But like a bad biopic, the story is oversimplified. It’s a remarkable story, a meaningful inspiration for millions of fans, a great thing to think about when you listen to Red Headed Stranger. And through it all, he has made his way by staying true to himself. He’s collaborated with everyone from Waylon Jennings to Bob Dylan to Carlos Santana to Mavis Staples to Steven Tyler to Snoop, which is a laughably small sampling of his many duet partners. He’s recorded hard-core country, western swing, gospel, flamenco, full-on orchestra, small-combo jazz, and solo acoustic music. He grew that appeal worldwide with the pop mega-stardom that came in the eighties, and then, in the three decades that have followed-right up to today-he’s done pretty much whatever he’s wanted, as often as he’s wanted, which has been extremely often. There was his earthy rebirth in Austin in the seventies, when he started playing by his own rules and helped invent the outlaw subgenre that made country cool for a younger, rock-bred audience.
There was the huge, early-sixties success writing songs like “Crazy” and “Hello Walls” for big country stars, then the failed attempt to become one himself over the rest of the decade, his talents an ill fit for a stiff Nashville mold. The contours of the career that brought him to those heights are familiar. Willie’s also one of the most important musical artists in American history, a first-name-only giant like Elvis and Ella. Willie Nelson may be the most important figure in country music history if he’s not, only Hank Williams matters more.
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