This or That: Willie Nelson 2022 RSD Live Albums 

Stardust is such a popular album in his canon and I almost feel bad for not being a huge fan *lol* It showed he really could sing / play anything and it would sound great. Now that I've come to like some of the songs more after hearing them live, it's time to revisit Stardust (I have a copy, it's just hardly ever been played). I think I've played Texas Opry House more than any other Willie Nelson this year but this Budokan show has been spun a lot in less than a month, too. Let me look around, I think one or two of my local stores may have a copy :) Merle had done his Bob Wills tribute in 1970, and done a few shows with an ailing Wills, so it wouldn't surprise me if Gimble was part of the Strangers at the time. Musically it would make sense because even though the Hag was a California boy, his rootsy music was as authentic as it got. He might be the best male country singer of that time (I know, a lofty debate, but Merle is at least a contender)

@@brettsmusicreviews2641 Stardust hits a chord for me. Such a mellow, late evening record with spartan accompaniment by Booker T. The versions of those standards are all the definitive ones for me. Gimble was with Hag through most of the '70s and '80s in addition to being the go to fiddle man on so many sessions. I have a couple of his solo records where he plays western swing with a killer band including Eldon Shamblin on guitar. Absolutely outstanding. Merle is arguably the greatest male country singer of his era (therefore of all time), although I put George Jones on top based purely on voice, not content or variety.

@@roblabelle7874 Hey, guys. I've really been digging this discussion of Willie's live output. It's such a subjective thing, and not exactly easy to objectively tackle. For me, my love for this music goes back to 1978 when I was first inspired to pick up and learn guitar, and the recordings I gravitated towards the most were all about the time and place of where I was at in my life at that moment. For that reason, 'Willie & Family Live' (1978) will forever remain my "desert island" record. When my parents initially bought that when it came out, I quickly coveted and started to learn from it. Then in 1979, I tagged along with my folks (being only 13 at the time) to the first of many Willie Nelson shows at a local venue; from there I was off to the races, buying every release I could get my hands on. As superb as the album 'Willie & Family Live' is, it's still not the whole concert setlist he was doing at the time, and in my opinion the live in-person experience between 1979-1984 is without parallel. Getting back to what that album has meant to me, it had literally opened up a new world of music I was basically out of touch with previously, namely what was termed in 1980 as "progressive country", and Rodney Crowell was hailed as the artist to watch. In turn, finding his music turned me on to Roseanne Cash and Albert Lee (my top albums of the early 80s were both produced by Rodney Crowell for these folks). Willie also name-dropped Waylon Jennings, and I would later come to appreciate him more, and to see them together at a handful of different shows here in California. Then, there is the Family band lineup on the album (Willie had added an additional drummer and bass guitarist a couple of years before) , which really nicely rounds out his live sound; the rhythm section had been pretty standard up to this point. Bobbie Nelson is playing her ass off on these sides, like never before. Mickey Raphael was really all over the record, as funky and bluesy as he ever sounded. Chris Ethridge, of The Flying Burrito Brothers fame, joins the great Bee Spears on bass; Rex Ludwick adds a heaviness and seamlessly compliments Paul English's style very nicely. Guitarist/vocalist Jody Payne supplies whatever the song demands: soulful and fuzzy here, and clean steel-guitar like fills there; was never afraid to rock when the occasion called for it. Hearing Emmylou Harris on harmony vocals was a revelation for me, though I had been a nominal listener to her solo records before, via my dad's playing them in the car when I was little. When she picked up on Willie's and the band's energy at these gigs, she seemed almost 're-born'. Emmylou has always spoke of singing with Willie as a "spiritual experience", and judging by the way she sounds here, I believe her. Hearing Johnny Paycheck doing his signature song--even more badass than his own studio version--is another highlight. You can sense Willie and the band just feeling really good and energetic throughout the whole performance. The song selection is extremely interesting, with medleys galore between Willie's RCA material and early Columbia stuff--featuring the highlights from his 'Red Headed Stranger' album. This record boasts at least a couple of singles which are still played on classic country stations to this day: "Whiskey River", and "Stay All Night (Stay A Little Longer)."