abbott, Tex. (When he was a toddler, his mother, a dancer, and his father, a musician, left him and his older sister, Bobbie, who plays keyboards in his band, to be raised by their grandparents.) He played his first professional date at 8, and as an adult sold vacuum cleaners door to door. After working as a disk jockey, he moved in the early 1960’s to Nashville, where he sold his songs and despaired of becoming a singer. The fact that he didn’t sound like anyone else was not an advantage at the time. Now, of course, his idiosyncratic phrasing and nasal twang could be copyrighted.

“I never pretended to have a great voice,” he says. “It works and I can carry a tune. If you have a good song, that’s about all that’s required.”

The new album has lots of good songs. “EMI Liberty, my new record label, said I should do an album of standards. Like ‘Crazy.’ ” He smiles. “I hadn’t been looking at those as standards.”

As a writer, Mr. Nelson has slowed down in recent years, though it’s hard to blame him. He says that between the mid-1950’s and mid-1970’s, he wrote about 2,000 songs.

“I went into the studio last week with my original band and a new songbook of mine,” he says. “We started on the first page, and in two days we did 11 segments. I want to do that with all my songs, the way I hear them and feel them now. People wouldn’t know but one or two of ’em.”

In this, his 54th year of performing, does he worry about the show-biz adage “No one is on top forever”? “That’s not my plan,” he says. “There’s a saying I could never decide was mine or Roger Miller’s. I decided I’d take credit for it: ‘I didn’t come here and I’m not leaving.’ ”

Very wise. Does that wisdom extend to fatherhood? He has had seven children in all, yet he has traveled his entire life, leaving home for vast stretches of time. His eldest son, Billy, who had been treated for alcohol abuse, committed suicide three Christmases ago. Should he have done anything differently?

“Well, you have all those guilts and regrets, but you can run yourself crazy,” he says quietly. “You’re not the same person now you were then, so why take responsibility for something you didn’t do?” When he lifts his eyes, the anguish in his face belies the slickness of the words.

The bus has parked, and he goes inside the Eisenhower Hall Theater for a rehearsal. He starts to sing, and his familiar voice lifts, the cry of an old soul who’s seen more than he’s wanted to. He is completely fallible, which is his charm. A frog prince who’d rather stay a frog.

A few cadets peer at him from the wings, while Larry Gorham, a former Hell’s Angel who is Mr. Nelson’s bodyguard, glares. “Be all that you can be,” he grumbles not-so-under his breath.

“Be nice,” Mr. Nelson calls out.

It’s only 7 P.M. Rehearsal is over, and the show’s not until 8. Mr. Nelson heads toward the bus. What’s he going to do now? He smiles.

“I’m gonna roll me up a big joint and smoke it.” Then he eats a plate of vegetables and settles back with some of the band to watch videos of himself, including one from Howard Stern’s cable-television show, in which he handily wins a joint-rolling contest. Everyone laughs. The feeling is easy, relaxed. You would never know that, a few yards away, 4,400 people are growing restless.

Toward the end of the tape, he goes into his bedroom and comes out with his hair braided (he does it himself). At 8:10 P.M. he walks backstage and picks up his guitar with no noticeable increase in energy. He keeps his world small, parking his living room just outside and walking in here now to play. He could be anywhere. On the other side of the curtain are howls and whoops as the lights go down. One member of the band asks, “Should we open with ‘Anchors Aweigh’?”

When the curtain rises and the flag of Texas unfurls behind them, though, they launch into “Whisky River,” their customary opening number. They’re all so used to each other, they’re like fingers on a hand. They just stand and play, with no videos or special effects.

But when Mr. Nelson launches into “Always on My Mind” the yelling accelerates. “My favorite song!” a man screams from the balcony. As Mr. Nelson sings, his energy is intense. He invests the words with all kinds of feeling, every bit he can muster. When he sings “Give me one more chance to keep you satisfied,”the meaning seems to switch and he’s no longer pleading with a woman but with the audience. He’s not young, he’s not pretty, he doesn’t have a fancy headset or smoke machines. He holds Trigger, his old, beaten guitar with a hole in it, and sings his heart. And it goes, the sound, the feeling, the plea, and hits the cadets and the rest full force, and they scream and holler and clap.

And then he asks, “Everybody doing all right out there?” And they roar, “Yeah,” back at him, and someone tosses a cadet’s hat onto the stage, which he puts on — a real sight with those braids.

And when he says, “Good night, everybody,” and the roar intensifies, they somehow find their way backstage, and they’re lining up outside near the bus, and everywhere he goes there are arms and hands and people shouting, “Willie!”

And he talks to each of them, one at a time, in no particular rush now to climb back on the bus and drive into the night. He’d like to stay awhile.

Willie Nelson: The man who beat the system (Country Music) (Feb 1976)

Tuesday, February 6th, 2018

Country Music Magazine
February 1976
by Patrick Carr

We begin with an ending of sorts.  We are in Nashville on a drizzly night, packed into the Municipal Auditorium like so many high-rent sardines approaching the strung-out finale of the Disk Jockey Convention 1975.  Taken together tonight, we are perhaps the most professional audience any of these Columbia/Epic acts are likely to play for at least another year:  all of us are Somebodies in the country music business, and we’are all hip to the score.  The Columbia/Epic acts bounce on stage and do whatever thing they do, three numbers each, one after the other.  Tammy Wynette, Mac Davis, Barbara Fairchild, David Houston… it’s very democratic but pretty soon it becomes obvious which artists are getting corporate nod right now because all you really have to do is watch the company personnel pay or not pay attention.  Nevertheless, it’s a subtle affair.

But when Willie Nelson and his band of gypsies make their entrance backstage, looking for all the world like some flying wedge of curiously benign Hells Angels, subtlety goes by the board and it’s plain that this year’s Most Likely To Succeed slot has just been taken with a vengeance:  a great shaking of hands begins.  The impression is confirmed when Willie proceeds to get up onstage with his full band (all the other acts were backed by the Columbia band) and play a 40-minute set that, except for a quite seemly absence of illegal drugs and teenage nudity among the audience, might just have well be happening in Texas on the 4th of July.  This is the ending of sorts, and what it means is that after telling the Nashville powers-that-be to get lost and leaving town just three short years ago, Willie Nelson has become the country music wave of the future and is now accepting Nashville’s praise and promotional efforts on his own terms.

There is a postscript, though.  Three or four hours later — after another couple of hundred handshakes, after attending a very high-rent Columbia party to which his band was not invited, and after behaving like a perfect gentleman through it all — Willie gets himself down to Ernest Tubb’s Record Store and plays for two hours while most every other star in town is out at Opryland all gussied up to celebrate the 50th Anniversary of the Grand Ole Opry amid great pomp and ceremony of the By Invitation Only Kind.  It isn’t that Willie couldn’t have shown up at the Opry — with his current Columbia-backed status, that’s a silly notion — and it isn’t that he’s trying a reverse-chic move like one of Nashville’s several dozen I’m-so-hip-isn’t-this-earthy types might attempts.  It’s just that his old friend and musical hero Ernest was gracious enough to invite him, and that Ernest Tubb’s Record Store is still the best place in town to get down and play straight honky tonk music for the friends and neighbors.

 

Apart from being a rebel against Nashville’s creative restrictions, a culture hero, a real sweetheart, a person blessed with a highly sophisticated sense of humor, and the man who first made it possible for hippies and rednecks to co-exist under the protection of his music — all of which he is — Willie Nelson has always been one other thing.  He has always been a writer and singer of the classic country honky tonk song, which is to say that he has always had a very precise, lonely, realistic understanding of the hard ways of this vale of tears in which we all live and suffer form time to time.  This is the juke box Willie.  Historically, this music came out of more or less, his whol career up to today (which seems somewhat more optimistic when you consider the conclusions of the Red Headed Stranger album).  It’s the kind of stuff — like “Hello Walls,” “Ain’t It Funny (How Time Slips Away),” “Pretty Paper,” “Touch Me” and all those other perfectly songs — that really say it to you when you’re down and getting kicked.  Willie wrote most of it in Nashville when he was a highly-reputed songwriter trying to be a singing star, simultaneously going through the usual business of divorce, marriage, divorce, marriage and consequent craziness (or is that vice versa?) and running with the likes of Faron Young, Roger Miller, Mel Tillis and other distinguished crazy people.

A segment of my Willie Nelson interview:

Willie(laughing):  “I think a lot of people got to thinking that everybody had to do the same thing Hank Williams did, even die that way if necessary.  And that got out of hand.  I always used to think George Jones got drunk because Hank Williams did, like he really thought that was what he was supposed to do.”

Me:  “You ever do that?”

Willie:  “‘Course I did.  That’s the reason I know it’s done.”

Me:  “You still do it?”

Willie:  “I still get drunk,  but I’m not really mimicking anybody now.  I have my own drunken style.”

These days, see, Willie won’t talk about the personal agonies of those Nashville years without humor, but it’s all there in the songs which made him one of Nashville’s most sought-after songwriters, and it came to a head during the years — his last year in Nashville — that gave rise to his Phases and Stages album.  That year was a turning point, and it is chronicled in Phases and Stages.  The album is an excruciatingly universal account of the way one man and one woman deal with their divorce (“That was the year I had four or five cars totalled out and the house burned down,” says Willie), but it ends with a very significant song called “Pick Up the Tempo.”  It goes like so:

People are sayin’ that time will take
care of people like me
And that I’m livin’ too fast, and
they say I can’t last for much longer
But little they see that their
thoughts of me is my savior
And little they know that the beat
ought to go just a little faster,
So pick up the tempo just a little,
and take it on home….

For a man hitting the crucial age of forty, those are important lines.  They speak of an affirmation of life and a determination to triumph over its emotional problems, and they represent Willie’s decision to leave Nashville, move back home to Texas, and finally realize his potential  which is, in fact, exactly what he did.  “I knew I only had a few years left to do what I was gong to do, and I had to make a move,” says Willie.  “I wasn’t going down there to quit.  I was going down there with a purpose.”  the purpose, quite simply, was first to make himself a national recording star, and then to use that power base to make damn sure that people like him could be free to make their own music their own way without having to starve in the process.

Remember, Willie has a history in this department.  It was he who first chaperoned Charley Pride into the country music concept scene, bringing him on stage in Louisiana — actually kissing him right there in the spotlights – and risking God only knows what kind of backlash in the process.  The risk, once taken, paid off:  Charley was accepted because Willie was behind him.  Similarly, Willie, used  his high prestige and general likeability in country music artist circles to ease Leon Russell into the Nashville scene by surrounding him with Ernest Tubb, Roy Acuff, Jeanne Pruett and a whole galaxy of main-line performers when he was cutting the sequel to his “Hank Wilson” album. Willie can get away with heresy because more than any other artist occupying the often-queasy ground between because more than any other artist occupying the often queasy ground between country and something else, his country credentials are in order — more to the point — he has never betrayed his roots.

So Willie arrived in Austin (where he was already a star), formed his present band around himself and his old compadre drummer Paul English (of “Me and Paul” fame), began booking his own dates and managing himself, set up that first media-shocking Picnic at Dripping Springs, connected with the local power elite in the person of Darrell Royal (coach of the University of Texas football team and a very influential citizen), and quickly assumed the role of main Godfather in the Austin scheme of things.  That, incidentally, is some gig:  you don’t know what a loyal crowd is until you’ve been to Austin and watched a whole clubfull of liberated young things worship the ground good ol’ Willie walks on to quite embarrassing excess.

Along the way — just before that first Picnic, in fact — Ritchie Albright of the Waylors suggested that he get in touch with Neil Reshen, a New york manager and fixit person who at the time was looking to consolidate his country music holdings.  Reshin already had Waylon as a client, and Willie followed suit.  This action signified the arrive with the neccessary teeth for the coutlaw allliance Willie had been pondering for years, and it became a classic Beauty and the Beast operation that continues to this day.

An example of the dynamics of that Beauty and the Beast relationship:

Willie on Neil Reshen:  “He’s probably the most hated and the most effective manager that I know of.  He enjoys going up to those big corporations and going over their figures.  He’s so sadistic, he loves to do it.”

And once again, Willie:  “At least you know where you’re at with Neil.  Nowhere.”

And again:  “Anyone who can learn to like Neil can like anyone.  It’s a challenge to like Neil.”

“Willie, how are you doing on that?”

“I’m coming along, I’m coming alone.  I can stay around him a little while now.”

Although the mere mention of Neil Reshen’s name has been known to send secretaries to the bathroom and turn grown executives into violent monsters (“He’s another of those guys I don’t understand how he lived so long with somebody really hurting him,” says Willie),  you have to admit that while Willie and Waylon (“It’s like having a maddog on a leash,” says Waylon) may have been able to get out of Nashville’s grasp without him.  It’s only through this man’s unspeakably vicious yet effective manner of dong business, that the outlaw bid for independent power on country music has avoided bankruptcy and actually shown a profit.

So, with the active assistance of New York Neil, Willie has established the power base he was after.  It is now possible for Willie to record with Waylon or Kris or Leon (he’s planning a whole Willie/Waylon joint album), and what’s more, with the formation of Lone Star Records, he can get people like Jimmy Day, Johnny Darrell, Floyd Tillman, Billy C., Bucky Meadows, his sister Bobbie and other Texas worthies into the recording studio and, since Columbia Records pays for promotion and distribution under a joint Columbia/Lone Star deal, actually get the finished product before the public.  Like Willie says, “We’re all together, and we have the same idea about what we want to do, which is to do our thing our own way. I’m trying to get these guys to do for themselves what they’ve been bitching about people not doing for them.”

Willie’s long affair with the business of honky tonk music represents one considerable side of his character which may be traceable to the fact that he and his sister Bobbi (“it’s always been me and her”) were raised without parents.  Mr. and Mrs. Nelson divorced when Willie was a baby and Bobbi was there, and so for the first six years of his life Willie was with his grandparents.  For the next tne year, he was raised by his grandmother alone, grandfather having passed away.  That of course is a vast oversimplification, but the roots of his two divorces and highly creative loneliness must lie buried somewhere in there, just as the roots of his present, almost uncanny serenity must be located in the emotional steps he took to overcome his personal problems.  Whatever, it is an absolute fact that the presnet-day Willie Nelson is most definitely not an individual still in conflict with himself.

In a sense, Willie Nelson now is in some sort of still-perceptive, still creative cruise-gear, moving through a world of incredibly high pressure with almost perfect equilibrium. You can hear this feeling on the Red Headed Stranger album (a concept suggested and assisted by his wife Connie, with whom he does in fact seem quite happy) and you can see it when, dead center in the eye of one of this nation’s strangest cultural hurricanes, he drifts through the absolute mayhem of his Picnic and somehow manages to be a rock-like source of calm and competence for (literally) thousands of the most outrageously  uncalm, incompetent hustlers, freaks and assorted weirdos ever assembled under one patch of Texas sky.  It also shows when, in the middle of yet another night of pushing his ragged band through a set of half-tragic, half-boogie music and watching with a smile as his audience stumbles and whoops its way towards unconsciousness, it comes down to just him and his Spanish-style, gut-string amplified Martin, and for a while the most carefully emotional, beautifully balanced little collection of mood notes in the world go soaring through the rancid air.  This is the musical legacy of Django Reinhardt, Grady Martin and the other psychological gypsy guitar pickers from whom Willie developed his style; it is also the mark of a man who has really seen it all and can still look it straight in the eye.

Atlanta, Georgia:  Willie is on a First Class trip.  Laid out in the back of the limousine behind his big spade shades, he is relaxing into the ways of being a star with records on the charts.  There’ll be no more no-money dives to play, and for a while there won’t even be any songwriting unless the fancy takes him.  Willie explains that he’s not one of those poeple who get headaches when they’re not writing, and since his next two albums — a Gospel album and an album of Lefty Frizzel songs — are already in the can, all he really has to do is keep on showing up for Willie Nelson concerts.

There are also some interesting projects in the wind, and they might even get done.  there’s the issue of a Red Headed Stranger movie, for instance (“If I had the money and any idea about how to do it, I’d be somewhere doin’ it right now”,) and the almost equally interesting notion of Willie, Ray Price, Roger Miller, Johnny Paycheck and Johnny Bush getting together to do a couple of original Cherokee Cowboy dates.

Tonight Willie’s nose will be back on the grindstone as once again he takes the stage with his gypsies and plays for the sticky young drunks and dopers of Atlanta.  Tonight, once again, he’ll be up there doing “Will The Circle Be Unbroken?” and “Eileen Goodnight” with whoever wants to join in (this time it’s Tracy Nelson and Linda Ronstadt and Mylon LeFevre), and tonight there’ll be another endless hillbilly amnesia session up in the hotel room.  Tomorrow there’ll be another bloody mary morning when Paul, bless him, has paid the bills and checked us all out and onto the road again.  But now, just for a while, Willie is thinking about his Gospel album and remembering that he was asked to quit teaching in Sunday School when they found out that Little Willie played the local Texas beer joints at night.

“Were you a good preacher, Willie?” I ask.

“Yes,” he says.  “I really was.”

“Are you a religious man?”

“Yes,” he says, “Probably more than I ever was.  Y’know?”

Somehow, when you really get serious about Willie Nelson, the answer is not at all surprising.

Willie Nelson: His own story in his own words (Country Song Roundup) (February 1979)

Thursday, February 1st, 2018

roundup

Country Song Roundup
America’s #1 Country Music Magazine
February 1969

The Willie Nelson Story
by Judy Myers

When I was given the assignment to do a story on Willie Nelson, I couldn’t have been more pleased.  You see, I’m a big Willie Nelson fan!  Not only do I appreciate his song writing, but he’s one of the best song writers ever.  Proof can be found in the listening to such songs as “It Should Be Easier Now” (one of my favorites), “Night Life”, “Crazy”, “Funny How TIme Slips Away”, “Hello Walls”, and I could go on and on… I really “dig” Willie’s singing.  I’d just about rather hear Willie sing than anyone I can think of.

The day finally arrived and I met Willie at his office for the interview.  His manner was charming and relaxed.

“Where do I start?” Willie asked.

“Why not start at the beginning”, I said.

“In the beginning I created”… he began laughing.  Then he got serious and there followed a series of reminiscence that had me sitting on the edge of my chair, listening to Willie, who has a mind that works like a human tape recorder.  He had almost total recall of everything.  It was one of the most enchanting hours I’ve ever spent.  Now, I want to share it with you…

“I was born in Abbott, Texas, on April 30, 1933.  That’s in West Texas.  My grandparents raised us, and my daddy (Ira) was a blacksmith.  My grandparents taught music that they had learned by studying a correspondence course.  My father got me a guitar when I was about four or five years old, and I learned to play.  I guess I started writing songs when I was about eight or a little younger.  My first song was pretty bad!  My mother still has it, along with a lot of others in a scrapbook, and she says one day she’s going to publish it.  I’d sure like to have that book, but she won’t give it up.”

“When I was thirteen, I started playing clubs with my sister, Bobbie.  She played the piano, my brother-in-law was our manager and he played a broomstick.  You  know, a broomstick with a piece of shingle attached that he could beat back and forth to create a little rhythm.  He later took up playing the bass, but mostly he just hit it and swung it around.  My father played a little fiddle and rhythm guitar and I played lead guitar.  We were called “Bud Fletcher and His Texans.”  Bud is my brother-in-law.

We had a sign-on show on KHBR Radio in Hillsboro, Texas, every Sunday morning.  We’d come dragging in after playing and driving all night, making us late most of the time.  We were followed by preachers, and most of the time they directed their preaching right at us.  You know, they thought we were wicked hillbillys.

“I was a relief telephone operator there in Abbott.   We had a central switchboard and the woman who ran it liked to go out on Saturday nights so my sister or I would take over for her.  My voice was changing then and I guess they thought I was a girl.  They didn’t know I was a boy, but I sure knew everything that was going on in the county.

“My first real job was that of a tree trimmer.  We went around cutting branches away from the high tension wires.  Once my buddy was about forty feet up and needed a rope, so I took it up the tree.  Then, rather than climb down, I decided to go down the rope.  I got about four feet down and got my finger hung up.  I couldn’t go up or down, and I was too far from my friend for him to help, so the only choice I had was to have him cut the rope.  I fell down through those high tension wires and branches and I was able to get up and walk away, but I never went back to that job.

“Then I worked in a pawn shop, went into the Air Force, got out, worked as a bouncer in one of the roughest joints in Texas, (that didn’t last long, there was a fight every night, and I don’t like fights).  I got married, worked as a parts man in an auto house, trimmed trees again, formed a band and started pickin’ again, made saddles, worked in the oil fields in Texas, got married for the second time, and worked for a short time at a radio station in San Antonio.

“I went to work for Johnny Bush.  He had a band and I played lead guitar.  I asked him if I could sing, so he did let me sing some, but then he asked me to just play guitar,  I don’t think he liked my singing.  I managed him for awhile.

“We moved to Pleasanton, Texas, where I saw an ad for a D.J. job on KBOP Radio.  I had two kids by then, Lana and Susie.  I’d never worked as a D.J., but I wanted that job.  I went to see Dr. Ben Parker, who incidentally did more to help me than almost anyone.  He asked me if I had any experience and I told him that I had.  He then asked me if I was familiar with the board there.  I said, “That’s a Gates board isn’t it?  Anybody could see it was a Gates board, it was written right across it.  I told him I didn’t know that board as I’d worked on an RCA Victor Board.  I remember that’s what they had at the other station.  He’d have to show me how to use that one because they looked different.

“My test was to do fifteen minutes of news…live…the first time I’d ever been on the air as an announcer.  Then he gave me a commerical to do.  It was for the Pleasanton Pharmacy.  It went like this…’The Pleasanton Pharmacy Pharmaceutical department accurately and preciseley fills your doctor’s perscription,’ and after I got through with that, he knew I’d never done radio work.  It was the hardest commercial I’ve ever done.  He gave me the job anyway.  Then he worked with me to show me all arbout radio work.

“Dr. Ben Parker really helped me a lot.

“I worked at KBOP for awhile, and then got itchy feet.  I went to Denton, Texas where I got a job as salesman for KDNT radio.  I wasn’t on the air so I didn’t like that much.  I went on to Ft. Worth, where I worked with Uncle Hank Cragg on station KCUL.  I learned some more about radio work from him.  From there I went to KCNC and Western Express.  I was still working nights pickin’.

“Well, I got itchy feet again.  I decided we should go to San Diego.  The only catch was, we didn’t have any money, and no car.  I saw an ad in the paper where you could drive cars to different places.  I went to see them and asked about taking a car to San Diego. They said that they had a car to go that way, and they would pay for the oil… but they had to know that I could get the car there.  They said they would have to see at least $50.00.  Well, I was down to my last $25.00, and that was that.  However, i told them I’d go get the money as I didn’t have it on me.  I went out and found a friend and asked him to let me have $50.00.  I didn’t want to borrow it, I explained about the car.  I just wanted to show it.  He let me have the money and I took it to show, and they let me have the car.  I gave the money back to my friend, but we still had to get to San Diego, buy gas and food, and only had $25.00 to do it on.  Well, we made it, but I won’t go into details about how it was done.”  He gave a sort of half chuckle.

“Well, when we got to San Diego, I couldn’t find any work.  My wife got a job, and I didn’t like that much, her working and me not working.  So I decided to go to my mother’s in Portland, Oregon and see what I could get there.  I planned to get something going and then send for my family.  So I started hitchhiking with $10.00 and a suitcase.  That was some trip.  We could get a whole story just out of the details of that trip alone.  I’ll just tell one thing that happened along the way.  I got to Orange, California.  It was night time and I was tired and broke, and awfully tired of carrying that ole’ suitcase.  I found a country music nightclub, went in, and found I had just enough money for one beer.  By buying that beer and making it last all night, I was able to stay there without getting thrown out.  When the band was packing up, I asked if they knew of anybody who might give me a job, but they didn’t.  One old boy told me to stick around for a few mintues and he would make some phone calls for me and maybe find something.  I waited and he did make the calls, but with no luck.  Then, I had an idea.  This old suitcase was getting heaver every mile, and I thought I could trust him, so I gave him my mother’s address in Portland, and asked him if he would send the suitcase to me there.  Well, I never did see that suitcase again!

“I made Portland eventually.  I got a job with KVAN in Vancouver, Washington, just across the river.  I also had my own weekly t.v. show.

” I sent for my family to join me, and things were going pretty well in Portland but…..I got restless.

“On the move again, we headed for Springfield, Mo.  On the way, we went through Denver, Colorado, and I got a job pickin’ there, at a place called “Heart’s Corner.”  The guy that ran the place rented a guitar for me, and I guess I stayed there about six weeks.  Then we were on the move again.  When we got to Springfield, I ran into Billy Walker. He was working the Ozark Jubilee at the time.  His wife and my wife had been friends in Texas, so they invited us to stay with them for a few days.  Billy even set up an interview for me with Si SImon, who was running the Jubilee.  Si didn’t seem to think I was too good, so I took the only job I could find, dishwashing.

I wasn’t too happy as a dishwasher, so I took my family and headed south to Waco, Texas.  Right after that, we moved to Ft. Worth and I quit the music business for a year.  During that time, I sold just about everything, door to door.  They even made me manager for Ameriana Encyclopedia.

“But I wanted to pick.  I went back to Waco, then to Houston.  I had, in the meantime, written “Family Bible” for Frankie Miller, who was recording on Starday, but Don Pierce wouldn’t let him record it.  When in Houston, I ran into a guy I’d known before, Paul Buskirk. I was pretty broke so I decided to sell the song, “Family Bible”  Paul, Walt Breelin and Claude Grey split it three ways and gave me $25.00 for it.

“Looking for work, I went to the Esquire Club where Larry Butler was the head of the band.  I asked him for a job, but he said that he didn’t need anyone at that time.  I aksed him if he would buy some of my songs then, for $10.00 each.  I sang him about ten or twelve of my best ones, including “Mr. Record Man”, “Crazy”, “Nightlife” and “What a Way to Live.”  He wouldn’t buy my songs, not because they weren’t good he said, but because they were too good, and if I needed money that bad, he would loan me some, and he did.  That kept me from being compeltely broke.

“Paul Buskirk had a recording studio and he offered me a job teaching guitar.  Well, I didn’t know how to read music, but he said that was okay, he’d teach me.  I got my first lesson on Wednesday, and gave my first lesson on Monday.  I always managed to stay one lesson ahead of the students.  They didn’t know any better, since I did know how to play, I didn’t know how to read music, that’s all, but I learned that.

“I finally went to work for Larry Butler pickin’ in the evenings, adn I worked the Sunday morning sign-on DJ show at KRCT radio, which now has the call letters, KIKK.  Leroy Gloger was the manager there, and he fired me.  That hurt my ego, and I left town.

“I took my family to Waco, and I headed for Nashville, and the first person I ran into there was my old buddy, Billy Walker.  I sent for my family, and brought them to Nashville.  Billy took me to Starday records and introduced me to Tommy Hill.  I sang some of my songs for him, and he told me that he’d set up a recording and writer’s contract for me, but Don Pierce turned us both down.

“One night when a bunch of us were jammin’ in Tootsie’s, Hank Cochran heard me and took me to Pamper music, where I signed an exclusive writer’s contract.  Faron young had heard me sing “Hello Walls” at Tootsie’s and told me that he wanted to record it.  I was working on the road with Bobby Sykes, playing lead guitar and Faron, who was on the show that night, asked me to sing the song again so that he could learn it.  I also sang “Coungratulations” that same night, and the next week, he recorded both of them, back to back.

“I moved my family into a trailer house, and I had three kids by then.  I found out later that it was the very same trailer Hank Cochran and his wife and three children lived in when they first came to Nashville.  It was green and ugly and the rent was $25.00 a week, and it was worth about $3.00, but they were always there to collect the rent eery rent day.

“I heard that Ray Price needed a man to play bass and front his band.  I didn’t know how to play bass, but I told Ray I did, got the job, then went out and got a bass and learned real quick. If he ever knew I didn’t know how to play, he was kind enough not to mention it.  I worked for Ray for a year.

“Crazy” was doing real good then, and Billy had recorded “Funny How Time Slips Away”, I wrote it for him, to follow “Thank You For Calling”.  Joe Allison signed me to Liberty Records, and produced an album and single for me.  The album was “And Then I Wrote” and the single was “Mr. Record Man.”  I did two albums on Liberty.

“My marriage broke up about that time and I moved to Texas.  I met and married my present wife, Shirley there.  Incidentally, she was a regular on the Ozark Jubilee the time I went through Springfield, but we didn’t know each other then.

“I stayed in Ft. Worth until 1963.  After that I went to California to run the office for Pamper Music.  I didn’t like that because I wasn’t pickin’, just running the office.  So we came back to Tennessee, and bought a farm at Ridgetop, just out of Nashville.

“I had been on Monument Records in the meantime, and had a record with them, but in 1964 I signed with RCA Victor.  My first release for them was “Pretty Paper.”  I’ve had six albums on Victor, and my latest single is, “Johnny One time”, written by Dallas Frasier.  I am really sold on the song, and I think we’ve got the most commercial sound on it of any of my other records.  Were hoping that this one will make it, but if it doesn’t, well, maybe next time.

“That’s it, up to now.  I remember some things I left out, but let’s save them for next time.”

That’s Wille’s story, and the hour I spent getting it was one of the most interesting I’ve had in a long time.  there’s nothing left for me to add, it’s all been said.

Author Judy Redditt read this post and kindly responded with her own stories.

  1. Judy Redditt says:

    This takes me back. Willie was a good friend. I really enjoyed sitting down with Willie from time to time and just talking. I wrote several articles with him, but it was the stories that weren’t published that I loved the most. The ” road stories” that had me rolling on the floor, the stories behind the songs, and the family stories.

    Jeannie Seely was my roommate for several years, and the only reason we stopped being roommates was that she left to marry Hank Cochran. Hank was at our apartment much of the time and he would often bring his buddies with him. I was always delighted when he brought Willie. They would sing and often bring out their latest new song they had written. I was privileged to hear so many of the classics in their infancy or shortly after they were finished.

    I loved the songs that both Hank and Willie wrote and bugged Ray Price to record them, since Ray was my favorite singer of all time. Nobody had better control of their voice or could put more feeling into a song, or sang more beautifully than Ray. It got to the point that when he came into town to record, he would call me to ” find me the songs for this album, and have them by tomorrow.” All I generally had to do was look at Hank and Willie’s catalogs. I picked a lot of songs for Ray, and one of them, NOT written by Hank or Willie, turned out to be the biggest of his career.

     

    Bonnie Guitar had been in town, and we were hanging out together. She was getting ready to record and was looking for songs. One night, we were in her hotel room and Kris Kristopherson and Mickey Newberry came to sing her some of their songs. Kris sang a song that night that I heard Ray singing in my mind. Ray had called me a few days before and told me to be on the look out for some songs for him, he would be in the next week to record. I asked Kris for a copy of the song, and of course, he wanted to know who I was taking it to. I told him just to get it for me and I would tell him who it was for later. The next day, Kris gave me a demo of the song and when Ray got to Nashville the following week, I gave him the demo of “For The Good Times”. The rest is music history.

    I went to work for Pamper Music as P.R Directer and the company was owned By Willie and Ray Price at the time, so for the time I worked there, I had my two favorite singers of all time as my boss’. Talk about the ideal job! It afforded me the opportunity to hear Willie’s stories, and Ray’s recordings, often and usually first hand. Stories from Willie like the one about the time he came home drunk, and passed out, only to wake up to find Shirley had sown him up in the bed sheet and was beating him up with the broom stick.

    It was while I was working there that Willie’s house burned down and being frustrated that no one in Nashville would let him make music his way, Willie decided to pull up stakes and return to Texas, and to do music ” his way.” Once again, music history was made. I could go on telling stories of those days, but I think I will save them for the book I plan to write.

    But I will say this, I am proud and happy to have formed a lasting friendship with one of the all time musical genius’, the awesome and amazing, Willie Nelson!

(more…)

Willie Nelson interview in Entertainment Weekly, (September 18, 1998)

Monday, January 15th, 2018

photo:  Laura Farr

www.ew.com
by:  Jeff Gordinier

Willie Nelson reaches across the table and whispers four soft words: “It’s good for you.” His brown eyes are shining like sunlight on the Rio Grande. His voice is rustling like wind through a wheat field. And between those burlap knuckles of his, well, he’s got a joint as fat as a rope.

It all feels like Luke Skywalker taking the lightsaber from Obi-Wan Kenobi. You can’t say no.

So I don’t. I inhale. Deeply. Which probably isn’t the smartest journalistic strategy in the world, considering that my life’s experience with ganja consists primarily of a couple of pathetic coughing fits in college. The thing is, there’s something so gentle about Willie Nelson, so utterly blissful and reassuring, that climbing into his tour bus feels like stepping into the lost ashram of a Himalayan mystic. Just the sound of his laugh can lower your heart rate. Besides, it’s late in the afternoon, and Willie’s tiny office on the bus, the Honeysuckle Rose II, is already so banked with sweet herbal fog that a plane wouldn’t be cleared for landing. A puff or two won’t make any difference, right?

It’s a busy day, even if it doesn’t feel that way. Willie’s supposed to ride the highway up to Boulder, Colo., to play songs from his haunting new album, Teatro, for radio station KBCO and a packed house at the Fox Theatre. Plus, he’s just been named a Kennedy Center honoree, alongside entertainers like Bill Cosby and Shirley Temple Black, so people keep calling the bus to congratulate him.

If anyone deserves an official blessing from the United States government, why not Willie Nelson? He wrote national anthems like “Crazy” and “Night Life” and “On the Road Again.” He’s saved Nashville from its cheesiest impulses with albums like Red Headed Stranger and Spirit and Stardust. His voice is seared on the American landscape as indelibly as the voices of Billie Holiday, Louis Armstrong, and Frank Sinatra. Besides, he’s done a guest spot on King of the Hill. “For me, Willie is what you’d imagine an elder would be like in native mythology,” says Daniel Lanois, Teatro’s producer. “Without saying too much, he projects an aura that just makes you feel good to be around.”

But there’s a fantastic irony here, too, when you think about a bunch of Beltway Babbitts squeezing into their tuxes and clinking their champagne flutes to the original Nashville outlaw, a man who’s wrangled with drug laws and the Internal Revenue Service, who’s crisscrossed miles of conservative highway with his beard and ponytails and beatific smile intact, who’s spent a large portion of his 65 years whispering four soft, subversive words to the stress-battered American people: It’s good for you.

“I was doomed to go to hell by the time I was 7,” Willie is saying, “because I had been told that if you smoke cigarettes and drink beer you’re going to hell. And by 7, I was gone.” Thus resigned to eternal damnation, Willie came up with the only spiritual approach that made sense: There’s nothing to hide, and nothing to get too upset about. “If you get up thinkin’ everything’s gonna be wonderful, you’re gonna find out somethin’ happened that wasn’t that wonderful,” he says. “And if you think everything’s gonna be terrible, then you’re gonna miss what was good. So there is a little bit of Zen in there: You shouldn’t be too elated at the good things, and you shouldn’t be too depressed at the bad things.” Not since Butch Cassidy has somebody so defiant been so laid-back about it.

You can ask Willie anything, good or bad, and he’ll respond with that sagebrush laugh and a flash of those muddy-river eyes. The night in 1970 when he dashed into the flaming eaves of a burning house to rescue a pile of pot? “A guitar and the pot,” he gently corrects me. The night when he walked out of a Nashville bar and stretched his bones in the middle of a busy road? “I was pretty drunk, but I do remember it,” he says. “It was one of those Russian roulette things, you know? You really didn’t give a damn, and yet you did. Just before the truck woulda hit me, I’d have said, ‘Why did I do that?’”

I ask whether it’s true that the first of Willie’s four wives tied him up and beat him purple as punishment for a drunken binge. Willie not only verifies the story, he muses over the method of bondage. “I think there were sheets stitched together, and then jump ropes to secure them,” he says. “Then she packed all of my clothes and left. So when I finally got out of the sheet, all my clothes were gone.”

The father of seven (and grandfather of seven more) waves toward a beautiful woman sitting toward the back of the bus. “This is Lana, my daughter,” he says. “Her mother was the one in that story you asked about.”

“I might’ve been 4 or 5,” says Lana, now 44. “She left us in the car waiting while she hit him with the broom. And she came runnin’ out and threw the broom on the porch and jumped in the car.”

And…how did you feel?

“Well, I hated to see Daddy get beat up with a broom!” she laughs whimsically. “But if my husband came home drunk, I might do the same thing.” “And,” Pop chimes in, “if he’d done it on more than one occasion.”

Willie gave up booze years ago—”To me, alcohol is not positive,” he says–but he’s been smoking weed since 1953, when a fiddle player in Fort Worth first passed him a joint. “It wasn’t a big deal back in the early days in Fort Worth,” Willie insists. “Most of the law enforcement agents were smokin’ pot. They’d bust other people, get the pot, and we’d sit around and smoke it. They realized it was a bad law, but they were makin’ the best of it.”

Texas troopers may be a bit more zealous these days, but whenever there’s a head-on collision between Willie and various statutes and ordinances, it seems like Willie’s the one who comes out unscathed. Four years ago he was arrested when police found him and a joint cuddling in the backseat of a Mercedes; pretty soon the charges were dropped. “There was no cause to give me any problems there that night, because I wasn’t botherin’ nobody,” Willie explains. “When it’s foggy and you’re tired, you pull over and go to sleep. You shouldn’t be harassed by the police department.” Eight years ago the IRS saddled him with a massive burden of back taxes—$32 million—but Willie struck a deal with the feds to whittle down the debt, paid off the rest, and moved on.

It’s been that way since Abbott, the lean Texas town where he baled hay and picked cotton as a kid. “We had no law in Abbott. There was nothing illegal,” he recalls as the Honeysuckle Rose II rolls through the strip malls and cheeseburger troughs of the New West. “I’ve kind of brought Abbott with me.”

In the front of the bus is a TV. CNN is blasting the news that Bill Clinton has bombed outposts in Sudan and Afghanistan—an event of weird significance for one of the stars of Wag the Dog. Willie asks if I want to watch a video. I suggest he might prefer to catch up with the military showdown instead. “The war’s about over, probably,” he laughs. “We’re gonna miss the whole f—in’ war, just goin’ to Boulder.”

Willie may come across as the un-Clinton—he’s inhaled, he’s fooled around, he doesn’t lie about it—but he’s actually quick to forgive Slick Willie his amorous misadventures. “I think any male on the planet will have sympathies for where he’s at,” he says. “Most of us can withstand everything but temptation. And a guy who’s bombarded as much as he is, as president? Most presidents are too old to worry about s— like that!” As for his own battles with temptation on the road, Willie and his crew long ago came up with an official policy: “We leave town early.”

Keeping on the move has always been a Willie trademark. Daniel Lanois is such a sonic perfectionist that it often takes him months to cut an album, but when the Grammy-winning producer of Bob Dylan’s Time Out of Mind and Emmylou Harris’ Wrecking Ball hunkered down in an old California movie theater to record Teatro, it took…four days. Which is not to say it feels tossed off: A spooky flamenco hayride of a record, Teatro proves that after 213 albums over the course of four decades, Willie Nelson is hitting another moment of creative fervor. “I’m so used to making records where one has to labor, it sort of caught me by surprise,” Lanois marvels. “Willie really trusts first takes.”

Eventually Willie and I do watch a movie, an upcoming made-for-CBS Western called Outlaw Justice. My critical faculties are fairly warped at this point, but I think Willie and Kris Kristofferson play old gunslingers who team up to avenge the death of a fellow desperado, played by Waylon Jennings.

After a few minutes Willie picks up the phone. “Hey, Waylon,” he says. “I just watched you die again in that movie.”

Maybe it’s the thin Colorado air, but by now the phrase mile-high has taken on a new meaning. Suddenly I have come to believe that Willie Nelson is a great American sage, that sculptors should carve his saintly visage into Mount Rushmore, that Outlaw Justice is a cinematic masterpiece, that…er…uh, dude, could you pass the potato chips?

Willie Nelson Interview: Goldmine (1/11/02)

Thursday, January 11th, 2018


Goldmine Magazine
January 11, 2002

When it comes to American music legends, the name Willie Nelson elicits incredible warmth and respect for one of the most talented and accomplished singer/songwriters of our itme.  Although he has spent his 40-year career as a country musician.  Nelson’s music transcends all genres.  The now-familier term “crossover artist” was no doubt invented for Nelson.

It’s late summer and the singer is winding up his most recent U.S. tour.  Preparing for the evening’s concert in Tacoma, Washington.  Nelson has just returned from the local driving range, ever trying to improve his golf game, although he readily admitted, “I should be a lot better than I am.”  Asked about his handicap, he wrly replied, “It’s my putter and my driver!”

Beyong Golf, Nelson has kindly agreed to talk to Goldmine about his newest DVD release, Willie Nelson:  Live in Amsterdam.  (Image Enterainment) and a few other topics, including his most recent album, Rainbow connection (Island Records) and his forthcoming relase, The Great Divide.

10 Questions for Willie Nelson
by Mark Wallgren

Goldmine:  Is there anything special about touring in Europe?

Willie Nelson:  We don’t get over there as much, so when I play in Europe they’re really glad to see you.  And there’s a certain exuberance over there you know.  For 40 years now they’ve been really good country music fans for me.

GM:  One doesn’t envision Europeans wearing cowboy hats and boots, but your audience certainly does.

WN:  Yeah, it’s hard to tell whether your in Amsterdam or Austin.

GM:  In watching this video, you guitar work is woven into the tapestry of your songs.  Do you enjoy playing as much as it seems?

WN:  I’ve been playing guitar since I was six years old.  The guitar is my friend, you know.  I guess it’s my first wife.  [laughs]  I try to build the whole show around me and the guitar, and everyone else plays behind and complements what I’m trying ot do — fills in places and does their thring — they go into it that way, and then  you get a pretty good ready-mixed show.

GM:  There’s a really funny moment in this new DVD, at the end of the regular set, when you ask the audience to pretend you’d left the stage and that you’ve now returned for the encore.

WN:  [laugs]  Sometimes I tell them that story, you know, “This is the place where we normally go off and come back, and if its all right with everybody, we’re just gonna stay here, because one night we went off and came back and everybody was gone!”  A version of that every now and then.

GM:  Based even on a sliver of truth?

WN:  A sliver, yes.  You’ve got to be careful.  [laughs]

GM:  Amy, your daughter, first suggested an album such as rainbow Connection some 20 years ago, and yet you didn’t begin recording it until just last Christmas.

WN:  The reason being that I work on the road a lot and so recording a children’s album was kind of down the list of what I needed to do, you know. This last Christmas I got a couple months off, so I told her to come on now and we’d do Rainbow Connection; and some more songs.  But then I started learning Rainbow Connection; and I realized there’s a little gem here.  I mean, there’s a lot more here, I thought, than a frog singing.

GM:  “Wouldn’t have it any other way,” the one new original composition, sounds like a song you might have written for Johnny Cash.

WN:  It’s one of the last songs that I’ve written. The other being  ‘The Great Divide”  There’s something about that song that I enjoy, and I really got a kick out of playing it and doing it.  I don’t really know where it came from, but maybe it is a Johnny Cash song.  I’ll have to try to get it to him.  I appreciate yoru saying something about that song because I haven’t started doing it on the show at all because I wanted to kind of get some feedback from the people who listen to the album.

GM:  Your next album, The Great Divide, is produced by Matt Serletic who producd that superb Santana album Supernatural a couple of years ago.

WN:  It’ll be released in January, and it was an important one to make because I got to sing with a  whole lot of great musicians and writers and singer, so its one of those once-in-a-lifetime deals, and to work with Matt Serletic, he’s one of the better producers.  We’ve got a good lineup.  Sheryl Crow, Bonnie Raitt, Kid Rock, Rob Thomas, Allison Krauss, and we’ve got the Jordainaires.  They’re backing me on “Mendocino County Line”; that we did with Lee Anne Womack in Nashville.  Also a guy named Brian McKnight.  He’s a young guy form the West Coast.  I think he’s really a good singer.

GM:  You’ve raised more than $16 million since you staged the first Farm Aid benefit back in 1985.  Did you ever envision that Farm Aid might still be necessary in the new millennium?

WN:  No, I really didn’t.  I thought we’d just have to do one, honestly.  I thought once everyone was aware of the situation that something would be done immediately and it would be like, fixed overnight.  It takes a long time to get a new farm bill through, one that the farmers are for, but big business, corporations, and unfortunately most of the politicians in Washington are against.  But we’re gonna stay with it and nobody’s going anywhere, and there’s a good chance that we might be able to get a little bit more done in Washington now that there’s sort of a shift in powers up there where it looks like people who are concerned with the small businessman may be in more of a position to do something for the farmer.

GM:  Final Question:  Has the Nelson household received its tax rebate check yet?

WN:  [laughs]  I’ve already spent my $600!

Willie Nelson in Interview Magazine, by Woody Harrelson (May 2015)

Sunday, January 7th, 2018

www.interviewmagazine.com
by: Woody Harrelson

“The first six decades of my life had been filled with drama,” Willie Nelson writes, with staggering, knee-buckling understatement, toward the end of his new memoir, It’s a Long Story (Little, Brown). Fifty-odd studio albums, more than a dozen film and TV roles, four wives, eight children, more awards and scrapes with the law than anyone can count—yeah, the first 60 years of Nelson’s life are to drama as the Pacific is to water. Deep with it.

But looking back, from his self-sustaining, solar-powered home in Maui, where he has lived for 30-some years, only soothes him for so long. “I just wanted to kick back, enjoy a smoke, and listen to the waves splash against the shore,” he writes. “But beautiful as it was, I couldn’t sit there for long. Something started calling to me. It was that same ‘something’ that had always been calling.”

Cue the guitar licks: “And of course it led where it always led: Back out on the road.”

At 82, Nelson (who wrote the song “On the Road Again,” among a thousand or more others) is the elder statesman of country music, a steadying and powerful voice in the industry and on environmental issues, and he’s still on the road much of the year. The music keeps calling.

In his unceasing, compulsive rambling about the country, the Depression-era baby and inveterate hustler from Abbott, Texas, has run with the best of ’em, smoked, jammed, and thrown bones with the rest of ’em. Over the course of his more than a hundred albums and 30 years of playing the Farm Aid concert, a benefit he created in support of family farmers, Nelson has played with everyone from Wynton Marsalis to Merle Haggard, Johnny Cash to Waylon Jennings. He’s appeared onscreen numerous times, including in the movies The Electric Horseman (1979), Honeysuckle Rose(1980), and Red Headed Stranger (1986), and on TV shows, including Monk and The Simpsons. At the poker or domino table, he has lifted a small fortune off his Maui neighbors and best buds Woody Harrelson and Owen Wilson—all the while burning more grass than the plains states in a drought. (And yet he has the kind of snap-trap memory and continual, thrumming, joke-telling patter of a sage.)

In the process, Nelson has become an enduring figurehead—the outlaw rider; the hippie-redneck activist; the legalization advocate; the ruffian, poet beatnik—and an endlessly beguiling, elusive man. Willie Nelson is already a legend, and still he rambles on.

As he tells his pal and fellow fan of the pipe, Woody Harrelson, it’s been quite a ride. –Chris Wallace

WOODY HARRELSON: Willieeee, I miss you, brother! Where are you?

WILLIE NELSON: I’m in Biloxi, Mississippi.

HARRELSON: Biloxi, whoa. I’m in London, so we’re close. [laughs] When are you going back to Maui?

NELSON: Around Easter. Will you be there?

HARRELSON: That depends. When is Easter?

NELSON: First week in April, I think.

HARRELSON: Oh, I’ll be there. I’m going to be there for three months. I’m trying to get some time off.

NELSON: Heck yeah, we’ll play some poker, dominoes.

HARRELSON: I got a lot to win back.

NELSON: You win a few thousand every day, and it won’t take you long. [both laugh]

HARRELSON: People know you as an affable, great guy who started Farm Aid. Most people wish you were president, and they don’t realize that you’re a fucking hustler. [both laugh]

NELSON: Don’t tell them about that.

HARRELSON: I’m proud of building the Woody wing on your house there in Maui.

NELSON: Hey, thank you, man. Owen [Wilson] was just there. He contributed a little bit.

HARRELSON: Before we start, do you have, like, a jay sitting around? Or maybe a Volcano or the pen, some kind of vaporizer or anything going on there? Maybe we can get stoned together.

NELSON: I’ve got at least four of each of those things. [both laugh]

HARRELSON: I don’t even know why I asked that.

NELSON: Yeah, really.

HARRELSON: Okay. So tell me about your grandparents, because they were a huge influence on you.

NELSON: My parents divorced when I was about 6 months old, and my grandparents raised me and my sister, Bobbie. I think they did a good job. They spoiled the hell out of us, but that’s what we needed.

HARRELSON: Why did you go to the grandparents? Neither parent could take you?

NELSON: They went different directions, and neither one of them had a way to take care of us. Really they did us a favor just by leaving us with our grandparents.

HARRELSON: This was around the Depression?

NELSON: Yeah, I was born in 1933.

HARRELSON: Do you have any memories of the Depression?

NELSON: I didn’t think we were any worse off than all of the other folks around us. Everybody I knew had to work in the fields, pick cotton, pull corn, bale hay; that’s the way we paid our way through school and bought our school supplies and things. My granddaddy died when I was about 6 years old, I think. And my grandmother took a job cooking in the school lunchroom. So she did great. She made $18 a week.

HARRELSON: That must’ve seemed like a small fortune.

NELSON: Well, it was. It took care of us.

HARRELSON: You really have a fond kind of vibe for your grandmother.

NELSON: And my granddad, too. He was a blacksmith, and I hung out in the blacksmith shop with him when I was a kid, watching him shoe horses. In fact, he got kicked by a horse one time, and he had to wear one of those rupture belts all the rest of his life. They were hard workers.

HARRELSON: Was he a disciplinarian?

NELSON: Well, he spanked me one time. I had to be 4, 5 years old, and I ran away from home. They brought me back and he whipped my little butt. He had one of those razor strops. You know, one of those wide, leather razor strops that you sharpen your razor on. And he hit me a few times with that. It sounded real terrible, but it didn’t hurt that much.

HARRELSON: But I’m sure you made a lot of crying noises so he’d stop.

NELSON: Oh, yeah. I screamed. [both laugh]

HARRELSON: You had that actor in you back then, didn’t you?

NELSON: Hustle! I had that hustle.

HARRELSON: When did you get your first guitar?

NELSON: I was about 5 or 6 years old, and I bought this guitar out of a Sears, Roebuck catalog. I think it was a Harmony guitar. My sister played the piano. She’s two years older than me, and I always wanted to play something. So my grandmother got the guitar for me, and showed me a couple of chords to start off. And then I got me a book. Next thing you know, I was playing along with sister.

HARRELSON: So when you graduated high school, around 1950, you joined the Air Force. What was that like?

NELSON: I didn’t care for it at all. The day I got in, I started trying to get out. I didn’t like taking orders that much, and I didn’t like getting up at dawn and marching and all that horseshit. I didn’t make a very good soldier, I’m afraid.

HARRELSON: I can’t imagine you taking orders.

NELSON: No.

HARRELSON: I mean, except from Annie [Nelson, Willie’s wife], obviously. [both laugh] So you weren’t a part of the Korean War?

NELSON: I never did go overseas. I spent all my time in Biloxi, Mississippi, right here where I’m at now. I took basic training down in San Antonio, at Lackland Air Force Base, and in Wichita Falls, at Sheppard Air Force Base. Then I spent my last few months in the Air Force here. I come back here to Biloxi quite a bit. I like it here.

HARRELSON: So out of the Air Force, you went to Baylor University?

NELSON: Yeah, I had some G.I. Bill coming. So I took what I had and went to Baylor there for a while, majored in dominoes. [both laugh]

HARRELSON: That’s what I want to know. When did you become a hustler?

NELSON: I’ve been playing dominoes all my life. When I was really young, the old men in Abbott all played dominoes. And when one of them would have to get up and go somewhere, they’d get me to come sit in. If I’d make a mistake, they’d yell at me and throw shit at me. So I learned to play dominoes pretty good. And some friends of mine, like old Zeke Varnon up in Hillsboro, who is the best dominoes player I ever met, showed me a lot of stuff. He was a card hustler, dominoes, pool … You name it, Zeke was good at it.

HARRELSON: I guess those are the people I have to thank for all the—what do you call it?—remuneration I’ve thrown your direction.

NELSON: I think remuneration is the word for it, yeah. [both laugh]

HARRELSON: Oh, man. I’ve experienced more pain in your house than I think anywhere.

NELSON: But you take it well, Woody. That’s what I tell them all.

HARRELSON: You notice how there’s just no shift from when I’m winning or losing—I just don’t care. I’m happy. So were you an encyclopedia salesman?

NELSON: I sold encyclopedias door-to-door. I also sold Singer sewing machines.

HARRELSON: Did you do well with that? Because I’m imagining Willie Nelson coming to my door to sell me something, whatever it is, I’m going to buy it.

NELSON: The big deal was to get in the door. When I would sell encyclopedias, I would drive down the road looking for a house with a swing set in the back, and I’d say, “Oh, those folks got kids. They need some books.” I’d knock on their door and sell them a set of encyclopedias, and those books were from $300 to $600. I’d look around the house, and if there wasn’t that much furniture in the house, I felt a little bad about selling a $600 set of books to people who couldn’t afford a couch. So I didn’t last at that job very long.

HARRELSON: The overly compassionate salesman. You just weren’t meant to do that, I think. How did you end up in Nashville?

NELSON: Well, when I was growing up, Nashville was the place to go if you had songs to sell and thought you had talent and wanted to tour and be on Grand Ole Opry [radio show]. It was the big deal back in those days to play the Grand Ole Opry. And you could travel around the world saying, “Hi, I’m Willie from the Grand Ole Opry.” And back in those days, it really helped you book dates. I had to quit the Opry because they insisted that you play it 26 weeks out of the year. They still do, I guess. But I was playing in Texas a lot, so it was hard on me to get back 26 weeks out of the year. I’ll always regret it.

HARRELSON: You were just driving back and forth?

NELSON: Yeah, and my good days were Friday and Saturday, so it was really cutting into my income to have to go all the way back to Nashville to play the Opry, and I was kind of torn between the two.

HARRELSON: But at the time, most anybody would have been frickin’ thrilled to be playing the Opry.

NELSON: Oh, yeah.

HARRELSON: I’ve got to backtrack. When did you say, “This is what I’m going to do”?

NELSON: I always knew that I wanted to do this. My first job was in a Bohemian polka band, the Rejcek family polka band in Abbott. The old man in the band had another blacksmith shop in Abbott, but he liked me. All he had was horns and drums, and I was set up over there with my little guitar with no amps or nothing. I would play as loud as I wanted to, and nobody could hear me. He paid me $8 or $10. I had been working in the fields all day for $2, baling hay, so that was a lot of money for me. He took good care of me. He had 20 children, I think, and they were all musicians.

HARRELSON: 20 kids, and I’m guessing different wives?

NELSON: Well now, that I can’t tell you for sure.

HARRELSON: I mean, you’ve got, like, 27 children and how many wives? Is it too early for that question?

NELSON: I don’t know how people handle 20 kids. I got a few, who I love dearly, but 20? Maybe if I went around the world, I’d have 20. [both laugh]

HARRELSON: You got at least 20 out there you don’t even know about.

NELSON: Lord willing! [both laugh]

HARRELSON: But officially, you have how many?

NELSON: Officially, we have Lana, who’s standing right here by me, my oldest, and her sister, Susie, and I had a son named Billy. He passed away. And Paula and Amy, from me and Connie. And Lukas and Micah, from me and Annie. I got a bunch of good kids.

HARRELSON: That’s a goodly number though. I lost track of how many that was …

NELSON: The boys are playing in the band with me tonight. Micah’s a great drummer, and Luke plays great guitar and sings, and they’re really helping us out on this tour.

HARRELSON: So tell me about this fellow Hank Cochran. He had a major influence on your life.

NELSON: Hank Cochran was a songwriter in Nashville, and he wrote for Pamper Music. Hank got me a job there at Pamper Music writing songs [in the early 1960s], with a $50 a week salary. So that set me up in Nashville. And then Ray Price, who owned Pamper Music, heard that I was a musician. And he called and asked me if I could play bass. His bass player, Donny Young, had quit on him, I think out in Nebraska somewhere. I said, “Sure, can’t everybody?” But I had never played bass a day in my life. So on my way to the first gig, Jimmy Day taught me how to play bass. Several years later I asked Ray if he knew I couldn’t play bass, and he said, “Yeah.” [both laugh] I didn’t fool him.

HARRELSON: At this time, you wrote a hell of a lot of amazing songs: “Night Life,” “Funny How Time Slips Away,” “Crazy,” “Hello Walls,” “Wake Me When It’s Over.” Great songs that other people were performing, like Roy Orbison with “Pretty Paper.” I know you had to be glad to get a paycheck and have other people singing your songs, but were you frustrated at the same time?

NELSON: Not in the least. I knew what I could do, and I was getting my songs recorded. I was making money. I had no reason to complain about anything. I was touring with Ray Price, and whenever we would get home, we’d go into the studio and put down all these songs that me and Hank had written. The publishing company would give us three hours, and we’d see how many songs we could put down—we’d put down 20 or 30 songs in three hours.

HARRELSON: That’s outrageous!

NELSON: But I was performing. I was working Texas a lot, playing all of the beer joints down there, making a pretty good living. And, in fact, when I left Nashville, I went back to Texas and said, “Hey, I can make a living in Texas working the Broken Spoke and different places like that.”

HARRELSON: So that was all initiated when your house burned down in 1970? Was that kind of a blessing in disguise?

NELSON: Yeah, it really was. We were all living up there in Ridgetop, Tennessee, and writing songs and raising hogs. [both laugh] I decided I wanted to be a hog farmer, and I bought 17 weaner pigs. I think I paid 27 cents a pound for ’em. Brought ’em home and fed ’em for five months, sold ’em for 17 cents a pound. I lost a small fortune raising fuckin’ hogs. But I learned a lot. I learned I’d much rather be in Texas playing the beer joints. [both laugh]

HARRELSON: So when you got to Texas, you were already a known entity?

NELSON: More or less, yeah.

HARRELSON: So then everything started to really shift for you. You made Shotgun Willie [1973]. You made, like, three albums in succession.

NELSON: Red Headed Stranger [1975]—that was one of the first ones that started doing well. It had “Blue Eyes Crying in the Rain.” My plan was to have the album come out the same time I had the movie come out. But you know how that goes—it took a decade before [the movie Red Headed Stranger] got made.

HARRELSON: Now, hold it. Was Red Headed Stranger the album that you just heard running through your head when you were driving through the night?

NELSON: Yeah. I was coming back through Denver, driving to Austin. The lights were really bright, so, you know, “The bright lights of Denver / Were shining like diamonds / Like 10,000 stars in the sky.” And, “Nobody cared who you were or where you come from / You were judged by the look in your eye.” So I kind of set the theme for the Red Headed Stranger. I had it pretty much written by the time we got home. It didn’t take that long. But then “Blue Eyes Crying in the Rain” was already written. Some of those songs had been hits in the past, and I placed them in there because they fit the story.

HARRELSON: So by the time that album came out, your star had really ascended?

NELSON: Yeah, pretty good. And I got lucky.

HARRELSON: You still tour over 100 days a year, I think. Were you on that kind of pace already?

NELSON: Yeah. I’m trying to cut back. We’re playing a little less than we have been. I think we’ll all be able to stay out here longer if we do it that way.

HARRELSON: And it’s helping all your friends out, too, because then we get to hang with you more. And how could you possibly make more out on the road than you do right at home? [both laugh] So tell me how you met Annie, your wife.

NELSON: I was doing a movie, Stagecoach [1986], a remake of the old John Wayne classic. We were in Tucson, and Annie was doing the makeup on the movie. We were there together for several weeks.

HARRELSON: And how did it go from makeup artist to … home stylist? [both laugh]

NELSON: Well, she still does my hair.

HARRELSON: How’d you get into biodiesel?

NELSON: Well, just as an alternative to using a lot of oil. A lot of the truckers use it. We use it on our buses. I noticed the price of oil has come down a lot, so that makes it more competitive. You know, if a guy can fill up with regular gas rather than pay a little bit more for some biofuels, he might do that. We got a factory there in Hillsboro, where we go around picking up all the vegetable oil from the restaurants and turning it into biofuel. My old buddy Bob King in Maui, at Pacific Biodiesel, he kind of helped start the whole idea. He’s doing fine. You remember him, don’t you?

HARRELSON: Oh, yeah. I go there and fill up every time I need to fuel. The UN calls 2015 the International Year of Soils, and I know you’re really involved in helping farmers. How’s that going?

NELSON: From what I hear, the ones who have gone into organic farming are doing very well. A lot of people are realizing that it’s better for them to buy from a local farmer. Instead of having their breakfast come from 1,500 miles away, they can get the same bacon and eggs from the farmer a mile out in the country. So I see some progress. We’re doing another Farm Aid this year, on September 19. I think this makes almost 30 of them.

HARRELSON: Wow. I didn’t realize it was that many. That is a cool thing and a great event, but I’m sure you look forward to the day when you don’t have to do it.

NELSON: You would think that our real intelligent people there in Washington would see the problem and fix it immediately, but unfortunately, the big corporations have pretty much told them what to do. And big corporations like it the way it is, all the pesticides and chemicals that they put on the land. It doesn’t change, and I think you have to expect that from people. You have to judge other people against yourself. They say you’re not supposed to do that, but that’s the only way I can judge other people. I kind of compare them to myself. And I know there’s a lot of hustlers out there, in every walk of life. Whether they’re preachers or insurance salesmen, it’s about the same thing.

HARRELSON: I’ve stopped hoping for much from the politicians.

NELSON: Yeah, they’re all bought and paid for.

HARRELSON: But this is boring …

NELSON: Let’s talk about sex.

HARRELSON: Yeah. How old were you when you first started masturbating?

NELSON: Um, let me see. [both laugh] I remember the first time I had sex. I’ll never forget what she said. “Moooooo!”

HARRELSON: That is honorable. And very funny.

NELSON: Do you want to hear a good joke?

HARRELSON: Yes, I do.

NELSON: These people were in a courtroom, and they were accusing this guy of having sex with an animal. And so this lady said, “I only know what I saw. I was driving down the road, and I saw this guy out there with this sheep, and they were making love. And you’re not going to believe this, your Honor, but when they got through, the little sheep laid its head over on the guy’s shoulder and went to sleep.” And one of the guys on the jury punched another one in his elbow and said, “Yeah, it’ll do that.” [both laugh]

HARRELSON: I tell your jokes all the time—but when it gets met with a weird response, I always give you credit—the one about two nuns riding their bikes around the Vatican?

NELSON: And one says to the other, “I’ve never come this way before.” And the other one says, “Me neither, must be the cobblestones.” [both laugh]

HARRELSON: You probably have 52,000 jokes in your memory bank.

NELSON: You’re probably close.

HARRELSON: I’ve never seen you run out.

NELSON: I must enjoy telling them. I know I enjoy hearing ’em. And whenever I hear a good one, I kind of try to hang on to it and spread it around.

HARRELSON: Who’s influenced you the most?

NELSON: Well, we have to go all the way back to guys like Bob Wills and His Texas Playboys, Floyd Tillman, Leon Payne, Ted Daffan, Spade Cooley, Hank Williams, Django Reinhardt. Me and Merle [Haggard] have a new album coming out called Django and Jimmie, about Django Reinhardt and Jimmie Rodgers. There’s a song that says, “There might not have been a Merle or a Willie without a Django and Jimmie.”

HARRELSON: Ah! And did y’all write together?

NELSON: Merle wrote a few in there. Merle wrote one about Johnny Cash, and he wrote one about us called “The Only One Wilder Than Me.” [both laugh]

HARRELSON: And that’s saying something.

NELSON: And we did a song on there, coming out 4/20, called “It’s All Going to Pot.” “Whether we like it or not / As far as I can tell, the world’s gone to hell / And we’re sure gonna miss it a lot / And all of the whiskey in Lynchburg, Tennessee, just couldn’t hit the spot / So here’s a $100 bill, you can keep your pills, friend / It’s all going to pot.” [both laugh]

HARRELSON: That is great, man! Willie, I got to say, it really blows my mind how you tour over 100 days a year, you come up with at least one or two albums a year, and then you’re also writing books—you have a book coming out, right?

NELSON: Right. It’s called It’s a Long Story. [Harrelson laughs] I reviewed my own book, and I cut a song called “It’s a Long Story” [sings] “It’s a long story, you’ll probably never make it to the end / There’s way too many words, way too many pages / Too much time to stop and start again / But if you love a good mystery, you’ll never find a better one, my friend / It’s a real whodunit, who lost it, and who won it / And who’s still around to lose it all again.”

HARRELSON: Nice, man! You know, I never told you what a big influence you’ve been on my life. I was living in Costa Rica with Laura, and our daughters, Deni and Zoe, and I came back to L.A., and my buddy Jim Brooks asked me if I wanted to go to a concert you were doing. I went, it was a great show, and afterwards, this beautiful woman, Annie, comes up and says, “Hey, I’m Willie’s wife. Why don’t you come back and hang on the bus?” I’m like, “Whoa, sure.” So we go back there, the bus doors open, all the smoke billows out like, you know, Cheech and Chong, and I look through the fog, and I see you in there, with a big old fatty, like, “Come on in. Let’s burn one!” [Nelson laughs] The first of, like, 97,000 joints we would smoke together. And we had the most amazing conversation. I really felt like I met a real soul mate—someone I would always know. Of course, that proved to be true, but one of the great things that happened on that occasion, when we first met, which is an example of your generosity, was you said to me, “I live in Maui. If you ever want to come over there and stay—even if I’m not there—you can do that.” So, of course, we took you up on it, and ended up in Maui. And now, almost 20 years later, I’ve been living in Maui, and it’s thanks to you. So thanks for being such a good influence on my life, bro.

NELSON: Well, you’re sure welcome. I was lucky. I got booked over there, and once I got there, I realized, “Hey, this would be a good place to stay.”

HARRELSON: Yeah, you got a great spot there on the water.

NELSON: One thing I want to run by you, you know our spot over there on the ocean, what do you think about us putting in a little floatin’ gambling casino out there, maybe a little houseboat, you know, and calling it Woody and Willie’s?

HARRELSON: I love that idea. Bring ’em up in a boat, get a little gambling done, and send ’em back home.

NELSON: Yeah, they can ski over or whatever.

HARRELSON: You’ll have Owen there every night, trying to win back what he lost the previous night. I love that idea. I’m in.

NELSON: I’ll see you in Maui!

Willie Nelson, the Colombia Record interview (12/10/1982)

Sunday, December 10th, 2017

Willie Nelson Interview (12/10/1982)

album4

The Columbia Record
Columbia, SC
December 10, 1982
by Tom Connelly

Willie Nelson repeatedly waved aside my apologies.  “Don’t go.  We have plenty of itme.  I am not giving any other interviews.”

Interviews with Willie Nelson are hard to obtain, because of his obvious shyness, the pressing schedule and other matters. Bob Horning of Carolina Coliseum had intervened with bearded, burly Alex Cooley, promoter of the concert.  Nelson was told the facts — I was researching a book on the Southern mind and wanted his ideas.

He agreed even though the timing seemed very tight.  A limo brought him to the Coliseum only 40 minutes before is appearance efore a 12,000 plus sell-out crowd.

The automobile had scarcely halted before big Alex Cooley escorted me to a bus.  “He is waiting or you inside,” he said.  It is one thing to talk with a Merle Haggard, Tammy Wynette or even an old waylon. Willie Nelson was something else entirely.

Willie Nelson sat quietly at the front of the bus, talking with some friends.  A pair of steely eyes searched me out as he rose, shook hands and suggested we move to the back of the bus.

The back of the bus was something like a railroad observation car where padded sofas surrounded a glass-topped coffee table.

“You go on in 30 minutes,” I said.  “I only want to take up a little time.”

“I have nothing else to do,” he said.  “So we have a half-hour.”

So we talked for almost a half-hour and ended scarcely 5 minutes before he went onstage.  In the process I learned more about Willie Nelson than I had intended.  First, it was obvious that Nelson himself did not understand why he had become such a superstar.  here was a guy who arrived in Nashville over 20 years ago, scrounged while living in Dunn’s Trailer Park on Gallatin Road, ate at Linebaugh’s Cafe, peddled his songs and now is a national idol.  Later, when he came onstage and broke into “Whiskey River,” the audience stood and screamed.

Arrogance can accompany great success but arrogant Willie Nelson is not.  He is far more humble, relaxed and direct than many other lesser artists I have interviewed.  Nelson obviously does not grasp why a Columbia audience turns out in sell-out fashion for a guy with a bandanna, trousers and jogging shoes.

Or maybe he does know.  Ninety percent of our conversation was about Southern religion, one of Willie Nelson’s favorite subjects.  “Don’t leave,” he said.  “I don’t get many chances to talk about this.”  We found some common friends like songwriter Bob McDill and Singer Tom T. Hall.  “I’d sure like for all of us to sit up some night and talk about religion,” Nelson mused.

“Back in the ’50’s, when I was playing some clubs in Fort Worth, I was teaching Sunday school and playing clubs at night.  The church leaders told me I could not do both.  So I quit Sunday School.”

Obviously he never really left.  No Southern boy ever does.  On the surface he has moved far from the wooden church upbringing in a dusty Texashamlet.  Now he is a firm believer in reincarnation and claims membership in a faith which ascribes to this.

“So what is the South to you, in one sentence,” I asked.

Nelson looked off in the distance for a moment.  “It is the music and the religion of course.  And it is also the land.  The land in Texas where I grew up had such scarcity and vastness .  It taught me not to be afraid, to know you can do anything you want to do.”

Not to be afraid to do anything you want to do.  Not even to be afraid to be a superstar after yars of hard times.  He walked onstage amid the vast roar…

Willie Nelson, “The music still matters most”

Monday, November 27th, 2017

http://us.blastingnews.com
by:  T. Patterson

Willie Nelson likely celebrated Thanksgiving Day with family and friends, along with tasty goodies and some great tunes. The difference for 84-year-old, Willie Nelson, is that all the best of his family festivities take place on his tour bus, Honeysuckle Rose.  Music has always been a family affair for the Nelson clan, for blood relations and those bonded by history. Most of his band members have been onstage with Nelson for 40+ years, and older sister, Bobbie still plays piano with the band. Music has truly always been “in the blood” for Willie Nelson, sons, Lukas and Micah, and daughters, Paula and Amy.

Al Roker climbed aboard the bus for a visit with Willie Nelson as a Thanksgiving treat, and there are many musical dishes cranking in the works for all the Nelson clan.

New albums are out from Lukas and Micah, each inspired by his own muse and direction. A Frank Sinatra homage is in progress, and no one plans on parking the bus anytime soon

The music still matters most

Willie Nelson was being interviewed as part of the “Living Legends” series, and while the artist humbly accepts his honors, across several genres of music, for his lifetime of contribution to that art, he approaches music with the same freshness of his boyhood. He recalls writing songs “since I could string two words together,” and the joy of creating songs that join people together with a memorable refrain that “hits in the soul,” still produces the same euphoria as it did when Willie’s braids had darker red hues.

The weather broadcaster so famous for detailing climate “in your neck of the woods” stepped out from a smoke-filled tour bus in braids to join Matt Lauer as Dolly Parton, and other “country greats” portrayed by the morning show team. Let’s just say that while Al deserves an “A” for effort, he doesn’t wear the braids nearly as stylishly as the “Red Headed Stranger.” Even twining hair is part of the tradition that the songwriter grew up with as a child, braiding his grandmother’s hair with his sister. No wonder Roker is “jealous” of the long locks.

Last month, Willie Nelson and his sons released “#Willie Nelson and the Boys: Willie’s Stash.” The kindred collaboration features songs that the groundbreaking dad played for his sons growing up. Songs by Hank Cochran, Hank Snow, Hank Williams, and Hank Locklin all take their place, along with standards Willie has covered before, like “Stardust.” Willie insists that “they get a kick out of it,” when describing his sons’ response to playing the old songs.

The legacy also gives both talented artists a sonic foundation from which to build.

Old songs and new fans

Willie Nelson declares that every time he and his sons play an older, respected song, a new fan is won over to great music. Playing classics doesn’t stop either son from forging his own path ahead. Micah Nelson pursues psychedelic folk with Insects vs. Robots and Particle Kid, and he just released a new album. Lukas Nelson and “Promise of the Real” just released their first album on Fantasy Records and have an upcoming showcase on CBS.

Micah emblemized his dad’s “Red Headed Stranger” as an ultimate “punk record,” because it broke all the boundaries of country music which, at the time, was filled with sparkling rhinestone costumes and blatant overproduction. He tells us that his father was “fearlessly doing his own thing,” against the grain in every sense, and he sees fearlessly following his own artistic path as the best way to honor “my dad’s legacy.” Willie Nelson has another legacy project of his own to his favorite singer, Frank Sinatra, fully underway.

Lukas Nelson said he never imagined anything but music as his life path, calling his father a constant “inspiration.” The progeny always assumed, “if my dad can do it, I can do it. It’s in my blood.” That family heritage is only part of the creative energy that has cultivated a loyal following for Lukas and his band. His passion and talents in writing and performing are palpable from any stage, his own or with the clan.

Willie owns up to not being there for much of his children’s childhood, because being in the business of country music, and being on the road, always called. No one in the family is wasting time on regrets since there’s so much good lasting music, and loving memories to be made now. “I’ve made a thousand mistakes,” the artist admits, but he is not sure he would change one. Every step and misstep of life is part of coming to the present.

The past and the present merge to a future for Willie Nelson and his next generation. He playfully jokes “He wouldn’t listen,” to whatever advice the elder Nelson could give to the one at 24. He and the boys only know that they have another show booked down the road.

The Life and Music of Willie Nelson (On Point interview with Tom Ashbrook) (11/19/12)

Sunday, November 19th, 2017

http://onpoint.wbur.org
by Tom Ashbrook

This is a rebroadcast which originally aired on November 19, 2012.

We sit down with the one and only Willie Nelson for some Willie Nelson tales and some Willie Nelson music.

Willie Nelson picked cotton as a boy and sold encyclopedias as a young man.  Wrote hits in Nashville before most Americans were born.  Hit the road as the pig-tailed, Red Headed Stranger in middle age, and just kept rolling.  With his own sound, his own way.

Now he’s thinking big.  The great beyond and what remains.  His latest is “Roll Me Up And Smoke Me When I Die.”

This hour, On Point: Willie Nelson.

– Tom Ashbrook

Guest

Willie Nelson, country music singer-songwriter. His new book is “Roll Me Up And Smoke Me When I Die: Musings From The Road.” His most recent album is “Heroes.”

Sample of Nelson’s Songs


Nelson covered Coldplay’s “The Scientist” for the short, animated film “Back To The Start,” which Chipotle commissioned to illustrate the importance of a sustainable food system. During our conversation with him, Nelson said he loved the song and the video and that it offered a great lesson to everyone:

From Tom’s Reading List

American Songwriter: Book Review: Willie Nelson, ‘Roll Me Up And Smoke Me When I Die: Musings From The Road’ – “With a twinkle in his eyes, a laugh in his belly, a sagacious nod, and a deep love for life, Nelson takes us for a rollicking ride along the highways and byways of his long life and career in this rambunctious, hilarious, reflective, and loving memoir. With his rapscallion smile, Nelson regales us with tales of life on the road, his life in Maui, his early years in Texas — he was smoking and drinking by the time he was six — his love of dominoes — he plays with Woody Harrelson and Owen Wilson in Maui — and golf, his deep and abiding love for his family, and his deep respect and enduring admiration for the songwriters and musicians with whom he has performed and who have influenced him, from Ray Price and Leon Russell to Johnny Cash and Waylon Jennings.”

The Raelynn Nelson Band

Friday, November 10th, 2017

www.DailyTimes.com
by:  Steve Wildsmith

When Raelyn Nelson makes the claim that she’s the “black sheep” of her family, it raises some eyebrows.

After all, this is the granddaughter of country icon Willie Nelson, one of the original outlaws of country music. What kind of wild woman might she be, one wonders?

As it turns out, she told The Daily Times recently, “black sheep” is a relative term.

“I think, in a way, we all kind of feel like we’re the black sheep of our family, but I do feel that way,” said Nelson, who brings her band to The Shed Smokehouse and Juke Joint in Maryville on Friday. “My mom’s side is extremely conservative, my dad’s side is extremely liberal, and I’m kind of in the middle, where I’m not extreme either way. I’ve fought that battle my whole life.”

It’s one of many battles she’s had to fight — after all, with the Nelson surname and a legacy of making music casting large shadows, she’s had to scrap and claw to stake out a claim as her own woman. Not that her famous grandfather has put any expectations on her, she said; if anything, he’s been a kind and gentle guiding force as far back as she can remember.

“My earliest musical memories? My dad (Willie Hugh Nelson Jr., who died in 1991) and my grandpa singing ‘Jingle Bells’ to me,” she said. “I remember them singing to me, and my dad playing guitar to me. I remember going to Papa Willie’s shows and them being crazy, just tons of people there and it taking a long time to get to him.”

Her parents separated when she was 3; her mother kept her a safe distance from the wild ways of the Nelson clan, but the sounds of her grandfather and his peers had a way of sneaking around the barriers her mother erected. She cut her teeth on artists like Loretta Lynn, Patsy Cline and Amy Grant; as a teenager, she discovered pop, R&B and rock, and when she met Jonathan “J.B.” Bright — the musical backbone of the Raelyn Nelson Band and her partner in music — her world got a whole lot bigger, she said.

“He opened me up to the world of The Clash and the Ramones, and he was playing in a band called Defense Wins Championships at the time, which was real hard, loud rock music,” she said. “When I told him I was looking for a place to record

my own music, he told me to come over and record at his place. When I got over there, he asked if I wanted to write songs and put together a combo, and I said yes immediately. All of our music is a hybrid of my country and him adding his rock influence into it. We do everything together — videos, songwriting, websites, social media. He’s a true part of the Raelyn Nelson Band.”

She had come into her own several years earlier; discovering Shania Twain lit a fire in her, she said, and when she reached out to her grandfather at 14, asking if she could have one of his old guitars, he sent her a Martin. She started writing songs on it (and still owns it today), but while working with Bright, she found a ukulele that he had used to make an album of Replacements covers. While Bright was in the engineer’s chair, she started playing it; Bright taught her chords, and she decided to play ukulele instead.

“It’s a lot of fun to play, and it’s easy to swing around and perform on stage with it,” she said.

In 2014, the Raelyn Nelson Band released a debut EP; it’s a rough-around-the-edges record, and rightly so, she pointed out; she and the boys were still figuring out their sound. But the potential for what the group would become is there, in Nelson’s vocals, which burn hot as a Texas wildfire, and Bright’s deft rock ‘n’ roll licks. They’ve released a number of singles over the past couple of years and hope to eventually put out a new EP, she said.

“With the new stuff, I think we kind of honed in on the sound, because it has that cowpunk feel to it” she said.

“I like happy, fun songs; I’m not a big fan of songs that make people sad,” she said. “When we do ‘Daddy’s Grave’ live, it brings everyone down — it brings me down! — and I can see it. I decided I didn’t want to bring people down in that environment. ‘Daddy’s Grave’ is great for listening at home or in the car, but I don’t want to leave people with that taste. I want them to have fun and hang out with us. That song was kind of therapy; I was able to get it out, and it needed to be said, and it’s really touched a lot of people.”

And it proves that while she’s established herself as an artist in her own right, the apple doesn’t fall far from the tree. And she doesn’t mind a bit, she said.

“I’m very proud of my grandpa; I always have been, because he inspires me every day,” she said. “He inspired me to write songs, to play music, to live an unconventional lifestyle, and that it’s OK to do so. He has this aura about him that’s different than anybody in the world, and I think he really is more like Jesus than a lot of people, because he’s just so kind. It’s amazing how people from both sides just love him, and he can relate to anyone.

“I want to be just like him; however my music is not. I’m not as good of a guitar player, so you won’t get the same music, but hopefully you get the same kind of feeling you get when you see him play, because it’s coming from the same spot. I strive to have the same heart as he does.”

Q & A with Lukas Nelson

Wednesday, November 8th, 2017

Photo by Myriam Santos

Willie Nelson’s oldest son Lukas talks about making his own music prior to performing in Milwaukee this Saturday.

Throughout his long and decorated career, country music legend Willie Nelson developed a liking to routing his tours through Milwaukee. In recent years, his older son Lukas has followed in his dad’s footsteps with several appearances of his own, including this past summer as part of the traveling Outlaw Music Festival, which stopped at the 50th edition of Summerfest.

Nelson will be back in town Saturday, Nov. 4 at The Rave with his band The Promise of the Real. The band is riding the success of their new album Lukas Nelson & Promise of the Real, which came out in August.

Drawing from a decade of performing, the album showcases Nelson’s tenacity and honesty as a songwriter and the band’s ability to jump effortlessly between soul, blues, country and rock and roll.

Prior to the show, we talked to Nelson about getting to play the Brew City again.

How was your experience playing Summerfest during the Outlaw tour?

Summerfest was great. I had a lot of fun. Of course, there’s so many great acts. It was cool seeing Bob [Dylan]. Jason Isbell, I’m a big fan of his. That whole tour was great. But I remember Milwaukee being great. I actually met a good friend of mine there. Afterwards everyone cleared out and me and my friend walked around near the water. It was a really nice evening.

Besides playing Summerfest, do you have any other special Milwaukee memories?

We had Farm Aid in 2010 and it was where Neil Young first saw us play. That was one of the first times he sat on the side of the stage and watched the band play. That was cool.

When I interviewed your brother Micah this summer, he said there wasn’t any pressure growing up to become a musician. What got you interested in making your own music?

It’s a passion. I fell in love with it. From a young age I started writing songs. And then I couldn’t stop. I’m addicted.

What’s the best piece of advice your dad gave you about being a musician?

Just to not give up. Persistence. Keep breathing and keep writing and work hard. All those good things a good dad would tell you.

Promise of the Real was Neil Young’s backing band a couple tours back. What was the best advice he gave you?

Neil’s given us a lot of great advice. Just to keep focused and not bow down to trends and play the music that you play. That’s what being real is all about, and that’s where the band name came from.

I imagine he’s a great example of how to be a good front man.

Yeah. He is, and my dad is. Tom Petty is a huge influence. One of the greatest front men ever. Springsteen, and the list goes on.

The band’s been playing for nearly a decade. You certainly have some good examples of longevity with your family, but what does it mean to realize that in your own music?

I plan on staying around a long time and playing music until I’m old, just like my dad. I know that I have a great band and I’ve got a great live show and good songs. I think as long as I’m healthy and I take care of myself, then there’s no reason I shouldn’t be doing it for the next 50 years or so.

I really enjoyed how at the show you explained the story behind “Forget About Georgia” about your ex-girlfriend and referencing your dad’s song “Georgia On My Mind.” Did that one come easier than others since it came from a personal place?

The thing is they all come from a personal place. I rarely write songs that I can’t relate to in any way. That one came pretty easy. “Find Yourself,” same thing. It came really easy because I really felt it.

Did it give your dad a chuckle when you heard your song?

Yeah. In fact, he’s been dedicating “Georgia On My Mind” to me. I’ll be playing up there and he’ll go “This one is for you Lukas.” And he’ll go into “Georgia.” It’s funny.

Lady Gaga sings on a couple of songs on the album. What did you like most about working with her?

She’s so sweet and real and humble. And a really amazing musician. I was just grateful to work with her. She’s a good friend and it just made me really happy that she liked my music enough to sing on it.

With the Outlaw Music Festival, I imagine it was a thrill to get to play with your dad and brother.  

Yeah. My brother has an incredible band called Particle Kid. He’s got a great sound himself. He and I just released a record with dad called “Willie [Nelson] and the Boys.” That came out well and that’s out right now.

What was your favorite moment from those sessions?

Just anytime you get to spend with your family and do what you love to do, it’s a really special thing. Every moment is truly special when it comes to that.

What was the toughest song on your album to write?

Well, see, if I song is hard for me to write I’ll stop writing. Usually a good song comes pretty freely and quickly, and I have this sort of energy and inspiration where it really doesn’t take very long to write it. If I’m starting to think too much about it or if I’m getting frustrated in any way, I’ll quit. I won’t go on with a song like that. Really none of those songs took very long or were tough at all.

What should people expect to see at the Milwaukee show?

I know that Nikki Lane and I plan on singing together a couple times. She’s a great musician. It’s going to be special for sure.

9 questions for Willie Nelson

Wednesday, November 1st, 2017

www.USAToday.com

From his days as a Bible salesman to his favorite Southern food to the story behind his iconic braids, Willie Nelson gave us little peeks inside his lifetime of experience (that’s chock-full of some crazy stuff, we’re sure!).