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Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville, by Michael Streissguth
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Outlaw by acclaimed author Michael Streissguth follows the stories of three legends as they redefined country music: Waylon Jennings, Willie Nelson, and Kris Kristofferson.
Streissguth delves into the country music scene in the late '60s and early '70s, when these rebels found themselves in Music City writing songs and vying for record deals. Channeling the unrest of the times, all three Country Music Hall of Famers resisted the music industry’s unwritten rules and emerged as leaders of the outlaw movement that ultimately changed the recording industry.
Outlaw offers a broad portrait of the outlaw movement in Nashville that includes a diverse secondary cast of characters, such as Johnny Cash, Rodney Crowell, Kinky Friedman, and Billy Joe Shaver, among others.
With archival photographs throughout, Outlaw is a comprehensive examination of a fascinating shift in country music, and the three unbelievably talented musicians who forged the way.
- Sales Rank: #510284 in eBooks
- Published on: 2013-06-04
- Released on: 2013-06-04
- Format: Kindle eBook
Review
"Streissguth goes widescreen with this look at the social and musical ferment that produced the Seventies outlaw-country movement--a transformational break from the past that brought the post-hippie singer-songwriter ethos to superstraight Music Row. He skillfully portrays Sixties Nashville's studio politics and their gradual loosening up, alongside a city where post-Sixties social change took its time arriving."--Rolling Stone
"Offers a look at the how the 'outlaw' music of Waylon Jennings, Willie Nelson and Kris Kristofferson shook up Nashville in the late '60s and '70s. . . . Author Streissguth has country music bona fides: He also wrote Johnny Cash: The Biography."--USA Today
"A riveting look at how how three Texans joined forces to liberate Nashville from its company-town ways in the 1970s. It is a small group portrait, tightly focused and well told by Michael Streissguth."--The Wall Street Journal
"Outlaw is an entertaining, authoritative account of Nashville's rebel years."--popmatters.com
"In this compulsively readable book, music historian Streissguth describes the contrast between the staid Nashville music scene of the late '60s and early '70s, and the dynamic new music filtering into the city from Los Angeles (Emmylou Harris), Texas (Willie Nelson, Billy Joe Shaver, Waylon Jennings), and South Carolina (Marshall Chapman)."--Publishers Weekly (starred review)
Riveting (Wall Street Journal)
“A biting, in-depth chronicle of Nashville’s most tumultuous era told through the voices of iconic artists who used their music to accomplish significant changes in the music industry.” (Kirkus Reviews (starred review))
Offers a look at the how the ‘outlaw’ music of Waylon Jennings, Willie Nelson and Kris Kristofferson shook up Nashville in the late ‘60s and ‘70s. . . . Author Streissguth has country music bona fides: He also wrote Johnny Cash: The Biography. (USA Today)
A riveting look at how how three Texans joined forces to liberate Nashville from its company-town ways in the 1970s. It is a small group portrait, tightly focused and well told by Michael Streissguth. (Wall Street Journal)
Outlaw is an entertaining, authoritative account of Nashville’s rebel years. (popmatters.com)
“Compulsively readable...” (Publishers Weekly (starred review))
Streissguth goes widescreen with this look at the social and musical ferment that produced the Seventies outlaw-country movement… [he] skillfully portrays Sixties Nashville’s studio politics and their gradual loosening up, alongside a city where post-Sixties social change took its time arriving. (Rolling Stone)
From the Back Cover
The definitive story of how three country music legends—Willie Nelson, Waylon Jennings, and Kris Kristofferson—changed music in Nashville
By the late 1960s, young people from all over the country were streaming into Nashville, Tennessee. The city was the center of the booming country music industry and home to what was known as the Nashville Sound, characterized by slick production and an increasingly overused formula.
But three trailblazing artists would soon rock the foundations of Nashville's music business. Tapping into the burgeoning underground scene and the traditions of civil rights leaders and antiwar protestors, Waylon, Willie, and Kris resisted Nashville's music-making machine and forged their own paths, creating music that was more personal, not easily categorized, and in the vein of rock acts of the time.
Drawing on extensive research and probing interviews with Kris Kristofferson, Rodney Crowell, Guy Clark, Cowboy Jack Clement, and others, Michael Streissguth brings to life an incredible chapter in musical history and reveals for the first time a surprising outlaw zeitgeist in Nashville. Outlaw is a fascinating glimpse into three of the most legendary artists of our times.
About the Author
Michael Streissguth is the author of eight books, including Johnny Cash: The Biography. A professor in the Department of Communication and Film Studies at Le Moyne College in Syracuse, New York, he has written for Mojo, the Journal of Country Music, Bluegrass Unlimited and many other publications. He has written and produced two documentary films, Record Paradise and Johnny Cash at Folsom Prison. He lives in Syracuse with his wife and family.
Most helpful customer reviews
17 of 17 people found the following review helpful.
Just some good ol' boys...
By tim
I saw this book and started in one direction, where I ended up was a completely different place.
The title is a bit...misleading. Maybe it's just a product of many of the other music bios I've read, but I went into this expecting a wild tales of the Country Music Outlaws, and their excesses. Instead, the book really is a glimpse into the network of musicians that mainly built up the wave of Nashville artists in the 60's and 70's.
The book attempts to weave the tale around three of the most respected artists of the Outlaw era. Kris Kristofferson, Waylon Jennings, and Willie Nelson. Unfortunately, for the author, the delivery comes off as very unfocused. Waylon is the biggest piece to most of the book, but none of the three really assert themselves.
There's a weird sense that it hits their personal lives, hurdles in their way, a few demons of theirs, but still doesn't go deep enough into these three, or anyone else for that matter. It lacks a committed, strong voice.
The specters of both Johnny Cash, and Elvis loom largely over the narrative, though aren't a true focus (barring a few pages with the ramifications of Elvis's death), The feeling as they appear and disappear matches the larger than life statures they've attained. I liked the way they were there...but let the others have the stage (so to speak).
The author also does a fair job of showing the impact of the era on popular culture. The ties to Hollywood, the celebrities involved, and how it blended into society, but ultimately falls short in the way many other of the topics in this book did...just not quite focused enough.
The book has two truly positive sides to it.
First, this can be a good book from a business sense. From the beginning the networks built through the Nashville scene are a character in their own right. The book plays upon the friendships, battles, ups, and downs. There is a sense of drama that weaves in and out based on how these interactions occurred. It keeps the interest level up, and lets you know that this was a working sub-culture important to the city itself. It's almost borders on a case study in relationships.
Also, and I took this as more of a personal gain, the focus on the albums put out, artists involved, and amount of songs covered helped me build more of an appreciation of the genre. I've been a fan of Cash, Coe, Waylon, Townes Van Zandt, etc...for a while, and had a general idea of their work. This book did a great job helping me delve more into the output. I discovered new artists I really had not paid attention to in the past, and was able to concurrently journey audibly through the book as I was reading it. I think this is the greatest thing that it offers, and think some kind of multimedia package to go with it would have been awesome. (I'm probably dreaming, but I think it would be awesome to package some mp3s with the paperback?)
I came out richer in my musical knowledge because of this book, and I think that is really important.
I think there's a lot to this book that would be enjoyable to the old school fans, as well as newer, unfamiliar fans. It's not a very deep read, but has informative moments, and I think the author carries a true appreciation of the scene.
I've already recommended it to friends that I think would enjoy it, and would suggest it to anyone interested in country music in general.
17 of 18 people found the following review helpful.
that's how I saw it
By DB361
I may be a bit prejudiced as I was interviewed for this book. I was in Nashville at Vanderbilt as an under and post grad student from 1966-73 and saw first hand the development of Outlaw Country. The author correctly writes that it was created by a confluence of several previously separate elements: the 60's counterculture with sex, drugs, rock and roll, civil rights and anti-war, with honky tonk Texas country music. When I arrived at Vanderbilt the average upper middle class student ran as far away from country and western music as possible, as they were trying to run away from the red-neck, gap-toothed image that often went with it. Then Johnny Cash and Bob Dylan became friends and neither hippies nor frat boys nor honky tonkers knew what to make of it.
I grew up in rural Ohio bars with Cash on the jukebox and Ernest Tubb on the 78's at home, so it wasn't a big stretch for me, and I hung out with some bands that were themselves a mixture of college students and good ole boys. The author heard that I could bear witness to some interesting times and he called me.
If this were not a first class effort, I would write that in my review. However, it is well-researched without being dry, and tells it like it was without being salacious. It will stay on shelves for a long time as a fine source of the history of this most interesting and influential music.
4 of 4 people found the following review helpful.
Once upon a time ...
By Kelly K. Patterson
... there were three princes who were the dutiful sons of a king named Cash. When word reached King Cash that the village of Nashville had taken to such wickedness as to have lush full harmonies backing up the same lap steel guitar solo on every solo he was furious and shot his TV (all king's seem to do this at one time or another). Nashville was a special village to him and he writhed with anger and shouted, "You three princes, my sons, shall ride this very day, guitars in hand and save my beloved Music City."
And ride they did, stomping over wasted tundra that had been poisoned by the village as far as the eye could see. And when they got to the village they were aghast. Every citizen was wearing polyester of colors the sons had never seen, peppered liberally with what they thought were diamonds but they soon found out were worthless things called "rhinestones". The three princes looked at one another -- dusty from their ride, their worn out jeans, shirts, and boots that had sprung open on the sides were worn as signs of respect and awe for the music that could be made and kept them humble in the eyes of their father, the king.
*You'll have to read the book to find out how it ends* ;)
I've been waiting for a book like this for many, many years. I played guitar and sang in bars for over a decade and these three princes' music were mainstays of my set lists. Especially Kristofferson since we have a very similar voice range. But Streissguth has done exhaustive research from many angles and directions and pulled it all together into a fine narrative that flows like good prose. So many times when authors try to do books like this they write it seems straight from their notes without thinking and you get every other paragraph starting "and then he... " Makes for tedious reading. But this book is done so well i flew thru it the first time and turned around to read it again immeidately. I can name only about five books I've ever done that with so perhaps that says the most concerning the quality of this book as assessed by this ol' bibliophile.
My only regret is that i wasn't there .........
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