This week, one of Willie’s longtime tour mates, Grammy-winning blues singer and guitarist Susan Tedeschi, talks about a deep cut off his 1998 album with Daniel Lanois, Teatro, “Somebody Pick Up My Pieces.” It’s a song she and her husband, slide-guitar hero Derek Trucks, play almost nightly with their group, the Tedeschi Trucks Band, and it gets her thinking aloud on a foundational principle of Willie World: The absolute importance of making music with people you love—with meaty cameo appearances by the Allman Brothers Band, Jessica Simpson, The Notre Dame Cathedral in Paris, and Emmylou Harris...who Susan calls a “Jedi.”

S5 E6: Susan Tedeschi on “Somebody Pick Up My Pieces”

In “One by Willie,” Texas Monthly’s John Spong hosts intimate conversations with a range of prominent guests about the Willie Nelson songs that mean the most to them. But this series isn’t just about the songs. It’s about what music really means to us—the ways it can change us, take care of us, and connect us all. Songs featured in the episodes can be found on Apple Music. Listen here.

Music

Music Commentary

This week, one of America’s greatest living poets, singer-songwriter Lucinda Williams, celebrates the easy beauty of one of Willie’s most cherished songs, “Angel Flying Too Close to the Ground.” From there she’ll get into how inspiring it was to first see Willie do his thing when she moved to Austin in 1974; how weird it was, when she moved back to Austin in the 80s, to live in a run-down apartment complex-cum-artist’s colony that Willie owned on South Congress—sharing it with the old boyfriend, Clyde Woodward, she would immortalize in her song, “Lake Charles”—and what an absolute honor it was, twenty years later, to cut a duet with Willie on another of her songs, “Overtime.”

S5 E10: Lucinda Williams on “Angel Flying Too Close to the Ground”

This week, Willie’s first-born, daughter Lana Nelson, talks about one of the songs her dad used to sing to her at bedtime, “Red Headed Stranger,” calling his breakthrough 1975 recording of it one of the first times an album of his sounded the way he did at home. From there she’ll walk us through some wonderful family history...like dodging rent-hungry landlords during the lean years, her dad’s hog farm/commune outside Nashville through the RCA years, and the session with Merle Haggard that produced “Pancho and Lefty.”

S5 E9: Lana Nelson on “Red Headed Stranger”

This week, one of the brightest stars of the Texas Country/Red Dirt scene, singer-songwriter Wade Bowen, examines “Me and Paul,” Willie’s 1971 chronicle of the road-warrior life he was sharing with his erstwhile partner in crime, drummer Paul English. It’s a perfect song for Wade to get into, partly because, as he rightly points out, Willie was a progenitor of the circuit where he makes his living now, but also because of the setting for our visit: Wade zoomed in from his tour bus, which was broken down somewhere in Iowa on his way to a gig.

S5 E8: Wade Bowen on “Me and Paul”

This week, six-time Grammy-winning producer, songwriter, and virtuoso guitarist John Leventhal—see Shawn Colvin’s A Few Small Repairs; his wife, Rosanne Cash’s The River and the Thread—discusses the song that first hipped him to the genius of Willie, 1975’s “Blue Eyes Crying in the Rain.” He describes it with a producer’s ultimate praise, calling it a record that seems to exist outside of any era, before getting into his session work with the Hall of Fame band that backed Willie on 1993’s Across the Borderline, plus the reasons he thinks of Willie as a cross between legendary Nashville guitarist Grady Martin and Pablo Picasso...and his late father-in-law, Johnny Cash, as a cross between Elvis and Abe Lincoln.

S5 E6: Susan Tedeschi on “Somebody Pick Up My Pieces”

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