Red Headed Stranger
Red Headed Stranger | ||||
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Studio album by | ||||
Released | May 1975 | |||
Recorded | January 1975 | |||
Studio | Autumn (Garland, Texas) | |||
Genre | ||||
Length | 33:30 | |||
Label | Columbia | |||
Producer | Willie Nelson | |||
Willie Nelson chronology | ||||
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Singles from Red Headed Stranger | ||||
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Red Headed Stranger is the eighteenth studio album by American outlaw country singer Willie Nelson, released in 1975. Following the success of his recordings with Atlantic Records, coupled with the negotiating skills of his manager, Neil Reshen, Nelson signed a contract with Columbia Records, the label that gave him total creative control over his works. The concept for the album was inspired by the "Tale of the Red Headed Stranger", a song that Nelson used to play as a disc jockey on his program in Fort Worth, Texas. After signing with Columbia, he decided to record the song, and arranged the details during his return to Austin, Texas, from a trip to Colorado. It was recorded at low cost at Autumn Sound Studios in Garland, Texas. The songs featured sparse arrangements, largely limited to Nelson's guitar, piano, and drums. Nelson presented the finished material to Columbia executives, who were dubious about releasing an album that they at first thought was a demo. However, Nelson had creative control, so no further production was added.
A
In 1986, Nelson starred as the Red Headed Stranger in a movie of the same name, based on the story of the album. The album has had a strong cultural impact; the song "Time of the Preacher" was used often in the British television miniseries Edge of Darkness, and its lyrics were used in the first issue of the comic Preacher.
Background
Nelson first achieved fame as a songwriter in Nashville after writing hits such as "
During his return to Austin, Texas, after a ski trip in Colorado, Nelson was inspired by his then-wife Connie Koepke to write a western concept album. Koepke suggested the inclusion of Arthur "Guitar Boogie" Smith's "Tale of the Red Headed Stranger",[6] which Nelson sang during his radio shows on KCNC in Fort Worth, Texas, and previously, to his children at bedtime. Nelson decided to write a complete story that included details of events before the ones described in the song.[7][8] As he spontaneously composed the songs, Koepke recorded the lyrics.[9] With his original writings, Nelson included in the story, Fred Rose's "Blue Eyes Crying in the Rain", Wolfe Gilbert's "Down Yonder", Juventino Rosas' "Sobre las Olas (O'er the Waves)", Hank Cochran's "Can I Sleep in Your Arms?", Eddy Arnold's "I Couldn't Believe It Was True", and Billy Callery's "Hands on the Wheel".[10] When he arrived in Austin, Nelson recorded a demo of the songs on a tape recorder accompanied with his guitar at his ranch on Fitzhugh Road.[6]
Recording and composition
Nelson started to look for a studio in Texas to record his new material to avoid the modifications that they did to his recordings in his previous sessions. Engineer Phil York, who was hired freelance by the recently opened Autumn Sound Studios in Garland, Texas, heard about his need. York, an acquaintance of Nelson's harmonicist Mickey Raphael, offered Nelson a day of free recording to boost the popularity of the studio. Autumn's studio, a quiet room with cypress wood paneling, featured the first 24-track studio console in Texas, and came equipped with a Bosendorfer concert grand piano, a 92-key instrument made in Vienna with four extra bass notes that retailed for $25,000.[10] Nelson and his band went to the trial session during January, and recorded five songs. Later, Raphael called back York, announcing that Nelson would record the entire album there.[10] After hearing the tapes by Nelson, the band started to improvise to the song "Blue Eyes Crying in the Rain". Disliking the result, Nelson decided to strip down the instrumentation.[11] Nelson also instructed York to undo the equalization he performed on the tracks, remarking that it was the method his producers used in Nashville.[12] The recording took five days, with an additional day for the mixing, that summed up to US$4,000 in studio costs.[11] The additional costs took the total to US$20,000.[13] Nelson featured arrangements of acoustic guitar, accompanied by piano, played by his sister Bobbie, as well complementary arrangements of drums, harmonica, and mandolin.[14]
The title track of the album was written by Edith Lindeman Calisch and Carl Stutz, and made popular by Arthur "Guitar Boogie" Smith. It had previously had been recorded by John D. Loudermilk and Eddy Arnold.[15] While the album initially was inspired by "The Tale of the Red Headed Stranger", Nelson later insisted the story came together quickly after he penned the opening track "Time of the Preacher":[16] "I took my time, all the while staying focused on the preacher's feelings ... Hank Cochran's 'Can I Sleep in Your Arms' was the kind of tune the preacher would use to sing himself to sleep. I could also hear the preacher doing a beautiful old ballad by Fred Rose, 'Blue Eyes Crying in the Rain', that had been sung by everyone from Hank Williams to Gene Autry to Conway Twitty. It was another song about lost love whose mantra – 'Love is like a dying ember and only memories remain' – expressed the overall theme and tied all the loose ends together".[16] Author Michael Streissguth considered it Nelson's "first true concept album", composed of new songs and old, arranged in a sequence that formed a story.[17] In Chet Flippo's essay for the 2000 reissue of the album, Nelson commented "I wanted it to be real sparse. I had in mind, I remember, some of my favorite records: Eddy Arnold with just his guitar; Ernest Tubb with just his guitar; so I wanted to have that kind of feel with maybe just some help along the way to keep it from getting too, you know, obnoxious. Or monotonous."[18]
The story begins with "Time of the Preacher", where the character evokes his love for his wife, whom he suspects is unfaithful. In the following song, "I Couldn't Believe It Was True", the infidelity is revealed. This leads to a short version of "Time of the Preacher", wherein the singer ends with the line "Now the lesson is over, and the killing's begun". The reaction of the husband is depicted by Nelson in a medley of "Blue Rock, Montana" and "Red Headed Stranger". The first song describes the double murder of the unfaithful woman and her lover by the Stranger, who states, "And they died with a smile on their faces". This leads to the second song of the medley, which describes the grief of the Stranger.[19] This section is followed by Nelson's cover of the 1947 Fred Rose song "Blue Eyes Crying in the Rain", where the fugitive laments the loss of his wife. In "Red Headed Stranger", the protagonist commits a subsequent murder—he kills a woman who merely reaches out to touch one of his horses. The horse "means more to him than life" because it had belonged to his wife, but the Stranger goes free because it was determined that "you can't hang a man for killin' a woman who's tryin' to steal your horse".[20]
The story continues with the Stranger traveling south. In the song "Denver", the character falls in love with a woman he meets in a bar in town. One of the lines from "Blue Rock, Montana" is repeated, with a variation: "And they danced with a smile on their faces". The following song "Can I Sleep in Your Arms?" shows the Stranger's desire for redemption and love. Next is "Remember Me", where he announces that his vows to his deceased wife are broken and he is free to love. The story ends with "Hands on the Wheel", which depicts the Stranger as an old man who is accompanied by a child, presumably his grandson, and his new love. The song marks the end of the sorrow of the Stranger, and his redemption years later. The album ends with the instrumental song "Bandera".[19]
Release and reception
Initially, Columbia Records was not satisfied with the finished product; the sparsely instrumented acoustic arrangements caused the label's directors to doubt releasing the album as presented, feeling it was under-produced and no more than a demo.[21] Nelson later remembered that "when the chief Columbia bigwig heard the tracks, he said, 'Why are you turning in a demo?' 'Ain't no demo', I explained. 'This is the finished product.'"[22] When Nelson asked the Columbia executive what a finished record was supposed to sound like, the executive replied "Anything but this. The songs feel disconnected. The mood is too down. And the sound is far too flat. You need to go back in and polish it."[22] Nelson's manager Neil Reshen and Waylon Jennings then traveled to New York City to play the album for Columbia president Bruce Lundvall. Lundvall had suggested that the album be sent to Nashville producer Billy Sherrill for further overdubbing. An infuriated Jennings called Lundvall a "tone-deaf, tin-eared sonofabitch".[23] When he first heard it, Sherrill asked, "Did he make this in his living room? It's a piece of shit! It sounds like he did this for about two bucks. It's not produced."[24] However, Nelson had complete creative control, and it was released without any further modifications.[13] Reflecting on the album's success, Columbia executive Rick Blackburn later commented "Red Headed Stranger was a hit for all the wrong reasons. It didn't follow the formula, the fashionable mix of the day. There were 1,000 reasons that record should not be a hit. But the Red Headed Stranger project took on Willie's personality and became a hit for the right reasons – because it was Willie Nelson. It was Willie's statement."[25]
Red Headed Stranger reached number one on the
Original reviews
Review scores | |
---|---|
Source | Rating |
Rolling Stone | [29] |
Christgau's Record Guide | B−[30] |
Texas Monthly | Favorable[31] |
Billboard | Favorable[32] |
Mother Jones | Favorable[33] |
Fort Worth Star-Telegram | Favorable[34] |
The Paris News | Favorable[35] |
Rolling Stone writer Paul Nelson considered "Red Headed Stranger "extraordinarily ambitious, cool, tightly controlled". The reviewer remarked that the album "ties precise, evocative lyrics", and called the result "haunting yet utterly unsentimental"."[29] Meanwhile, critic Robert Christgau wrote, "Some of the individual pieces are quite nice, but the gestalt is the concept album at its most counterproductive—the lyrics render the nostalgic instrumental parts unnecessarily ironic and lose additional charm in narrative context."[30]
Music critic Chet Flippo wrote an article in Texas Monthly that was titled "Mathew, Mark, Luke and Willie: Willie Nelson's latest album is more than a good country music; it's almost Gospel": "The difference between Nelson's Red Headed Stranger and any current C&W album, and especially what passes for a soundtrack for Nashville, is astounding. What Nelson has done is simply unclassifiable; it is the only record I have heard that strikes me as otherworldly. Red Headed Stranger conjures up such strange emotions and works on so many levels that listening to it becomes totally obsessing".[31] Billboard described the album as "lots of instrumental work, with particularly fine piano by Bobbie Nelson, and the usual highly stylized Willie Nelson vocals".[32] In Mother Jones Joe Nick Patoski wrote: "Texans have known for 15 years what Red Headed Stranger finally revealed to the world – that Nelson is simply too brilliant a songwriter, interpreter, and singer – just too damn universal – to be defined as merely a country artist".[33]
The Fort Worth Star-Telegram noted the use of Nelson's usual backing band instead of session musicians. The review praised Mickey Raphael's playing on "Hands on the Wheel" and Bobbie Nelson's on "Bandera", while it also remarked that the style of the album reflected "the Nelson of several years ago" with its "aura of quiet intensity".[34] John Edminston, from The Paris News, declared: "Red Headed Stranger, if nothing else, will bring Willie to the forefront as one of the nation's top country-western recording artists. And that's where he belongs".[35]
Legacy
Red Headed Stranger's critical success cemented Nelson's outlaw image, and made him one of the most recognized artists in country music.[5] The title of the album became a nickname for Nelson.[36] The cover of Fred Rose's 1945 song "Blue Eyes Crying in the Rain", that had been released as a single previous to the album, became his first number one hit as a singer.[37]
Nelson met publisher and screenwriter
In 2002, the 1975 original recording of the album was inducted into the Grammy Hall of Fame.[39]
In 2000, Red Headed Stranger was reissued on
Posterior reviews
Review scores | |
---|---|
Source | Rating |
Encyclopedia of Popular Music | [49] |
In 1996,
Sputnikmusic wrote: "The Red Headed Stranger is simple and bare. Following the story of a preacher man that kills his cheating wife and her lover, ol' Willie spins the tale with a laid back nonchalance that just seems to ooze out of him, his aching chords and somber melodies encapsulating the futility and pain of his character's situation [...] The Red Headed Stranger is timeless. Willie Nelson's captivating story telling, and the minimalist majesty of his music fills a well worn grove in the hearts of those that enjoy the folk roots of the United States."
In popular culture
The first track, "Time of the Preacher", was used in
Track listing
Original release
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Time of the Preacher" | William B. Bradbury | 1:45 |
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Denver" | Nelson | 0:53 |
2. | " Scotty Wiseman | 2:52 | |
6. | "Hands on the Wheel" | Bill Callery | 4:22 |
7. | "Bandera" | Nelson | 2:19 |
Reissue (2000)
No. | Title | Writer(s) | Length |
---|---|---|---|
16. | " Bonaparte's Retreat" | Pee Wee King, Redd Stewart | 2:26 |
Personnel
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Charts
Weekly charts
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Year-end charts
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Singles
Year | Song | Chart | Peak position |
---|---|---|---|
1975 | "Blue Eyes Crying in the Rain" | US Hot Country Songs (Billboard)[59] | 1 |
US Billboard Hot 100[60] | 21 | ||
1976 | "Remember Me" | US Hot Country Songs (Billboard)[59] | 2 |
US Billboard Hot 100[60] | 67 |
References
- ^ "#183 Red Headed Stranger". Rolling Stone. 1 November 2003. Retrieved 2013-06-18.
- ^ Reid, Jan 2004, pp. 215–223.
- ^ Tichi, Cecelia 1998, p. 341.
- ^ Oermann, Robert 2008, p. 157.
- ^ a b Dicaire, David 2007, p. 247.
- ^ a b Patoski 2008, p. 294.
- ^ Patoski 2008, pp. 295–297.
- ^ "Willie Nelson Biography". Biography Channel. A&E Entertainment. Archived from the original on April 1, 2012. Retrieved April 19, 2011.
- ^ a b "184: Red Headed Stranger – Willie Nelson". Rolling Stone. Wenner Media LLC. Archived from the original on October 28, 2011. Retrieved March 19, 2011.
- ^ a b c Patoski 2008, p. 295.
- ^ a b Patoski 2008, p. 298.
- ^ Patoski 2008, p. 297.
- ^ a b Kienzle, Richard 2003, p. 251.
- ^ Unterberger, Richie, Hicks, Samb & Dempsey, Jennifer 1999, p. 117.
- ^ Streissguth 2013, p. 180.
- ^ a b Nelson & Ritz 2015, p. 243.
- ^ Streissguth 2013, p. 181.
- ^ a b Nelson, Willie 2000.
- ^ a b Fillingim, David 2003, p. 84.
- ^ Tichi, Cecelia 1998, p. 344.
- ^ Patoski 2008, p. 299.
- ^ a b Nelson & Ritz 2015, p. 244.
- ^ Jennings & Kaye 1996, p. 214.
- ^ Patoski 2008, p. 300.
- ^ Nelson & Shrake 1988, p. 215.
- ^ a b "Red Headed Stranger". Willie Nelson.com. Archived from the original on July 15, 2011. Retrieved April 25, 2011.
- ^ Starr, Larry; Waterman, Christopher Alan (2010). American popular music from minstrelsy to MP3. Oxford University Press.
- ^ "RIIA Searchable data base". RIAA's Official website. Recording Industry Association of America. Retrieved April 20, 2021.
- ^ a b Nelson, Paul (August 28, 1975). "Red Headed Stranger by Willie Nelson". Rolling Stone. Wenner Media LLC. Retrieved April 19, 2011.
- ^ ISBN 0-89919-026-X. Retrieved March 8, 2019 – via robertchristgau.com.
- ^ a b Flippo, Chet 1975, p. 30.
- ^ a b Billboard staff 1975, p. 50.
- ^ a b Patoski, Joe Nick 1976, p. 64.
- ^ a b McAllister, Bill 1975, p. 3-A.
- ^ a b Edminston, John 1975, p. 15-B.
- ISSN 0006-2510. Retrieved August 9, 2011.
- ISBN 978-1-85828-534-4.
- ^ Macor, Alison 2010, pp. 72–76.
- ^ "GRAMMY Hall Of Fame | Hall of Fame Artists | GRAMMY.com". grammy.com. Retrieved 2024-03-08.
- ^ "500 Greatest Albums of All Time". Rolling Stone. 2012. Retrieved September 18, 2019.
- ^ Rolling Stone staff (2020-09-22). "The 500 Greatest Albums of All Time". Rolling Stone. Retrieved 2021-08-24.
- ^ "The National Recording Registry 2009". The National Recording Registry. National Recording Preservation Board. Retrieved April 25, 2011.
- ^ Nelson, Willie 2020.
- ^ ISSN 1074-6978. Retrieved April 25, 2011.
- ^ a b "Red Headed Stranger". Allmusic. Rovi Corporation. Retrieved June 7, 2011.
- ^ ISBN 978-1-57006-543-9.
- ^ a b Thomas, Adam (December 12, 2010). "Willie Nelson Red Headed Stranger". Sputnikmusic.com. Retrieved September 25, 2011.
- ^ a b Bengal, Rebecca (19 November 2017). "Willie Nelson: Red Headed Stranger". Pitchfork. Retrieved 22 January 2018.
- ^ a b Larkin, Colin 2007, p. 1995.
- ISBN 978-0-521-42723-4. Retrieved April 25, 2011.
- ^ "Preacher (1995) – #1: "The Time of the Preacher"". Comic Book Data Base. ComicBookDB.com. Retrieved April 25, 2011.
- ^ Preacher: 'Be Quiet!' Official First 4 Minutes of Episode 1 - YouTube
- ^ "Mr. Monk meets the Red-Headed Stranger (#T-1110)". Monk. USA Network, NBC Universal, Inc. Archived from the original on May 14, 2011. Retrieved April 25, 2011.
- ^ "The Red Headed Stranger". AllMusic. Rovi Corporation. Retrieved April 25, 2011.
- ^ a b Nelson, Willie 1975.
- ^ "Willie Nelson Chart History (Billboard 200)". Billboard.
- ^ "Willie Nelson Chart History (Top Country Albums)". Billboard.
- ^ "Top Country Albums – Year-End 1975". Billboard. Retrieved June 5, 2021.
- ^ a b "Willie Nelson Chart History (Hot Country Songs)". Billboard.
- ^ a b "Willie Nelson Chart History (Hot 100)". Billboard.
Sources
- Billboard staff (June 14, 1975). "Billboard's Top Album Picks". Billboard. Vol. 87, no. 24. Prometheus Global Media.
- Dicaire, David (2007). The first generation of country music stars: biographies of 50 artists born before 1940. McFarland. ISBN 978-0-7864-3021-5.
- Edminston, John (1975). "Maggie's Farm". The Paris News. Vol. 105, no. 329. Retrieved April 21, 2021 – via Newspapers.com.
- Fillingim, David (2003). Redneck liberation: country music as theology. Mercer University Press. ISBN 978-0-86554-896-1.
- Jennings, Waylon; Kaye, Lenny (1996). Waylon: An Autobiography. Warner Brooks. ISBN 978-0-446-51865-9.
- Flippo, Chet (September 1975). "Mathew, Mark, Luke and Willie". Texas Monthly. 3 (9). Emmis Communications.
- Kienzle, Richard (2003). Southwest shuffle: pioneers of honky-tonk, Western swing, and country jazz. Routledge. ISBN 978-0-415-94103-7.
- ISBN 978-0-85712-595-8.
- Macor, Alison (2010). Chainsaws, Slackers, and Spy Kids 30 Years of Filmmaking in Austin, Texas. University of Texas Press. ISBN 978-0-292-72243-9.
- McAllister, Bill (June 21, 1975). "Name Entertainer to Be at the Newest C-W Spot". Fort Worth Star-Telegram. Vol. 95, no. 141. Retrieved April 21, 2021 – via Newspapers.com.
- Nelson, Willie; Shrake, Bud (1988). Willie: An Autobiography. Simon and Schuster. ISBN 978-0-671-68075-6.
- Nelson, Willie (1975). Red Headed Stranger (LP). Legacy Recordings. KC 33482.
- Nelson, Willie (2000). Red Headed Stranger (CD). Columbia Records. CK 63589.
- Nelson, Willie (2020). Red Headed Stranger (LP). Legacy Recordings. 19075958951.
- Nelson, Willie; Ritz, David (2015). It's A Long Story: My Life. Little, Brown and Company. ISBN 978-0-316-33931-5.
- Oermann, Robert (2008). Behind the Grand Ole Opry Curtain: Tales of Romance and Tragedy. Hachette UK. ISBN 978-1-599-95184-3.
- Patoski, Joe Nick (June 1976). "Godfather". ISSN 0362-8841 – via Google Books.
- Patoski, Joe Nick (2008). Willie Nelson: An Epic Life. Hachette Digital. ISBN 978-0-316-01778-7.
- Reid, Jan (2004). The improbable rise of redneck rock: new edition. University of Texas Press. ISBN 978-0-292-70197-7.
- Streissguth, Michael (2013). Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville. HarperCollins. ISBN 978-0-06-203818-0.
- Tichi, Cecelia (1998). Reading country music: steel guitars, opry stars, and honky-tonk bars. Duke University Press. ISBN 978-0-8223-2168-2. Retrieved February 7, 2011.
shotgun willie.
- Unterberger, Richie; Hicks, Samb; Dempsey, Jennifer (1999). Music USA: the rough guide. Rough Guides. p. 117. ISBN 978-1-85828-421-7. Retrieved March 19, 2011.
red headed stranger willie nelson columbia.
External links
- Red Headed Stranger at Discogs (list of releases)