on January 21, 1985: “Wanted: The Outlaws,” featuring Willie Nelson, Waylon Jennings, Jessi Colter and Tompall Glaser, certifies double-platinum, along with the “Waylon & Willie” album.
In 1976, the album was the first country album to receive the new platinum certification, signifying one million units shipped.
- My Heroes Have Always
- My Heroes Have Always Been Cowboys (Waylon)
- Honky Tonk Heroes (Waylon)
- I’m Looking for Blue Eyes (Jessi)
- Suspicious Minds (Waylon and Jessi)
- Good Hearted Woman (Waylon and Willie)
- Heaven or Hell (Waylon and Willie
- Me and Paul (Willie)
- Yesterday’s Wine (Willie
- T for Texas (Tompall)
- Put Another Log on the Fire (Tompall)
It’s unfortunate that there still has to be a sampler, or primer, or golden book of some of the best singers working anywhere, but apparently not everyone has gotten the message yet. Maybe this album can introduce you to some people you would have liked to have known sooner but just didn’t have the opportunity to meet.
These are some special people, very special. They’ve been waiting in the wings for years, too many years, to assume their proper places in the structure of American Music. When it became apparent to them that their proper places were perhaps being unduly delayed becasue of certain resentments harbored against them because of their real and imagined unconventionality, they — by God — decided to take matters into their own hands. There resulted a rather difficult period of figurative doors being smashed and general confusion and namecalling in Nashville. When the smoke cleared and the fallout returned to earth, there was effected a major shift in country music. “Progressive Country” (for want of a better term) was on the map, and was here for good. And these are the people responsibile for that. Call them outlaws, call them innovators, call them revolutionaries, call them what you will. They’re just some damned find people who are also some of the most gifted songwriters and singers anywhere.
They are musical rebels, in one sense, in that they challenged the accepted way of doing things. Like all pioneers, they were criticized for that but time has vindicated them.
Tompall Glaser was one of the first in Nashville to chart his own musical course and it was lonely for him for years but now he is beginning to receive the recognition due him.
Waylon Jennings, as the most visible of the progressive country pack, has been quietly fighting for years in his own way for acceptance. Both he and Jessi Colter (who, coincidentally is also known as Mrs. Waylon Jennings) were authentically ahead of thier time. Now, the times have caught up with them.
That streak of rugged individualism that is the unifying bond for these musical outlaws is nowhere more evident than in Willie Nelson’s life and times. Unquestionably one of the finest songwriters who ever lived, Willie was known for years only to other writers and to a slowly growing cult of followers. All that has changed now. “Miracles appear in the strangest of places,” Willie sings in Yesterday’s Wine,” one of my favorites from his collection of remarkable songs, and that’s true. When I first started keeping track of Willie and Waylon and Jessi and Tompall, I (along with their other cult followers) felt almost responsible for them since they weren’t that well known to the public and the music industry as a whole didn’t like to acknowledge them. They didn’t wear Nudie suits and thier music didn’t confirm to the country norm of songs of divorce and alcohol and life’s other little miseries. The only thing that worried me was that I knew these people were born scrappers and really loved fighting for acceptance. What would happen to them, I wondered, when they inevitably won (as I knew they would)? Would they like so many who struggle just for the sake of the struggle, grow fat and lazy when they grew successful?
There was no need to worry. This last year each of them has gotten better, writing better, and singing with breathtaking confidence.
They’re the cutting edge of a brand of American music that I find the most satisfying development in popular music in the past decade. It’s not country and it’s not country-rock, but there’s no real need to worry about labeling it. It’s just damned good music that’s true and honest and you can’t ask for more than that.