Written by Fantasma el Rey

The story of country music outlaw “Shotgun” Willie Nelson is fairly well known. He wrote a good number of hit songs for other artists while he was a minor vocal player on the country scene but in the early 1970s he came to the forefront along with other outlaws. Willie and friends changed the way that country music was made, breaking with tradition at times and staying way the hell clear of music trends and fads. They played what they wanted to and what their fans wanted to hear, not what was going to make them a quick buck. With Willie’s Stardust album he did just that: an entire platter’s worth of American pop standards done his way. Contrary to fears and concerns of record execs, the damn thing sold extremely well and still does, as the new two-disc Legacy Edition of the album proves. So put that beer down and mix up a drink as I tell you a little about “crooner” Willie’s Stardust.

Way back in nineteen hundred and seventy-eight, Willie Nelson told his record label, Columbia, about his plan to record an album of pop tunes that he loved by such folks as Berlin, Gershwin, and Ellington. They frowned a bit as they were surely hoping for more in the Red Headed Stranger vein but realized that that is what “artistic creative control” meant, something that Willie had managed to win in his contract a few years prior, so they had to give him the go-ahead. The idea of going the opposite direction from one’s last record wasn’t something new. Look at what Brother Ray Charles did with his country album, yet for good reason it is always seen as a radical move. From a profit point of view, the gamble can be a big one, fans and critics may not react so well and the whole thing could just come out awful. But Willie is a smart man and knew his unique voice would fit well on the proper tunes.

So with his Malibu neighbor, Booker T. Jones (that’s right; the legendary member of the Stax Records’ house band and leader of the MG’s with Duck Dunn and Steve Cropper) set as producer Willie entered the studio and picked out ten tunes that would shine like stars in the night sky for his disc of standards. He brings a wonderful country feel to the songs chosen with quiet guitars, soft bass notes, and a harmonica that adds a cowboy campfire vibe to some of the selections.

Disc one of the set is the original album and nothing on it is as overdone as they could have been, not “Georgia On My Mind,” “Unchained Melody,” or “Don’t Get Around Much Anymore.” The album is simple and the arrangements make these tunes more approachable, showcasing why Willie’s calm voice is perfect for his dreamy project.

From the start of the title song and opening number on the disc it’s easy to hear why Stardust remains so popular. “Stardust” sets the stage and shines a dim light on the path that Willie is about to take us down. His voice is soft as the drums lightly tap behind him. The guitar evokes the spirit of Django Reinhardt and that harmonica wails its lament of “Paradise where roses grew” and “The memory of love refrained.” Even though “Blue Skies” gets a funky treatment, it keeps in step and gives off the same aura as the rest of the tunes, dominated by the Django strumming and cowboy-harp whispers. The piano seems to know its place as well and adds a quite beauty to the mix.