Willie Nelson. What more can I add to the biography of this country outlaw? As we all know Willie fits along with Waylon Jennings and Kris Kristofferson; also lumped into this group is the legendary Johnny Cash, who became “too country now, for country” to quote Dale Watson, a personal favorite of mine. On these three Atlantic albums you can further see where and how this outlaw tag was placed upon Mr. Nelson. Although Willie will be the first one to have you call him just plain ol’ Willie.

The three CDs are remastered and expanded versions of Nelson classics: Shotgun Willie, Phases and Stages and Live At The Texas Opry House; the set itself is a nice-looking package. The outer box looks like it’s made of wood, the perfect place for hiding little treasures such as these CDs, while the booklet that comes with it is very informative and easy to read. Each CD is a reproduction of the original album cover, which is something that I have always found very cool and have always been drawn to.

Disk one is the masterful Shotgun Willie, which on the cover shows a smiling Willie’s face in both barrels of a shotgun - wonderful, a great in-your-face contradiction. The title track opens the disk and is a fun romp with sarcastic, witty lyrics about Shotgun Willie and other characters. “Biting on a bullet/ and pulling out all of his hair” if you listen you can catch the plucking sound of the dobro being played in the background, along with that last line. I particularly dig the horn section on this tune, very much in the Atlantic soul tradition; honky tonk-soul, I guess it could be called.

This is followed by what is now a Nelson staple, “Whisky River”, which by the way, ghoulies, is not a Nelson-penned tune; sorry to burst anyone’s bubble here, but it is a song by the great and underrated Johnny Bush. The sound of the entire song is a tribute to songwriting and arrangement; you get the feel of a lazy river with ripples brushing up on the shore and a great drifting sensation. This piano-driven, honky-tonk, hardwood-floor number is an excellent choice for Willie’s vocals; he holds nothing back here. Add some bass dripping with funk and some exceptional guitar-picking, and there you have it: a classic is born and delivered to the world.

“Sad Songs and Waltzes” and “Local Memory” showcase Willie’s songwriting skills. “Sad Songs” is about the state of the country music industry with lyrics that pack sting and wit. “Local Memory” gives you a sense of locals headed back to the corner bar every night, to drink and think, or not think.