Tune Tag #63 with Michael Elliott of "The Mixtape": Willie Nelson, ZZ Top, Memphis Horns, The Flirtations, Doobie Brothers, Roxy Music, Buddy Guy, Jeff Beck
'70s classic rock appears to rule the day, but you know Tune Tag: Just when you think you can settle into one genre or era....SURPRISE! It's Tune Tag, all the way from A to ZZ! Letter rip!
Hey, Michael! If there’s a pounce…Tag, You’re IT!
Tune Tag welcomes of The Mixtape!
Michael Elliott is a contributor to the pioneering roots music authority, No Depression. His music writing has also appeared in PopMatters, Albumism, Americana UK, and The Bitter Southerner. He’s also the author of Have A Little Faith: The John Hiatt Story (2021, Chicago Review Press).
Michael spent close to thirty years in radio as an operations manager, music director, program director, and disc jockey in a variety of formats. He has interviewed and produced profiles on musicians as diverse as Isaac Hayes, Charlie Daniels, Bonnie Raitt, Delbert McClinton, and Little Richard. He lives in Raleigh, NC, where he and his wife, Elizabeth, volunteer for the NC Reading Service, a nonprofit radio service that delivers content to the blind and visually impaired.
Last week, we had the pleasure of ’s company and his Tracks on Tracks Substack:
Next week, we’ll open the Tune Tag door for longtime FR&B friend, , of Earworms and Song Loops, for his historic 3rd ride on the Tune Tag train!
Michael’s song #1 sent to Brad: Willie Nelson, “Shotgun Willie,” 1973
Michael’s rationale: Willie Nelson was one of my first musical heroes. I discovered him at 11 years old, and I could tell even then that there was something about his voice, his guitar, and his sound – that was unlike anything I’d ever heard. It wasn’t long before I was deep-diving into his vast catalog and learning everything I could about him!
I discovered the Shotgun Willie album early on in my journey, and the fact that it was on Atlantic, the label that had all that great soul music I’d grown up listening to, as well as the likes of Led Zeppelin and Yes, was mind-blowing.
So, with that in mind, do your worst!
Brad’s response: Inspiring Willie testimonial, Michael, and I appreciate the label mention. Clearly, you know the way of the Tune Tag! Before I look, I’m going to say it was his next, Red Headed Stranger, that came out on Columbia, soon to be, essentially, his life-label. And, this was after spending the ‘60s on RCA. The man has known his majors!
This after checking: Willie spent most of the ‘60s on RCA, as well as the early-’70s (totaling a baker’s dozen albums), with only two albums on Atlantic…your Shotgun Willie and 1974’s Phases and Stages. Starting with 1975’s Red Headed Stranger, Columbia was Willie’s home for nearly 20 years and 30 albums!
Birth of The Outlaw: Willie Introduces Himself to Columbia Suits: “New York? This is Texas.”
As for his Red Headed Stranger, his Columbia debut, this from the album’s Wiki: Following the success of his recordings with Atlantic Records, coupled with the negotiating skills of his manager, Neil Reshen, Willie signed with Columbia Records, whose suits seemed happy to give him total creative control over his work.
This would be key, early:
After signing with Columbia, he decided to record “Tale of the Red Headed Stranger” (written by Edith Lindeman and Carl Stutz in 1953). It was recorded at low cost, and the songs on the album featured sparse arrangements, largely limited to Nelson’s guitar, piano, and drums.
Willie presented the finished material to Columbia execs, who were dubious about releasing an album they at first thought was just a demo. Willie reminded them that his contract had given him full creative control, so no further production was necessary…or added!
Four years before fellow Texans ZZ Top wrote and recorded “I’m Bad, I’m Nationwide,” Willie began to reveal his soon-to-be-famous “outlaw” ethos. In case CBS didn’t get the drift, Willie drove it home the following year: His third album for the label was The Troublemaker, an album that was actually recorded in 2 days for Atlantic in 1973, produced by legendary producer/Atlantic exec, Arif Mardin.
Willie had refused to sign an early contract extension with RCA in 1972, and the label then decided not to release any further recordings of Willie’s. The release of the album was later cancelled by Atlantic, whose suits decided that the album was not right for the label.
All this label folderol is what led an increasingly impatient Willie to order his manager, Reshen, to wrangle for creative control in his new CBS deal.
Brad’s song #1 sent to Michael: The Memphis Horns, “High on Music,” 1976
Michael’s response: I assume you chose this because it was produced by (and written by) Stax session legend, Booker T. Jones, who was the producer on Willie’s 2 classic Columbia albums, 1978’s Stardust and his Christmas album the following year, Pretty Paper.
It’s a tune I was vaguely familiar with, being window-dressing on my memories growing up in the ‘70s, when so much (American anthology TV comedy, 1969-1974 on ABC) Love, American Style-type music was ingrained into the culture. Yet even when they’re schmaltzy, you can’t deny the greatness of sax player, Andrew Love (below, left), and Wayne Jackson on trumpet!
Brad’s rationale: The legendary Memphis Horns played on Willie’s album, and here, fully-engulfed in the disco phenomenon a mere three years after “goin’ contree” with Shotgun Willie! But, among the many incredible things the Horns have been for years, flexible and malleable have been one two of them! Booker T. Jones played organ on this danceable banger he wrote, as well as produced!
Michael’s song #2: The Doobie Brothers, “Eyes of Silver,” 1974
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