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How much can one fan of OKOM (Our Kind Of Music) accomplish in just a couple of years? Plenty, if it's Rockzilla, aka photographer Michael Johnson. From 2003 to 2005, rockzilla.net was a chronicle of the alt.country scene from a uniquely Texan perspective. But all good things must end, and Rockzilla has retired from the online 'zine scene.

This mirror site was copied from the rockzilla.net site with the express permission of Rockzilla hisself. If you don't believe me, go to the KHYI-Fans email list and ask him! Buddy will back me up, too.



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Wille Nelson
Crazy: The Demo Sessions
Sugar Hill
by William Michael Smith

These stripped down, basic tracks show a surprisingly smooth and almost fully developed Willie Nelson in "playing in your living room" mode. Some tracks are acoustic and others have a minimalist honkytonk ensemble (Jimmie Day's steel guitar is to die for!). Nelson's look-you-in-the-eye lyrics and his complex playing and vocal delivery cut across the years like a razor-edged time machine. The tracks show how well developed Nelson's odd phrasings and "uncountry" progressions were even in his earliest phase. Then as now, his voice was one of utmost sincerity and intensity.

Compare these tracks with early major label efforts to make Willie radio compatible and the falseness of that vision is not only obvious but downright contemptuous. The ludicrous miscalculation of trying to turn someone capable of these stunning performances into a countrypolitan act is a prime example of know-it-all record executives missing the boat in their reliance on fitting every act to an en vogue formula.

The sessions, discovered on reel-to-reel in 1994 and restored by Buddy Miller, also illustrate what a songwriting genius Nelson was from the beginning of his career. "Undo the Right," "Permanently Lonely," "Are You Sure" "I Gotta Get Drunk," "Darkness on the Face of the Earth," "The Local Memory," "Opportunity To Cry" and his classic "Crazy" show Nelson's incredible understanding of the honky tonk idiom. Most of these songs simply perspire with angst at near suicidal levels.

Crazy: The Demo Sessions should rank with Red Headed Stranger and Phases and Stages as Nelson's strongest and most lasting works. This incredible assemblage of raw demos from Nelson's 1961-66 period as staff songwriter for Ray Price's Pamper Music is some of the most damning proof ever to see the light of day about how screwed up the Nashville powers-that-were were, proof that the future king of the musical outlaws should have been left free to do it his way from the beginning.

* www.sugarhillrecords.com


Contact William Michael Smith at wms-at-rockzilla.net

 

 
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