Who was/is Willie Nelson ? - CDs, Vinyl LPs, DVD and more

Willie Nelson

Born on 30 4th 1933 in Abbott, Texas, USA.

Willie Nelson played as a child and teenager in country bands. He is one of the biggest stars of the genre at all and was represented until today with over 100 singles on the U.S. country charts. Following the release of his debut 45er 'Lumberjack' in 1956, he moved to Nashville, where he sold his own demos and thus ushered in his career authors. In 1961 he played with Ray Price at the Cherokee Cowboys.

He wrote his first hits for Roy Orbison, Patsy Cline and Faron Young. Nelson settled after his marriage to Shirley Collie as a pig farmer in Ridgetop, Tennessee, down. He stepped up today with stylistically different colleagues such as Bob Dylan, Carlos Santana, Neil Young and Julio Iglesias in duet on.

With Johnny Cash, Waylon Jennings and Kris Kristofferson he plays in addition to his solo career, under the name of The Highwaymen. 1978 founded his own label, Lone Star. Nelson was the early 90s with around $ 16 million debt to the IRS in the Cretaceous. 1991: marriage to Annie D'Angelo. The number of Nelson rehearsed songs beyond the 1000 mark.

From the Bear Family Book - 1000 pinpricks of Bernd Matheja - BFB10025 -

Willie Nelson


1964 through 1972 were eight of Nashville’s more unsettled years.The pop-oriented ‘Nashville Sound’ pioneered by Chet Atkins and Owen Bradley had been adopted by much of the industry. In the late 1950s, after rock ‘n’ roll knocked the entire Nashville music industry off its shaky foundation, that smoother, more sophisticated sound had saved Nashville by expanding country records to grab pop record buyers. It made Don Gibson, Jim Reeves and Patsy Cline greater stars than they’d been singing hard country alone. By 1964, that initial rush of creativity had slowed. Plane crashes claimed two top exponents, Cline in 1963, Reeves in the summer of 1964. At that point, Eddy Arnold, whose string of massive hits diminished in the wake of Elvis, was about to make a dramatic comeback with elaborately orchestrated ballads like Make The World Go Away, light years from the intimate dignity of his 1940s hits. Ray Price had already begun to occasionally wrap a string quartet around the Cherokee Cowboys on many of his recording sessions, attracting new fans but sending many older ones stomping off in disgust.

Not even a honkytonk giant of George Jones’s stature was immune from Nashville sound production. Onstage, it was Texas honkytonk business as usual, the fiddle and steel whining behind him. The recording studio was another matter. Pappy Daily, his discoverer and only producer, forced Jones into the softer mold at United Artists and later at Musicor Records. He continued in that mode with Billy Sherrill after joining Epic in 1970.

A few wild cards counteracted the syrupy side of things, since the country audience divided as it expanded. As Price slithered out of his rhinestone skin into tuxes, a West Coast honky-tonk cyclone, unstoppable as the dust storms that drove Texans and Okies to California in the first place, roared out of Bakersfield. The success of Buck Owens, followed by the rise of Merle Haggard, reflected the belief of many fans that some of the pop stuff was going too far afield, that Nashville needed an alternative. A second alternative came from within Music City with the rise of Johnny Cash. Popular for nearly a decade, his no-frills music and phenomenally successful 1967 ‘Folsom Prison’ LP weren’t as surprising to Nashville as his acceptance by pop audiences.

On 16th Avenue South, Atkins and Bradley continued setting the pace. At Columbia, Don Law was retiring, and though Bob Johnston was his immediate successor, the label’s rising star was clearly Billy Sherrill, the former R&B musician and Sam Phillips’ engineer who took over much of the production for Columbia’s Epic subsidiary. Nearly all Nashville producers saw the softer sound as the strongest and simplest formula for putting across a new artist quickly. It explained why artists were counseled to trust their producer, who usually picked material (unless the singer was one potent writer) and offered ‘direction’. If a producer happened to have written some of the recommended songs, or at least own an interest in publishing songs they pushed on artists, it was a conflict of interest routinely winked at around 16th Avenue South.

There was one huge problem. Assuming that one sound could fit any singer was an idea that didn’t always work out in practice. Convincing the men in the control room that ooh-aah choruses and muted strings just didn’t work with everyone was quite another matter.

That was the world Willie Nelson faced in 1964.

At 31, he was one of Nashville’s top writers, whose songs had been hits for many, including Patsy Cline, Billy Walker and Faron Young. Like other writers of his generation, Harlan Howard and Hank Cochran among them, his recording career had been less impressive. He’d started his singing career before Hank Williams died. His early recordings in Washington State and Houston went unnoticed. Only after moving to Nashville in 1960 and crafting such standards as Crazy, Funny How Time Slips Away and Hello Walls did he land a major label deal with Liberty. After a Top Ten duet single and a solo Top Ten hit, both in 1962, his success on records quickly faded while he continued writing brilliant songs for others.

Song royalties gave Willie a farm in Ridgetop, Tennessee, northwest of Nashville, where he played the eccentric artist, living with an extended family, sustained by writers’ royalties and frequent touring. That would have satisfied many. But he still believed he had potential as a singer if someone gave him a chance. He still wanted to record, knowing he had it in him to succeed, even if many in Nashville regarded his weird vocal phrasing and unconventional attitude, disdain for spangled suits and mile-high pompadours, as a bit off base.It wasn’t like a successful, eccentric songwriter couldn’t become a recording star on his own terms. In 1964, Willie’s longtime pal Roger Miller had done just that, scoring big with Dang Me and Chug-A-Lug that year after unsuccessful stints on Mercury, Decca and RCA. King Of The Road in 1965 would take Roger far beyond the country crowd.

Willie spent a brief two-session period with Monument in 1964 before beginning eight years with RCA. Over those years, he’d enter the RCA Nashville studios for 44 solo sessions. Guitarist Chet Atkins, RCA’s Vice President in charge of Nashville Operations, probably understood unconventionality better than just about anyone in Nashville at the time. He appreciated Willie’s uniqueness. His challenge was to sell Nelson to a wider audience by integrating that uniqueness into the usual trends to make it acceptable, just as he had with Gibson and Reeves.

In Willie’s case, Atkins admittedly didn’t do very well. During those years, with himself or Felton Jarvis producing, a total of 15 Willie Nelson RCA singles charted, only two, One In A Row in 1965 and Bring Me Sunshine in 1968, breaking into ‘Billboard’s’ country Top Twenty. Eight of his LPs made it to the magazine’s Top Country Albums chart, only three rising into the Top Ten. At the time, the only area Willie enjoyed consistent popularity with his records was his home state of Texas.

Those eight years would leave the singer frustrated, a frustration that would ferment and expand, drilling into his mind the idea that he could produce better records on himself than anyone in Nashville could. He was not alone among RCA artists sick of the label’s assembly-line approach. His friend and fellow RCA artist Waylon Jennings, another who’d enjoyed only moderate success, had a similar idea. In the mid-1970s, Nashville would call it ‘Outlaw’, then act as if it were their idea all along and package old Waylon and Willie material with newer recordings. They’d also give country music its first platinum LP with the 1976 release ‘Wanted! The Outlaws’. Today, it's easy to see he and Waylon were right, and just as easy to blame Atkins and Jarvis for not knowing how to produce either one.

Would Willie have fared any better at any other major label in those years? That’s doubtful. Atkins correctly characterized Willie as being “ahead of his time.” From 1964 through 1972, Nelson hadn’t a snowball’s chance in hell of being understood anywhere but Texas. Today, the world understands the Lone Star State’s quirky musical eclecticism at the heart of Willie’s repertoire. 30 years ago, few outsiders and most of Nashville didn’t get it at all. True, Nashville accepted Texas singers, but ignored the culture that produced them, preferring to shove them into the mold.

That’s why it isn’t likely that results would have been any better for Willie artistically or commercially, had he been recording with Don Law at Columbia, for Ken Nelson or Marvin Hughes at Capitol, for Billy Sherrill at Epic, Owen Bradley at Decca or Jerry Kennedy at Mercury. The only Nashville producers in that era who stood a remote chance of understanding him would have been mavericks like Bob Johnston, who produced Johnny Cash at Columbia or Jack Clement, with his lifelong flair for the unconventional. Would an independent label have been the answer? Hardly, given the non-results during his brief stay at Monument.

Taken in the context of that era, Willie didn’t break a couple of Nashville rules. He broke a slew of them. At RCA, production of his records was usually formulaic even if his songs were unconventional. While recording his own tunes wasn’t a reach, at RCA he laid down a crazy quilt of material, mostly Nelson originals with country and pop standards mixed in. He occasionally covered others’ hits, with a few contemporary pop and rock songs and whatever else he liked thrown in for good measure. After he became an established force in both country and popular music, Willie’s varied repertoire and musical settings would be viewed as marvelous eclecticism. When he was recording for RCA, such variety was seen as eccentric at best.

Willie Nelson Nashville Was The Roughest..(8-CD)
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More information about Willie Nelson on Wikipedia.org

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It's Been Rough ... (3-CD Deluxe Box Set)
Willie Nelson: It's Been Rough ... (3-CD Deluxe Box Set) Art-Nr.: BCD16664

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3-CD box (LP-size) with 68-page hardcover book, 77 tracks. Playing time approx. 188 mns. 'It's been rough and rocky travelin''…and the journey starts here. No one in American music history has been more prolific than Willie Nelson , but...
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American Outlaw All-Star Concert (2-CD+DVD)
Willie Nelson: American Outlaw All-Star Concert (2-CD+DVD) Art-Nr.: CDBB020749

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(Black Bird Presents) 25+ tracks and DVD (NTSC, 152 Minutes) - gatefold digipac This once-in-a-lifetime concert event took place Saturday, January 12, 2019 at the Bridgestone Arena in Nashville, TN. This historic event honored living...
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Nashville Was The Roughest..(8-CD Deluxe Box Set)
Willie Nelson: Nashville Was The Roughest..(8-CD Deluxe Box Set) Art-Nr.: BCD15831

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8-CD Box (LP-size) with 72-page hardcover book, 219 tracks. Playing time approx. 587 mns. Before anyone called him an Outlaw, Willie Nelson tried to play the game in Nashville. In 1964, he recorded a few sessions for Monument, then...
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American Outlaw All-Star Concert (2-CD)
Willie Nelson: American Outlaw All-Star Concert (2-CD) Art-Nr.: CDBB02748

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(Black Bird Presents) 25+ tracks - gatefold digipac This once-in-a-lifetime concert event took place Saturday, January 12, 2019 at the Bridgestone Arena in Nashville, TN. This historic event honored living legend Willie Nelson and...
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A Beautiful Time (CD)
Willie Nelson: A Beautiful Time (CD) Art-Nr.: CD535622

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(Sony Legacy) 14 tracks Willie is back with his 72nd solo studio album. A full-fledged album of new studio material produced with long-time collaborator Buddy Cannon, it comes on Willie's 89th birthday and shows off just how prolific he...
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Band Of Brothers (CD, B-Ware)
Willie Nelson: Band Of Brothers (CD, B-Ware) Art-Nr.: CDSNY301921-B

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Original shrink-wrapped new goods with transport damage to the Digisleeve ( pressure marks ) - special item few copies (2014/Sony Legacy) 14 tracks produced by Buddy Cannon. digisleeve 14 new recordings from one of america's most...
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Seashores Of Old Mexico
Willie Nelson & Merle Haggard: Seashores Of Old Mexico Art-Nr.: CDEK40293

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(2008/SONY) 10 tracks, recorded 1987
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Long Story Short - Wille Nelson 90 - Live At The Hollywood Bowl (2-CD, Blu-Ray)
Willie Nelson: Long Story Short - Wille Nelson 90 - Live At... Art-Nr.: CDSNY53072

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(Sony) 39 Tracks, Digipack Willie Nelson is probably the greatest living country star of our time. The Texan has been an institution of the genre for decades and is revered by generations of colleagues and fans. So it's no wonder that...
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Django & Jimmie
Willie Nelson & Merle Haggard: Django & Jimmie Art-Nr.: CDSNY509378

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(2015/Sony) 14 tracks. Helmed by Nelson's longtime producer, collaborator and friend Buddy Cannon, Django and Jimmie premieres 14 brand-new studio recordings including: 'Django and Jimmie,' a dual tribute to jazz guitarist Django...
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I Don't Know A Thing About Love - The Songs of Harlan Howard (CD)
Willie Nelson: I Don't Know A Thing About Love - The Songs of... Art-Nr.: CDSNY880036

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(Sony Legacy) 10 Tracks - Amongst the nearly 150 albums that Willie Nelson has released, he has a number of amazing full-album tributes to songwriters from Kris Kristofferson and George Gershwin to Ray Price and Cindy Walker. Adding to...
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First Rose Of Spring (CD)
Willie Nelson: First Rose Of Spring (CD) Art-Nr.: CDSNY73669

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At 86, Willie Nelson wants to know once again: "First Rose Of Spring" is the name of the country legend's new album, the fifth in just four years. All in all it is already his 70th longplayer. He has recorded eleven songs for it, with...
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That's Life (CD)
Willie Nelson: That's Life (CD) Art-Nr.: CDSNY83945

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(Sony Music) 11 Tracks Honoring the enduring inspiration of Frank Sinatra, That's Life is Willie Nelson's second album of classics made famous by The Chairman Of The Board. Willie's first ode to Frank, 2018's My Way, earned Willie the...
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Just As I Am - 18 Hymns and Gospel Favorites (CD)
Willie And Bobbie Nelson: Just As I Am - 18 Hymns and Gospel Favorites (CD) Art-Nr.: CDSHD9492

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(Gaither Music Group) 18 tracks Country music legend Willie Nelson and his sister/bandmate Bobbie Nelson have recorded this special collection of their favorite gospel classics. Just As I Am - 18 Hymns and Gospel Favorites features their...
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Words Don't Fit The Picture  (CD)
Willie Nelson: Words Don't Fit The Picture (CD) Art-Nr.: CDMOC14302

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(Music On CD) 10 tracks Never released on CD until 2023, "The Words Don't Fit The Picture" is something of a forgotten piece in the Willie Nelson catalog. It's a divorce album (personal and from RCA after 14 albums), with Willie sounding...
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Bluegrass (CD)
Willie Nelson: Bluegrass (CD) Art-Nr.: CD96588

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(Sony Music) 12 tracks "Bluegrass" is a brand new studio album featuring a dozen classic Willie Nelson compositions - including "On the Road Again," "Yesterday's Wine," "Still is Still Moving to Me," "Good Hearted Woman" and many more -...
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The Willie Nelson Family (CD)
Willie Nelson: The Willie Nelson Family (CD) Art-Nr.: CD19439887492

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(Sony) 12 tracks After Willie Nelson only released his new Sinatra cover album That's Life at the beginning of 2021, the U.S. country legend returns from the studio at the end of the year with another long player. Willie Nelson Family is...
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Summertime - Willie Nelson Sings Gershwin (CD)
Willie Nelson: Summertime - Willie Nelson Sings Gershwin (CD) Art-Nr.: CDSNY516705

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(Sony) 11 tracks, digisleeve - Willie Nelson's new album of pop standards, penned by America's legendary songwriting duo George and Ira Gershwin, follows the selection of Willie as the 2015 recipient of the Library of Congress Gershwin...
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Willie's Stash, Vol.2 (CD)
Willie Nelson: Willie's Stash, Vol.2 (CD) Art-Nr.: CD453612

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(2017/Sony Music) 12 tracks - Willie Nelson and his sons Lukas and Micah Nelson
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December Day - Willie's Stash Vol.1 (CD)
Willie Nelson & Bobbie Nelson: December Day - Willie's Stash Vol.1 (CD) Art-Nr.: CDSNY1622

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(Sony Music) 18 Tracks - That Willie Nelson still has a lot in his archive was clear when he suddenly conjured up the double CD -Who'll Buy My Memories - The IRS Tapes- from the archive in 1991 and the reggae album -Countryman- recorded...
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Django And Jimmie (2-LP 180g, Ltd.)
Willie Nelson & Merle Haggard: Django And Jimmie (2-LP 180g, Ltd.) Art-Nr.: LPMOV1499

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(Sony) 14 tracks - Produced by Buddy Cannon - Limited, Numbered Edition (1.000) Silver & Black Marbled Vinyl. Helmed by Nelson's longtime producer, collaborator and friend Buddy Cannon, Django and Jimmie premieres 14 brand-new studio...
$30.50
Rarities Vol.1 (CD)
Willie Nelson: Rarities Vol.1 (CD) Art-Nr.: CDGA210

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(2010/Great American Music Company) 18 tracks
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Last Man Standing (CD)
Willie Nelson: Last Man Standing (CD) Art-Nr.: CDSNY582725

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(Sony Legacy) 11 tracks - digisleeve including all lyrics Last Man Standing is the follow up to last year's God's Problem Child which was universally praised ('Uncut' in the UK said it was 'an album that can stand comfortably alongside...
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Ride Me Back Home (CD)
Willie Nelson: Ride Me Back Home (CD) Art-Nr.: CDSNY3562

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(Sony Legacy) 11 Tracks - Deluxe Digisleeve - Earlier this year, "Outlaw" legend Willie Nelson won his 13th Grammy in the "Best Traditional Pop Vocal Album" category with "My Way", his homage to Frank Sinatra. Now he is back with his new...
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Across The Borderline (CD)
Willie Nelson: Across The Borderline (CD) Art-Nr.: CDMOC13920

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(Music on CD) 14 tracks "Across The Borderline" is Willie Nelson's 40th studio album with the title track by Ry Cooder, Jim Dickinson and John Hiatt, masterfully performed by Willie. There are duets with Bob Dylan on the jointly written...
$13.52 $18.05
Ultimate Collection - Liberty Recordings (2-CD)
Willie Nelson: Ultimate Collection - Liberty Recordings (2-CD) Art-Nr.: CD2162542

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(2008/EMI) 40 tracks 1961-63 with 12 page booklet.
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