stillisstillmoving.com

By Robert Morast
http://www.argusleader.com/ 

Willie Nelson seems immortal.

And not just because this long-haired country music outlaw sings like a forlorn ghost trapped in that limbo between life and death.That helps set the mood.

But mostly, Nelson’s perceived immortality comes from the fact that it seems like he’s been around as long as country music has been providing an Americana-based soundtrack to our blue-collar world.

Of course, this isn’t true. Country music was a whining, twirling mixture of blues and Appalachian folk music long before Nelson started as a country radio DJ in the ’50s.  But trace the genre’s history, and Nelson’s fingerprints mark country music as much as anyone who’s still breathing – from penning genre standards like “Crazy” to redefining the country motif through his part in the Outlaw country movement.

The artful sophisticate who paints his songs with everyman appeal, Nelson is so skillful, prolific and omnipresent that his genius is taken for granted.

At least, that’s my rational for trying to explain how his masterful “Red Headed Stranger” record isn’t more highly regarded on the list of all-time great albums.

As we prepare for Nelson’s re-re-scheduled Tuesday evening concert in Sioux City’s Orpheum Theatre, it’s hard to deny that “Red Headed Stranger” carries some considerable critical clout.  It was listed in Time magazines 2006 list of the top 100 albums of all time. And in 2003 Rolling Stone slotted “Stranger” as 184 of its 500 best records.

Not bad. But I don’t think it’s enough respect. Because every time I listen to the sparse but desperately beautiful songs that form this concept album about a preacher who becomes a heartbroken murderer, I’m compelled to say “this is the best record I’ve ever heard.”

Right now Beatles and Bob Dylan fans are screaming “sacrilege.” I’ll respond with “country music is unfairly marginalized by narrow-minded rockists.”

Nelson’s “Stranger” is the ultimate reminder of that
sad fact.

Listen to “Stranger” with an open mind that doesn’t cast country as blues music for rednecks, and it’s hard to ignore the genius of this record.

A seamless collection of sparse story songs that play like an intimate night next to a campfire, “Stranger” is the perfect balance of highfalutin creativity – country folk meshed with classical guitar and operatic sadness – and Americana sensibilities – simple melodies with romantic lyrics of love, life and loss.

This is Willie at his best. But how does it measure against the usual “best albums” suspects?

It’s more emotive with a stronger central theme than “Sgt. Pepper’s Lonely Hearts Club Band.” It’s more artistic than “London Calling.” More concise than “Highway 61 Revisited.” Has better songs than “Thriller.” Makes “Exile on Main Street” feel like imitation country music – which it is. And sounds more timeless than the dated “Pet Sounds.”

Obviously, the beauty of music criticism is that it’s an ongoing debate with no true consensus. But as I measure album after album, I can’t find anything with more emotional impact or inspirational delight than “Red Headed Stranger.”

Long after Nelson proves his mortality, this record will ensure his legacy never dies.

Maybe by then it will get the respect it deserves.

This entry was posted on Thursday, September 20th, 2007 at 4:19 pm and is filed under Albums. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.