As an artist and man, he’s refreshingly devoid of pretense. In many ways he remains the Texas gentleman who once taught Sunday school and sold vacuum cleaners door-to-door, listening to each question with genial composure.

Other titles continue the theme: “I’m Not Trying to Forget You Anymore,” “I’ve Just Destroyed the World (I’m Living In)” ( Songbird‘s new classic) and “Back to Earth.” Each is informed by Nelson’s characteristic gentleness and restraint, qualities that also come through in conversation. Phases and Stages‘ “I Still Can’t Believe You’re Gone,” written after the death of band member Paul English’s wife, is built upon this moving concept: “…but you’re gone/and I’m alone/but I’m still living/I don’t like it/ Pick any great Nelson composition and there are usually moments of self-realization, where we catch his characters in the act of truly seeing themselves for the first time. Even then, Nelson’s songwriting was different, set apart through its dark humor and introspection. He hit town in 1960 and within a year scored a mega-hit with Patsy Cline’s recording of “Crazy.” Those were heady times for talented writers, and in his 1988 autobiography Nelson describes the informal “guitar pullings,” where country’s finest-Roger Miller, Kris Kristofferson, Hank Cochran and others-met to play their latest compositions and swap notes. On the other hand, his success as a writer was practically immediate. In fact, it was not until 1971 that he truly got to record an album his way, with the groundbreaking song cycle Yesterday’s Wine. It’s true that Music City did not always seem to know what to do with him, as evidenced by albums with titles like Make Way for Willie Nelson (1967) and Both Sides Now (1970).

General wisdom is that mainstream Nashville didn’t treat Nelson too well. Hearing it is like recapturing innocence we didn’t believe we still had. In Nelson’s hands, even something as wispy as “Rainbow Connection” (yes, Kermit the Frog’s) resonates with a childlike sense of wonder. Those who take the time will be rewarded. Nelson’s tremulous voice, distinctive phrasing and jazz-oriented guitar playing (he’s always cited Django Reinhardt as an influence) demand multiple listens. Julio Iglesias duet aside, none of this is easy-listening music. He’s a musician’s musician, and every fan has a favorite Nelson album: Stardust (1978), with its supple elegance Phases and Stages (1974), perhaps the greatest country concept album of all time or the recording that may be his finest achievement (and Nelson’s own favorite), 1996’s haunting, enigmatic Spirit. 2006 alone saw the release of three Nelson albums, including You Don’t Know Me, a warm tribute to veteran songwriter Cindy Walker, and the newest, Songbird, an excellent collection of original material and covers produced by alt-country provocateur Ryan Adams-one of the few younger artists who can rival Nelson in productivity.īut despite this tried-and-true artistry, Nelson remains a paradox he’s a household name more for his rebellious image (bandanas, smoking weed at the White House, et al) and a few ‘80s pop hits (“Always on My Mind” and the inextinguishable “To All the Girls I’ve Loved Before”) than for the bulk of his music-which ranks as some of the most adventurous work in American music history. Few musicians have been as prolific or have released work of such consistently high quality. In part this is because Nelson’s taste is so impeccable. With nearly 50 years in the business, he can do or say pretty much whatever he pleases, and the music industry-both within Nashville and without-accepts it smilingly. Other artists can criticize the Bush administration and watch their careers head south-not Willie. The ultimate country outlaw, Willie Nelson doesn’t just break rules he invents them.

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