Retro Reviews: Willie Nelson: Red Headed Stranger

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.

Willie Nelson – Red Headed Stranger 1975

****

Producer: Willie Nelson

Musicians: Willie Nelson, Paul English, Jody Payne, Bee Spears, Bobbie Nelson, Mickey Raphael, Bucky Meadows, Billy English

Songs and music: Time Of The Preacher, I Couldn’t Believe It Was True, Time Of The Preacher Theme, (Medley) Blue Rock Montana / Red Stranger, Blue Eyes Crying In The Rain, Red Header Stranger, Time of The Preacher Theme, Just As I Am, Denver, O’er The Waves,  Down Yonder, Can I Sleep In Your Arms, Remember Me (When The Candle Lights Are Gleaming), Hands On The Wheel, Bandera

Reviews By Matthew Anthony Allair

    Willie Nelson's new album feels like a marked change and evolution from his prior couple of albums, Phases and Stages and Shotgun Willie, it’s already been receiving a lot of platitudes from other critics, and for good reason, so I am not certain what I can add other than this might appeal to the circle of country rock fans who have followed The Byrds or Graham Parsons. There’s a recurring theme to the first half that makes this appear to be a loose concept record, in essence, it is about a killing and loosely explores the ramifications of that event, but it does so in a deceptive fashion, it’s a slow burn of an album. It willfully strips things down with the arrangements, it doesn’t depend on ornamentation like strings, or heavy amounts of honky-tonk piano, electric dobro, or fiddle, when instruments come in they are judicious and tactical, artistic, it is more about setting a tone and evoking an emotion. The tone is good at evoking a sense of place and time.

    Allegedly the opening track Nelson had performed live previously, “Time Of The Preacher” acts as  a thematic glue to ties the first half together. The stripped-down approach acts as a mission statement, the support creeps in and out. Wellie Nalson’s vocals are good throughout the album, his range may be limited but adaptable, but je’s better than Dylan as a singer.  “I Couldn’t Believe It Was True” is brief but some good guitar. “The Preacher” theme is brought back as a counter rection to the prior track. The medley of “Blue Rock Montana” and the first variation of “Red Headed Stranger” demonstrates the storyteller aspect of Nelson. 

    The cover of Fred Rose's “Blue Eyes In The Rain” is tasteful and simple and acts as another reaction to the prior piece. The proper track of “Red Headed Stranger” is laid back with an effective read from Nelson as the tale unfolds. The “Preacher” theme is briefly brought back as a link that the Preacher and Stranger as likely the same person. The instrumental closer “Just As I Am” acts as a reflective closer, in some ways, the level of reflection from Nelson is astonishing, but it shows someone who thinks like an artist. 

    The second half of the album may have a less focused theme, the brief “Denver” and “O’er The Waves” link together, with ‘Waves’ quoting from Juventino Rosas, with the instrumental ”Down Yonder” giving a reprieve. But the weariness of these characters comes through with “Can I Sleep In Your Arms” with some tasteful harmonica and pensive guitar. The next number has a slight shift in tempo and reprieve with “Remember Me (When The Candel Lights Are Gleaming)”, a number with the best guitar lead work and piano. “Hands On The Wheel” is another reflective ballad, that may be playing with the lores of the past while connecting with contemporary times. The instrumental “Bandera” acts as a palate cleanser while reflecting on the meaning of the tale.

    Willie Nelson has managed to evoke the mythos of the west without falling into cliches – this is refreshing. There are traces of harmonic sophistication throughout the album, and Nelson sounds like he has an adaptability to his talent and approach, I suspect this outlaw country figure has a depth that reminds me of Johnny Cash – there certainly is an introspection with how the material is presented that is rather impressive. I think the second half of this decade should be an interesting one for Mr. Nelson. He is transcending the field of country into something more.