Wednesday 28 May 2008

An Audience With The Human Riff, Continued.

GT: In context of Willie, I’ve been thinking a lot about what ...

KR: Yeah, you must be well embroiled in it by now!

GT:......I’m up to my neck in it, but it’s brilliant. I’ve been thinking a lot about what keeps people on the road. In your case what is it that keeps you out there?

KR: I dunno. You could ask Willie that one!

GT: I know. I have.

KR: One could say that it becomes like an addiction or... there’s loads of people out there who want to see what you do and you feel like doing it. It’s a simple as that. It’s probably somewhere between the two: white line fever.

GT: With him it seems to have just become his life almost...

KR: [Sings] On the Road Again...

GT: It’s his manifesto, isn’t it?

KR: He’s an amazing guy, Willie. I’ve never hung with Willie except when we’ve been working together, but Willie always makes a little space to hang. He’s an amazing guy. He’s your All American. He’s what I would call an American patriot, but not in the flag waving sense or that shallow sort of.... he loves the soil, man, he loves the... land itself, and he’s the right guy to put the case. I mean, he’s a real old regular American. There’s very few of them, really, at least that stand up and say so. Willie is just that way. He couldn’t be any different any other way I don’t think. Times that I’ve known him, I always have a great time with him. We’re guitar pickers and song writers and shit so we can just kinda kick shit around, you know. But as a man he’s a bit of a mystery, actually.

GT: I get the sense he’s pretty unknowable really.

KR: So you’ve got that feeling too, right?

GT: Totally, yeah.

KR: I don’t think he really knows all of himself, he’s just dedicated to his idea and after all, on top of that a brilliant musician and a songwriter par excellence - that’s your actual French, you know?

GT: Ha! When did you first become aware of him? His harmonica player Mickey Raphael told me that the Stones offered him a support slot in the 70s and he turned it down. Do you remember that?

KR: Well, I do believe so, it is very hard to recall that kind of thing. Maybe it was because he had a previous engagement, a lot of the times you want to work with people on the road and you find that they’re doing Australia while you’re trying to get a gig together in LA. It’s all that ships in the night passing away. But, em, Willie sort of cracked into my perception, I started to hear these songs first.... 'Funny How Time Slips Away', and 'Crazy', and I started to see this name Nelson. When they were 45s it was easier to check out who wrote what. I knew nothing about his character, I just heard these very interesting songs coming out of this guy called Nelson.

Finally, when he burst through the bubble and actually became Willie Nelson in fact rather than just being a Nashville songwriter and whatever it was he was doing – I know what he was doing, actually, but I’m not going to tell! – but Willie sort of creeps up on you. Every time you heard a really interesting song, half the time you’d find Willie Nelson’s name attached to it. And then when he became a performer, because he’s such a recluse in a way. He’s the most unlikely star.

I’ve worked with him.... I think the first time I worked with him he asked me to come up to that casino somewhere in Connecticut, where the Indians are running the joint. About time they got their money back – Willie agreed with me I think. I was amazed at that country thing – there’s Willie, he finishes the show and then he spends like an hour or more and he just signs about every autograph in the audience, you know that country tradition of ‘you’re one of the folks.’ When you’re up there on the stage you’re that, but then afterwards you’ve got to mix, and I was amazed that that was still going on. And Willie, that great patience that he has, that sort of stoic.... meanwhile he’s going, ‘Where’s the joint,’ you know? I always judged Willie shows when I’ve worked with him by how many guys he’s got rolling behind him in the bus: ‘This is a three Frisbee show, pal!’

GT: He smokes an unbelievable amount of dope, doesn’t he?

KR: Oh, absolutely - and always good stuff. Believe me, I’m a connoisseur. Maybe that’s one of the reasons I work with him a lot! No, I’m attracted to the man just as a character and a player. His knowledge of the music... those beautiful mixtures he has between blues and country and mariachi, that Tex-Mex bit, that tradition of a beautiful cross section of music.

GT: How do you rate him as a guitar player?

KR: Oh, he’s incredible man. Absolutely. He’s unique, can you get any better? I mean nobody else could play like that. I mean, look at the state of the guitar for Chrissakes! He’s punched holes through it, scraped it away, and it still sounds better than ever. It’s that weird mixture of stuff, and he doesn’t mind going off on a flight somewhere in the middle of a song. Just taking it and seeing where he ends up. He’s got a beautiful bravado. I admire that.

GT: Has he ever let you play that guitar?

KR: Oh, I’ve had a bash at it. I say, ‘I can’t play it, it’s got a hole in it Willie!’ Where’s there’s a Willie there’s a way.

GT: I’m surprised you’ve never done... cos he’s done so many albums and duets and stuff, have you never discussed doing anything on record together as a piece?

KR: We kind of talk about it and look at each other and say, ‘Yeah, when and where?’ and then it becomes: Oh, later. It’s sort of in the air, I’d love to, but his schedule is...most of the difficult things about working with guys you really admire and would like to get together with is since everybody’s busy, they’re always on the other side of the planet when you’re doing things. It’s finding the time and stuff, and Willie’s a busy man. He has to save all those small farms.

GT: Last time I spoke to him he said he was making six albums – at the same time!

KR: Yeah, he’s been incredibly productive in the last few years, he’s really working hard, man. But then I don’t think he couldn’t. If he wasn’t working I can imagine him fading away.

GT: Do you know his band very well, have you met those guys?

KR: Yeah, the guys around him and everything, I always have a great time when I see Willie. I’m always waiting for the ‘I’m doing a TV show, do you want to come by?’ I say, ‘How many Frisbees involved, man?’ The last time, I met Merle Haggard via Willie. I’d never met Merle before, which was interesting. It ends up with Merle working with us in a few weeks time in Texas. I’m sitting rehearsing with Willie on the West coast somewhere, I think it was Parsons thing or whatever, and sitting there on the drum riser, and there’s this guy with a baseball cap on – the right way around – and a grey beard and he’s picking like a maniac, and he’s sitting next to me and suddenly I said, ‘Your name’s not Merle?’ Yup! Jesus Christ, what a way to meet.

Willie brings people together, that’s the other thing that I think is important to stress. Willie is a great magnet. All kinds of different music. He can pull people together that probably very rarely that somebody else could. They’d be staying in their own lanes, so to speak. But Willie can pull together like Norah Jones.... a diverse amount of people from every spectrum of music you can think of, Jesus Christ there’s enough spectrums to think!

I always admire him because.... when I work with him he’s doing these TV shows. And he’s on stage with absolutely everybody. All day. He’s got to rehearse with them and then he’s got to do the show. Me, I come there and I just do my bit with him, ‘You wanna join in on this?’ I can pick and choose. But I watch the man work, Graeme, and it’s amazing the heart and diplomacy of the man. He should be President, I think! We’d be a lot better off, or at least the Americans would. Possibly we would. But his dedication to what he does, amazing energy. A lot of guys say: how do we [the Stones] do it? How does Willie do it? I mean I’m watching him up there with 24 acts and he’s singing with every one of them. And he’s got it all together, very very smooth, beautiful, no sweat. He has that amazing effect on people, a sort of calmness, but there’s a certain ....under there there’s a hint of real danger if it blows up.

GT: Those eyes...those black eyes he’s got.

KR: Yeah, yeah, he’s one of your great Westerners. A real love for the soil of the land and a feel for it, more than waving stars and stripes and all that crap. A real concern for where it all comes from and what you live on, and it’s a beautiful thing. It’s really honest. Which is hard to find in this day and age and this world we live in.

GT: Pretty much unique, I’d say.

KR: How does he strike you, once you’ve taken this gig on? Same way?

GT: Pretty much the same way, yeah. I think....

KR: Are you Scottish?

GT: I am Scottish, yeah

KR: I figured, I saw the way you spelt your name. Yeah.

GT: Yeah, that’s the Scottish way. I’m in Edinburgh at the moment. I loved it, I went over there and hung out in Texas with his guys at the recording studio and stuff, and just the amount of people who are dependent on him and kind of...

KR: I know, this whole travelling community. [Sings] On The Road Again! I kind of know.... Willie and I, without ever knowing each other that much, the minute we looked in each other’s eyes it was, ‘Oh yeah, OK, I know you.’ I might have known you for years and years and years. OK. And what a lovely enthusiasm for music. Ain’t it funny how time slips away but, hey, he can write them too. Incredible. As I said, the name Willie Nelson first cropped up as a really good writer, that was how I first play on it many years ago.

GT: And he struggled as a singer. Well, people’s perception of him as a singer was what held him back.

KR: Oh, he’s a great singer man, Such a wry delivery. I mean, everybody has got a great voice, it’s just a matter of what to do with it. I mean, I get a lot of that flak too, you know. The Grizzle, and all that crap. Willie and I have been pretty well grizzled and we kind of find ourselves in a weird way – which is really amazing coming from where we come from, totally different places – I feel at home with Willie.

GT: Did you listen to that reggae album he made?

KR: Yes I did, yes, cos I live in Jamaica I know most of the cats that are on the session. I thought it was a very bold move, and then I found out that Johnny Cash has been living in Jamaica for years, and round the corner from me. But when you go to live in Jamaica you don’t advertise, I found out without me knowing it that Johnny Cash had been my neighbour, virtually, at 20 minutes away, for like 20 years, but probably never there at the same time because when you go to Jamaica you don’t want to be seen by white people! It’s one of those things.

GT: How much time do you spend there?

KR: As much as I can. I haven’t been there for about a year now, mainly because we’ve been making records and doing this. But as soon as these hurricanes stop I’m going to the bolt hole.

GT: Well listen, that’s fantastic.

KR: Ok, Graeme. All right.

GT: Can I use this as a little introduction to the book? Is that cool?

KR: You can use it in any way you like. Yes. And give my regards to Willie, all right?

GT: I shall, and thanks for your time Keith. Take care.

KR: Pleasure, Graeme. Later man.

© Graeme Thomson 2005

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