Long
before he was "The Red Headed Stranger," famous Texan Willie
Nelson was knocking out tunes on Music Row in Nashville, Tennessee. Nelson wrote
the title song to Pretty
Paper (Columbia, 1979), his inaugural holiday album, way back in 1963 for rocker
Roy Orbison, who took it all the way to #15 on the pop charts. Willie himself recorded
the song in 1964, releasing it as a single on RCA. Nelson's version is essentially
a countrified interpretation of the arrangement that Orbison recorded a year
earlier. But where Orbison approached the song with arch melodrama, in Nelson's hands
"Pretty Paper" is a classic country weeper - the story of a lonely (probably
drunk, possibly homeless) man, set during Christmas. "He sits all alone
on the sidewalk,"
observes Willie, "hoping that you won't pass him by." But we are much
too busy to notice the poor wretch, too busy buying that pretty paper to wrap our
Christmas presents. "In the midst of the laughter he cries," Willie warbles
as the curtain falls, leaving his protagonist's fate unresolved.
"Pretty Paper" became a holiday standard, covered
by artists as diverse as Glen Campbell (1968), Mickey Gilley (1976), Freddy
Fender (1977), Carly Simon (2002), Chris
Isaak (2004), Reverend Horton Heat (2005), and
Asleep at the Wheel (2007). Willie's 1964 version, by the way, isn't
easy to come by, though it appears on Rhino's Hillbilly
Holiday compilation.
Its b-side, however, is even tougher. "What A Merry Christmas
This Could Be" was written by noted Nashville tunesmiths Harlan Howard and Hank
Cochran, and Nelson never recorded it again (though Ray
Price and George
Strait did).
Both "Pretty Paper" and its flipside appear on Bear Family's boxed set
survey of Willie's early years, Nashville
Was The Roughest - for a hefty price tag.
Anyway,
while Willie's 1964 edition of "Pretty Paper" is fine, I think the definitive
version is the solemn rendition he waxed for the Pretty
Paper LP, produced by Booker T. Jones (of Booker
T. & The MG's). Nelson and Jones had already worked together on Stardust (1978),
a collection of Tin Pan Alley standards, and Pretty
Paper fits within the same dignified, spare template Jones designed for the earlier
album.
The title track and a few others (especially "White Christmas" and "Silent
Night")
are served well by the austere arrangements - often little more than Booker's gentle
Hammond organ and Willie's signature nylon-string guitar. After awhile, however,
the album drags. Weighed down by the usual holiday standards, Willie starts to sound
rote and joyless - never a good sign on a Christmas album.
Basically, I was expecting more than reverence and quietude from this legendary
hell-raiser. A jaunty "Blue Christmas" comes close, but ultimately I was
disappointed. The closing number, "Christmas Blues," is an instrumental
written by Nelson and Jones - the only original song on Pretty
Paper other than the 25-year-old title track. It's pleasant but unexceptional,
and it fails to rescue the album - for me, at least, if not for Willie's devoted
following.
In 1984, Willie recorded another version of "Silent Night" (this one altogether
solo) for a series of local Austin charity albums (read
more), later reissued as The
Texas Christmas Collection (1991). Then in 1995 Columbia compiled Pancho,
Lefty, and Rudolph from Nelson's Pretty
Paper and Merle Haggard's 1982 album, Goin'
Home For Christmas. But, Nelson didn't record an all-new holiday album until
1997, when he collaborated with his piano-playing older sister, Bobbie, on Hill
Country Christmas (released on indie label Finer Arts).
As
Willie has aged, his artistic output has grown wildly unpredictable, vacillating
between brilliantly innovative (Spirit,
1996) and casually indifferent (The
Great Divide, 2002). Sadly, Hill
Country Christmas resembles the latter more than the former. While it is bookended
by vocal and
instrumental versions of Willie's lovely, Latin-tinged original song "El Niño," much
of the album sounds like a home recording - just Willie and Bobbie poking around
a predictable batch of holiday favorites - fully half of which Willie had recorded
at least once before.
I'm sure this approach was meant to convey Willie and Bobbie's warm, familial
bond, but the end result is often half-assed and out-of-tune (cf. "Deck The
Halls").
Most astonishing is "Here Comes Santa Claus," which consists of Willie
singing along (poorly) with an old Gene Autry recording of the song. Not even another
version of "Pretty Paper" (nicely performed by Willie, accompanied only
by his guitar) can save the day. For serious fans only.
In the intervening years, Willie has largely stayed home for Christmas, recording
just a couple of songs for isolated projects. The first is a spirited version of Charles
Brown's blues standard "Please Come For Christmas " for A
Very Special Acoustic Christmas in 2003 (read
more). The second is a cover of John Prine's "Christmas In Prison," recorded with alternative country icon Ryan Adams as a digital-only bonus track for Willie's 2006 album Songbird (see iTunes).
Listen to Willie Nelson's original 1964 recording of "Pretty Paper," recorded
again in 1979 as the title song of his debut
Christmas album - or launch the Christmas
Jukebox.