Willie, Waylon, and the Boys: How Nashville Outsiders Changed Country Music Forever

by Brian Fairbanks

The tragic and inspiring story of the leaders of Outlaw country and their influence on today’s Alt-Country and Americana superstars, tracing a path from Waylon Jennings’ survival on the Day the Music Died through to the Highwaymen and on to the current creative and commercial explosion of Chris Stapleton, Brandi Carlile, Tyler Childers, Jason Isbell, and the Highwomen
  On February 2, 1959, Waylon Jennings, bassist for his best friend, the rock star Buddy Holly, gave up his seat on a charter flight. Jennings, 21, joked that he hoped the plane, leaving without him, would crash. When it did, killing all aboard, on "the Day the Music Died," he was devastated and never fully recovered. Jennings switched to playing country, creating the Outlaw movement with Johnny Cash, Willie Nelson, and Kris Kristofferson, and later forming the Highwaymen, country's first supergroup, with them. The foursome battled addiction, record companies, ex-wives, tragic violence, and the I.R.S. and D.E.A., en route to unprecedented mainstream success. Today, their acolytes Jamey Johnson, Zach Bryan, Tyler Childers, Brandi Carlile, and Taylor Swift outsell all challengers, and country in its various forms is the most popular of all genres. In this fascinating new book, Brian Fairbanks draws a line from Buddy Holly through the Outlaw stars of the 60s and 70s, all the way to the country headliners and more diverse, up-and-coming Nashville rebels of today. He brings the reader deep into the worlds of not only Cash, Nelson, Kristofferson, Jennings, and Jessi Colter, but artists like Chris Stapleton, Sturgill Simpson, Ryan Bingham, and Jason Isbell, stadium-filling masters whose stories have not been told in book form, as well as new, diverse artists like the Highwomen, Brittney Spencer, and Allison Russell, and shows how a twenty-one-year-old bass playing plane crash survivor helped changed the course of American popular music.

Genres: Music, Nonfiction, History, Biography, American, Audiobook, American History

443 pages, Kindle Edition

Published June 4, 2024

Reviews

[Christina · Rating 2 out of 5]

I was eager to read this book but could not get beyond the first 160 pages. It needs a good editor.

[Tim Armstrong · Rating 1 out of 5]

I really did not like this book and I am struggling to temper my comments here. The sheer lack of concrete research and the perpetuation of patently untrue stories peppered throughout this book was frustrating. The chapters on Johnny Cash and Waylon Jennings were particularly terrible. For one, why is Johnny Cash even included in this book? He is not a country music outlaw and was not part of the outlaw movement. Kristofferson is a stretch as a country music outlaw as well. But I guess the author wanted to write a book about The Highwaymen, which would have been a great idea. Instead we got this stillborn book. I also think the author misses the mark on Waylon’s often dry, sardonic humour. He interprets statements by Waylon which were obviously meant as humour or to be humourous far too literally.

There are so many problems with this book. The author takes shots at legendary producer Billy Sherrill almost out of nowhere with assertions that are borderline slanderous. Chet Atkins is treated with respect by the author at the very least but other Nashville producers are treated with disdain. The author has an agenda and it shows. This book could have been a balanced account of a transitionary and highly influential period in country music, but unfortunately the author decided to choose sides in a fight that’s been over for fifty years.

Here are a couple of things presented in the book that are untrue:
-The author states Cash struggled through take after take of an up-tempo version of “I Walk the Line” before Sam Phillips released a slow version. In fact, the opposite is true and when Cash first heard “I Walk the Line” on the radio, he begged Phillips to pull the up-tempo version for the slower ballad as he’d always intended the song to be a slow love ballad.
-The author states Cash turned down Steve Goodman’s “City of New Orleans” in the 1980s only to see Willie Nelson’s version become a smash hit. It’s unlikely Cash ever turned down the song, but Cash claims he did. But if he did it was the early 1970s and he had recorded the song by 1973 (see the album “Johnny Cash and His Woman”).

These are only two of the things that were verifiably untrue. There were more, a lot of them being little assertions or comments that were just wrong. It may not seem like it’s a big deal, but it all adds up.

The author seems to have his research regarding Willie Nelson mostly straight and the Nelson chapters come off the best. Having read a lot of books about Willie and by Willie, there was nothing here I could nitpick. I cannot comment on all of the Kristofferson information presented as I haven’t looked into his life as deeply as the other three, but based on statements made in the Cash chapters (a figure I am very familiar with), I would question some of the research done there as well.

The chapter on The Highwaymen supergroup was fine overall, but the author devolved into salacious rumours about fights and egos. It got old after a while and I wished the author would have stuck to the music and the influence the supergroup had on country music at the time. Instead it comes off like he’s trying to expose something that isn’t really that relevant.

The final chapters about modern country stars are completely out of place here. Just should not have been included at all. Write a book about The Highwaymen if you want to but don’t try to shoehorn in artists, whom I have to assume the author things are the modern “outlaws.” It’s just a messy and unnecessary detour to end the book and the links to Willie, Waylon, Cash and Kristofferson are tenuous at best.

If you are interested in the outlaw movement, read Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville for a much better experience. I also suggest you listen to the podcast Cocaine and Rhinestones or read the forthcoming book Cocaine and Rhinestones: A History of George Jones and Tammy Wynette if you want the true story of the Nashville Sound and Billy Sherrill. This books treatment of those subjects was ludicrous.

[Susie (DFWSusie) · Rating 5 out of 5]

As polarizing questions go, “Are you a country music fan?” is right up there with asking someone’s personal politics or religious views. Perhaps the reason that’s a loaded question is because Country Music is inextricably tied to both politics and religion. Despite what many people with an anti-country bias claim as a fact, Country Music is not a cohesive sound, or belief structure, or even a place.

"Willie, Waylon, and the Boys: How Nashville Outsiders Changed Country Music Forever" serves as a historical journey of one piece of the greater story of this genre, as told through the lives of the Outlaws then and now.

When Waylon Jennings’ gave up his seat on an ill-fated flight one blisteringly cold winter’s evening, he could hardly understand the way that decision would reverberate throughout the music world for decades. And such is the start of this fast-paced read, beginning on the “day the music died” and wrapping up in current day where the genre continues to grow and change.

Brian Fairbanks weaves together the Outlaw origin stories of Waylon Jennings, Johnny Cash, Willie Nelson, and Kris Kristofferson, drawing the line to today's Alt-Country and Americana artists like Chris Stapleton, Sturgill Simpson, Brandie Carlisle, and Jason Isbell.

From battling addiction to confronting record companies, ex-wives, and government agencies, the Outlaws forged their own path that often ran counter to the Nashville country music establishment musically, religiously, and politically.

As much as this is a historical text, the struggles of these rebel artists are as relevant in 2024 as they were in decades ago. Music, especially that which seeks to tell the tale of a nation and all its people, must have diverse voices represented - not just those living in their mansions on the hill.

"Willie, Waylon, and the Boys" is a must-read for anyone looking to explore the roots of country music and how a small group of misbehaving tumultuous trailblazers changed the course of American music.
______
Thank you to NetGalley and Hachette for the Advanced Reader Copy in exchange for an honest review. This title will be released on June 4th, 2024.

[Bonnie E. · Rating 4 out of 5]

Love so many of the songs written and sung by the artists featured in this book, and it was fascinating to learn some of the creative processes involved. None of the four Highwaymen led particularly easy lives before, or after, they became famous and understanding how certain songs came to be, and how these men handled their fame, was compelling. The section featuring the Highwomen and some of the other newer artists was good stuff. Less interesting for me was the social commentary about the Nashville culture and its impact on the country sound, which I skimmed through. This book got me interested in watching a wide array of online performances by Willie, Waylon, Johnny and Kris, listening once again to their soulful voices and the poetry in their lyrics.

[Dperry · Rating 2 out of 5]

Needed a better editor! Very repetitive; visited, revisited and re-revisited the effect of Buddy Holly's plane crash. The footnotes are tiny asterisks, not numbers, and blend into the quotes, so I spent a lot of time trying to match the footnote to the quote. A very up-to-date survey (2023) of today's country music landscape included. But that section was a shambles as well. Some singer-songwriters were married, then they divorced, followed by info about songs written when they were living together. People helped produce debut albums, walked away (or were jailed), had health problems, died, then were quoted about producing other albums. A trip I wanted to take but very glad when it was over.

[Casey · Rating 4 out of 5]

This book is well researched and written. It gives a history of the evolution of Country Music. I was interested in reading this book as I grew up in a household that listened and played country music in the 1950s and 1960s. The initial focus of the books is an overview biography of Willie Nelson, Waylon Jennings, Johnny Cash and Kris Kristofferson and how each of them had an impact on the evolution of country music. The last few sections deal with the evolution of country music after them of which I am not a fan, but it was interesting reading. Overall, a good read for those interested in country music.

I received a free Kindle copy of this book courtesy of Net Galley and the publisher with the understanding that I would post a review on Net Galley, Goodreads, Amazon and my nonfiction book review blog. I also posted it to my Facebook page.

[James R · Rating 5 out of 5]

Growing up in a house where Country music--especially Outlaw Country--was all that was played, I am so glad to have picked up this book and to have been able to learn more of the history of the genre, the personalities, and (as was the author's intention) the "attitude" that characterized this music movement.

Although I knew some of the blemishes my "radio heroes" had in their personal and professional lives, the author holds nothing back in labeling them. And while their failings may tarnish them a bit in my mind, the spirit that drove their paths and was played out in their music was revitalized on my playlists, if nothing else. And I also learned of a few new artists who the author feels carry on the spirit of the Nashville Outsiders, although their art may have to grow on me.

[Mike Wetmore · Rating 5 out of 5]

I’ve read a lot of books about country music; Willie Nelson in particular. So much so that it begins to get repetitive. This one stands out. It’s a cut above in so far as kicking over new rocks and making connections to contemporary Nashville. Recommend for any music fan.

[Emma Milnes · Rating 3 out of 5]

This was interesting but the pacing of it was weird

[Mike Commito · Rating 5 out of 5]

If you’re like me and your introduction to country music was through artists like Jason Isbell, Tyler Childers, and Sturgill Simpson, then I highly recommend reading this. Provides a great history of the outlaw artists who upended the country music industry in Nashville and paved the way for who we’re listening to today.

[Kevin Miller · Rating 2 out of 5]

2.5 stars. He really missed the mark here. If he wanted to write a book about The Highwaymen, he should have done that, not write a book about “outlaw country”, which Johnny Cash & Kris Kristofferson weren’t even really a part of. The last 1/3 of the book is an absolute disjointed mess, trying to tie in today’s “outlaws”, which could’ve just been an epilogue. There is some entertaining parts of the book, but as a whole, this book is a major disappointment.

[Aidan Eno · Rating 2 out of 5]

Needs a good editor. Fun and fascinating stories about the highwaymen, but inaccuracies made me question the truth of all that I was reading. For example, on page 204 the author claimed that Johnny Cash married off his daughter, Karen. Cash doesn’t have a daughter named Karen. When I asked Fairbanks if he instead meant to refer to Cash’s daughter, Kathy, he replied “Probably, Thanks for reading!” When I pressed him about further inaccuracies, I found that he’d misinterpreted his sources, leading to bits of misinformation. For example, on page 211, Fairbanks first misnamed David Allen Coe’s song “Willie, Waylon, and Me” as “Waylon, Willie, and Me”, and then proceeded to claim that the song called Jennings, Nelson, and Kristofferson sellouts. The song doesn’t do that, and it doesn’t reference Kris Kristofferson; Fairbanks sent a screenshot of Waylon’s autobiography to me as way of citing his sources, but he flat out misinterpreted what was said about David Allen Coe’s perspective / lyrics.

It needs better, more thorough research, and a healthy dose of critical editing. I only caught these things because I happened to know the lyrics to that song, and questioned Cash’s actions. I imagine someone with a deeper breadth and depth of these people would catch other bits of misinformation.

Besides the nitpicking of facts, the writing bounces back and forth between dates and people, even within paragraphs, leaving me feeling dizzy, lost, and unsure who or when the story is focused on. Again, something that could be shored up by some solid editing. I wanted to love this book, as I love the highwaymen and the stories around them, but it was tough to get through. Lots of potential, but missed the mark.

[Django Laić · Rating 4 out of 5]

Brian Fairbanks ‘Willie, Waylon, and the Boys’ – povijest i ostavština country odmetništva

Kad je novinar Paul Holmes u razgovoru s članovima tada nastale country supergrupe The Highwaymen upitao njezine članove osnivaju li zvjezdani kvartet zato što ni jedan od njih više sam ne može napuniti dvorane, već su potrebna četvorica, Johnny Cash je pokušao argumentirati kako slučaj ustvari i nije takav i dok je nabrajao kako on, Willie Nelson, Kris Kristofferson i Waylon Jennings još uvijek popularni, potonji ga je prekinuo rekavši novinaru: “Ako postaviš još jedno takvo pitanje, spalit ćemo ti kuću!”

Iako ovaj djelić intervjua na koji sam nedavno slučajno nabasao na internetu savršeno oslikava divlju prirodu glazbenog pravca prozvanog outlaw countryjem u sedamdesetima kojemu su upravo Jennings i Nelson bili stjegonoše, a koji je poput divljeg pastuha s leđa zbacio sve sputavajuće okvire koji je tzv. Music Row, odnosno country establišment pritiskao svoje izvođače svodeći njihovu glazbu na bezličnu saharinsku masu bez trunke autentičnosti, Holmes i nije bio u potpuno u krivu postavivši takvo pitanje okorjelim pjevačima. U tom je razdoblju Columbia Records otkazala četvrtstoljetnu suradnju s Cashom koja je proizvela više od 60 albuma jer Čovjek u crnom više nije bio zanimljiv tadašnjoj publici. Waylon Jennings dosegao je dno u svojim divljim danima mahnite konzumacije kokaina, a Kris Kristofferson je, nakon što je sve kaskajuću glazbenu karijeru zamijenio onom glumačkom, i na tom području doživio propast ulogom u propalom epu Michaela Cimina “Heaven’s Gate”.

Jedino je Nelson do sredine osamdesetih dotjerao svoju karijeru nakon desetljeća muke do razine kojom je mogao biti zadovoljan, ali on kakav jest nikada ne bi odbio priliku udružiti se sa svojim starim prijateljima, šaliti se i muzicirati, pa je i on prihvatio poziv u The Highwayman, bend koji će unatoč četiri velika ega i jednako velikih razlika u svjetonazorima (pokrivali su cijeli politički spektar, od izraženo desnog Waylona, preko konzervativnog Casha, do centrističkog demokrata Nelsona i radikalno lijevog Kristoffersona), postići nezapamćen uspjeh u povijesti country glazbe počevši s istoimenim albumom i singlom.

Priču sve četvorice ovih glazbenika, kao i sjajno istraženu povijest njihove pobune protiv okvira nešvilskih standarada, donosi novoobjavljena knjiga Briana Fairbanksa “Willie, Waylon, and the Boys”, podnaslovljena “How Nashville Outsiders Changed Country Music Forever”. Fairbanks donosi biografije svakog Highwaymana u svim bitnijim crtama, iako su one više ili manje uglavnom poznate ljubiteljima žanra, sa svim njihovim teškim počecima, usponima i padovima i autodestruktivnim ispadima koji su im bili zajednički nazivnik, bilo da je riječ o ovisnosti o alkoholu, drogama ili seksu.

No, ipak težište knjige nalazi se u onome što je dvojac iz naslova učinio srednjoj struji Nashvillea kad je takva intervencija bila najpotrebnija, istovremeno povlačeći paralelu s današnjim tzv. “bro countryjem” i potencijalnim suvremenim nasljednicima izvorne četvorke, među kojima se ističu moderni kantautori Jason Isbell, Sturgill Simpson i Chris Stapleton kao potencijalni Highwaymen današnjice. Autor s pravom baca svjetno i na ženske autorice, od kojih su neke poput Isbellove odnedavna bivše supruge Amande Shires i Brandi Carlile jedine pokušale stvoriti vlastiti odgovor na izvornu bandu, The Highwomen.

U uvodnim stranicama Fairbanks izrazito uzbudljivo opisuje ono što će u povijesti popularne kulture biti poznato kao Dan kad je umrla glazba, završni koncert u Surf Balroomu u Clear Lakeu u Iowi nakon kojeg su u zrakoplovnoj nesreći živote izgubile velike zvijezde ranog rock and rolla Buddy Holly, Ritchie Valens i “The Big Bopper” J. P. Richardson. U Hollyjevom bendu tada je svirao i mladi Waylon Jennings koji je svoje mjesto nakon što je izgubio u bacanju novčića prepustio Tommyju Allsupu, a ta će ga činjenica proganjati cijeli život.

S te polazišne točke, autor kreće na početke karijera preostalih antijunaka, od Kristoffersona koji započinje kao domar u studiju u kojemu Bob Dylan radi na svom remek-djelu “Blonde on Blonde”, do Nelsona koji se muči pisati hitove i pokrenuti vlastiti glazbeni put i Casha za kojeg se čini da je svoj vrhunac doživio spašavajući se svojim slavnim zatvorskim albumima. Njihova priča doživljava svoj vrhunac ujedinjenjem u The Highwaymen, ali knjiga tada skače u današnje vrijeme i živopisno opisuje kako je isti duh koji je jednom promijenio country obrasce danas živi i u novoj generaciji talentiranih glazbenika koji su sposobni učiniti isto, počevši rađanjem tzv. alt-countryja devedesetih s Uncle Tupelo čiji će kofrontmeni Jeff Tweedy i Jay Farrar kasnije pokrenuti Wilco, odnosno Son Volt, pa sve do danas kad kritiku u publiku osvajaju spomenuti i već višestruko osvjedočeni Isbell ili nova nada Zach Bryan.

“Willie, Waylon, and the Boys” se oslanja na već poznato onoliko koliko je potrebno da čitatelj primi dovoljan uvid u kontekst glazbene revolucije koju opisuje, a njezina je glavna kvaliteta u detaljnom češljanju sviju elemenata koji su do nje doveli, kao i u posljednjoj četvrtini onih koji su trenutno na snazi u razdoblju kad je možda potrebno ponovno isticati kako country glazba nikad nije bila samo skup nekih izlizanih klišeja kakvim je se u javnosti često (i još uvijek smatra), već da i u svojim načelno konzervativnim okvirima može poslužiti kao poligon za uključivanje progresivnih sastavnica ako samo poslušamo neke od njezinih najvećih talenata i obratimo pozornost što nam takvi imaju za reći. A takvih, kako Fairbanks ispravno tvrdi, i danas ima napretek.

(Hachette, 464 stranice, tvrdi uvez, lipanj 2024.)

[Dan · Rating 5 out of 5]

My thanks to NetGalley and Hachette Books for this advanced copy of this look at the rise of country music and the outlaws who played outside of the rules, and changed musical history.

I was a top 40 kid for a long time, so country music was not my thing. Maybe I would hear some when watching Waylon Jennings narrate the Duke Boys adventures in Dukes of Hazzard. Willie Nelson had a song on top 40, so I knew that, but he was also on Miami Vice as a Texas Ranger(?), and maybe I saw a movie on HBO. Kris Kristofferson was married to Barbra Streisand, at least that album cover made me think so, and was an actor of movies I didn't care about, until Blade, and later Heaven's Gate when I saw it in school. Johnny Cash was Johnny Cash, everyone knew Johnny Cash. Until I became more interested in music, these were just people, not influences, trailblazers who all got lost somehow, but with music, love and each other found their way back. Legendary outlaws who changed music, even as the industry tried to grind them down. Willie, Waylon, and the Boys: How Nashville Outsiders Changed Country Music Forever by Brian Fairbanks is a magisterial look at these men, the industry that tried to chain them down, their own destructive impulses, and the acolytes who continue to sing music that is more than about $80,000 trucks and craft beer, but about people, feelings and fears.

The book is broken into almost essay like chapters, starting with sections introducing our main players, Waylon Jennings, Kris Kristofferson, Johnny Cash, and Willie Nelson. Fairbanks start tat their beginnings, and shows that even though the men had different upbringings, in different locals, they shared more then a creative spark. All had problems with fathers, all had demons that seemed to be chasing them, all had problems with monogamy, and playing by the rules. All took on the persona of the outlaw, for some an easy role, for others maybe an acting game. All had pain that haunted them, Waylon Jennings especially for joking with his mentor Buddy Holly before Holly and the music died in a plane crash. All got messed over by their labels, some winning in different ways. They all had highs, career highs, and substance highs, and in everyone but Willie almost periods of being forgotten. Until the world noticed them again.

One of the best music books I have read. Not just a fascinating look at four talented musicians, but an examination of the country music industry and its many, many problems. There are a lot of talented performers discussed here, so get ready to blow the budget on some vinyl. Fairbanks has done an incredible job researching and interviewing so many different voices telling the story of outlaw country, and what being a musician in the country music business is like. This is not a hagiography in any way. Fairbanks is honest about these men, their foibles, affairs, law breaking, addictions, and sometimes poor career choices. Very few books, especially dealing with country music ever wants to be this honest. One gets a real feeling for these people, one not found in authorized memoirs or fawning magazine profiles. Fairbanks also goes into the alt-country scene, and even more into the racism that is present in country music, from Charlie Pride having to apologize to his fans for being darker than they expected to many of the arguments that Beyoncé is hearing today. Women also are given a voice, with extended profiles of many who were influenced by the writing skills of these outlaw singers.

The writing is really good, a nice you are there feeling that never bogs down, never loses its focus, and even better like the songs these people sing is honest. One of the best books on music I have read. Incredibly interesting, with a warts and all telling that makes these men seem real and not musical gods. For anyone who like music this is a great book, and would make a great gift for Father's Day. Or a late Mother's Day, especially if one were to toss in a few albums.

[Michael · Rating 3 out of 5]

An odd book to assess. For the most part, any given chapter was pretty interesting and enlightening, but taken together, the book is a mess. First of all, Fairbanks simply attempted to tackle too broad a subject - as a history/biography series of the Highwaymen (Willie Nelson, Johnny Cash, Waylon Jennings & Kris Kristofferson), the book is fairly effective. Those chapters are engaging reading with lots of interesting information (although other reviewers here have called some of his research into question).

However, it lays out its mission in the introduction - stating that there are two distinct and separate version of "country music," and there is almost no overlap between them. Fairbanks is correct in that assessment, and later in the book, he spends several chapters chronicling today's "alt-country" or "Americana" music field (I dislike most genre labels entirely, but I guess they're necessary to talk about how certain styles of music change and relate to their culture), trying to connect its spirit of independence back to the Highwaymen's battles to make music on their own terms. And there's a great story there, but Fairbanks doesn't tell it. The snippets we get of current artists are very cursory, and the line between the Highwaymen legacy to the current group of independent-minded country(ish) artists is muddied because - quite frankly - Fairbanks doesn't dig deep enough. Yes, Willie, Johnny, etc. laid much groundwork for today's independent musicians, but that groundwork is so immense and so deep that he misses far too much of it. Dylan is acknowledged repeatedly, but very little to any mention of The Band, The Byrds, Neil Young, Gram Parsons, the Rolling Stones, etc. bridging rock and country and folk and blues to show how diverse styles connect. No acknowledgement of Dolly, Emmylou, Tammy, etc. carving space for women. (Apparently that never happened prior to the Highwomen, who are lovely and continuing a vital and important fight.) No Rodney Crowell, Rosanne Cash, Steve Earle, etc. and more pushing for more independence. No Townes, Guy, Prine, etc. pushing the importance of songwriting itself. No REM or Nirvana or any of the great indie/college rock bands of the 80s and 90s carving further space for creative freedom.

Point being, NONE of this happens in a vacuum, right? Fairbanks' narrative is so streamlined and so straight that it devalues the entire conversation. To read this book, it's a perfectly straight line - Johnny=>Kris=>Waylon=>Willie=>Highwaymen=>Uncle Tupelo (admittedly, I've always strongly disliked this band and all its spinoffs, so it's not a throughline that strikes an emotional chord in me)=>DBT=>Jason/Sturgill/Stapleton/Brandi/Shires.

(And honestly, only one, barely even off-hand reference to Lucinda Williams, the greatest songwriter and singer of them all, after her decades of striving to make her music on her own terms? I guess the Uncle Tupelo crew were the only ones who'd learned from the Highwaymen in the 90s. Sorry also to the Jayhawks, Mavericks, Old 97s, etc.)

So look, you can read this book. It has some value, but I recommend sticking to the Highwaymen biography chapters and flipping past the rest of it. Those four men had some interesting lives and fought some hellacious demons (internal and external), and it never hurts to learn a little about them. And they each made some great, great music.

[William Harris · Rating 4 out of 5]

When I first saw the opportunity to review an ARC of Brian Fairbanks' "Willie, Waylon, and the Boys: How Nashville Outsiders Changed Country Music Forever" to be published this Spring by Hachette Books (who graciously provided me with the ARC), my early life growing up with a mom and dad who had, briefly, run a dance hall in deep South Texas came flooding back to me. I grew up with photos and stories of many of the people who populate this book, and I couldn't escape the legacy of Country Western Music even if I wanted to (I don't). The well researched and deep understanding of his material that the writer brings to this work makes it a delight to anyone with even a passing interest in the oversize egos and wild lives that have characterized this genre of music. The author takes as his starting point, what has been described by one American singer Songwriter as "The Day the Music Died," the plane crash that took the life of Buddy Holly at the height of his powers, and then focuses principally on the careers of Waylon Jennings (who was supposed to be on that plane), Willie Nelson, Johnny Cash and Kris Kristofferson from the 1950's into the 21st century. Along the way he focuses on the oft examined "Outlaw" movement and what it meant to the studios in Nashville and the artists they tried to manage and manipulate. Of course, the author is familiar with many of the other luminaries in this and other genres of music who also played a role in events from Bob Dylan to a variety of rockers and gospel singers. It is a surprisingly textured and nuanced look at things although I find the later chapters, with their increased emphasis on deeply controversial features of our modern culture, far less interesting, primarily because of the ideological stance of the author, but this in no way negates his accomplishment in examining in depth an important feature of our modern culture much of which is seldom explored in a more than superficial manner. This book is well worth the read for anyone who ever wondered about what goes on behind the curtains of the music industry. I have no hesitation in endorsing it; it belongs in every library and on the shelves of many fans who have often wondered about the lives of the men and women who dominate the Country Western genre.

[Peter Smith · Rating 4 out of 5]

I'm totally in the tank for anything Outlaw Country these days (although as I type this right now, Willie Nelson is playing 37 miles from my house and I am here loathe to leave the air conditioning so feel free to call me a fraud if you want) so when I surprisingly saw this in a used bookstore having only been released last year, there was no hesitation in buying it. I'm always fascinated that Waylon Jennings started out in Buddy Holly's band and gave up his seat to Holly in his fatal plane crash. Somehow, Jennings came out of that and became with Cash, Willie, Kristofferson, and many others not mentioned or glossed over in the book, the founders of the Outlaw Country movement. There were a lot of interesting facts like how Nelson was instrumental in helping rednecks and hippies come together after a lot of initial violence. And Bob Dylan telling the story of attending one of Buddy Holly's last shows is so mesmerizing that it makes the book worth it just for that story. If it had focused more on things like those, I would have given it 5 stars. But after a chapter about The Highwaymen coming together, the book mostly fast forwards to the current day to talk about outlaw-inspired artists like Chris Stapleton, Brandi Carlisle, Jason Isbell, Kacey Musgraves, and (my personal favorite and the one I think is the most direct spiritual successor) Sturgill Simpson. Obviously you have to talk about the influence the outlaw movement had on today's country scene, but about 3 of the 13 chapters are devoted to long clumsily-connected profiles of these new artists. The book comes around to the original 4 at the end, but I would have preferred their stories be told first and then their influence could have been discussed with fewer bloated examples. Also, there were very few mentions of Steve Earle and others (I don't believe Townes Van Zandt was even mentioned!) who were very much a link in the chain from the outlaw days to today's Americana/alt-country/whatever you want to call it. Nevertheless, if you're interested in the music, this is a good read.

[Jeff · Rating 5 out of 5]

Well Researched Book Does Exactly What The Description Says It Does. You know how at times you read a book's description and then you read the book and you want to know what the writer of the description was smoking when they wrote it and if you can have some of it, because the two were *nothing* alike? Yeah... this isn't that book.

Here, you get *exactly* what the description (at least as of the writing of this review in the pre-dawn hours of May 12, 2024 along Florida's Atlantic Coast) tells you you're going to get: A well documented historical look at the lives of the Highwaymen - Waylon Jennings - where the narrative starts on the fateful night that he missed the plane on "The Day The Music Died" -, Willie Nelson, Johnny Cash, and Kris Kristofferson. We see each of their origins, we see how their careers progressed individually, and we see the fateful moment they all came together for a few legendary years. And in the end, we see how their lives and their music have impacted Country Music through the years, with a particular focus on 2010-current alt-country / Americana acts like Chris Stapleton, Jason Isbell, Shooter Jennings, Brandie Carlisle, and others. Again, exactly what the description says we're going to get.

Overall the writing is well done - there's a lot of facts and a lot of quotes, but it never really feels like dense academic oriented text or a philosophical treatise, while still not being quite "conversational". Yes, the focus on certain acts and the clear derision of others in the end is perhaps quite divisive - even much of the "Bro Country" the author clearly despises cite many of the Highwaymen as direct influences, and yes, it can be heard in their sounds as well - but again, we knew from the description which modern acts this text was going to highlight. So take that as you will and make your choice to read or avoid this text knowing exactly that - you know up front exactly where this is going.

Very much recommended.

[Jacquelyn Dohoney · Rating 5 out of 5]

I’ve been looking forward to this book for a few months now and I’m so excited I got the chance for an advance copy! I grew up listening to the Highwaymen. I listened to that tape (yes, tape) until the tape was completely stretched out. Say what you will about country, but there’s no doubt that those men had immense talent. They truly did pave the way for music as we see it today. I’ve also been lucky enough to see the products of the change they created in the industry by attending the Outlaw Country Cruise. I met tons of bands on that cruise and had a great time. I should probably add that I did it sober too, in case there is a question. It was really great to see the history of such music icons and how they have paved the way for other music innovators like Chris Stapleton, Colter Wall, and Ryan Bingham. I’ve seen all of them before and will be seeing more of them throughout the year. This book made me feel like I was a fly on the wall watching history happen. There was only one small part I could have done without. There was about a five page section that got very political, so I just skipped those pages. Obviously, at my age, I’m not blind to the fact that music can be very political. However, I don’t care what a musician’s political leanings, or race for that matter, are. And to be honest, I’m so sick of it being shoved into every part of life. I just wanted to read about an iconic time in music history. Other than that though, this book was a great addition to my collection. I’m actually purchasing it for my husband. And don’t be scared off by the high page count! 25% of it is the Works Cited!

Huge thanks to Hachette Books and NetGalley for sending me this ARC for review! All of my reviews are given honestly!

[Joe · Rating 3 out of 5]

I received a digital ARC of this book from NetGalley in exchange for a fair review.

This book was a bit of an odd read. The author did lots of research, conducted a lot of interviews, and demonstrates a deep level of knowledge about the main singers, but I still finished it feeling like it was a surface level telling of the Outlaw country movement. I never felt like I got anything about beyond platitudes about Willie, Waylon, Kris, and Johnny and their impact. A typical comment read like gushing fanhood, instead of a deeper look at what they changed. Brief mentions of "real life" or authenticity were interspersed, but not many deep looks into what specifically changed. There were several mentions about their willingness to buck Nashville recording procedures, or how much they hated the suits on Music Row, but it never felt like anything more than canned statements.

The chapters on current Outlaw musicians (and truthfully, the main musicians) sometimes veered into what felt like a list of facts, instead of a story. Very few people in this book felt real, despite the fact that they are all real people. Again, it's not like their wasn't a lot of information. That's some of my favorite parts of the book - I felt like I learned a lot of factoids, but didn't feel like I learned who these people are, or the importance and impact of the Outlaw movement. I read it excited to buy a copy for my brother after it came out, now I'm wondering if I will.

[Ryan Laferney · Rating 3 out of 5]

Great subject, but a bit over the place. The book essentially recounts what lead up to the outlaw country movement, surveying the careers of each of the Highwaymen - all of which who could be considered outlaws in their own way. The book then goes into a brief history of alt-country and the new stars of the independent country music scene - looking at the careers of Wilco, Isbell, Simpson, Carlile, and Shires (and Carlile and Shire's own supergroup, Highwomen). The book could of used a bit more focus in some of the later chapters -as I feel the author didn't do a good job at really articulating just why the independent country music scene has exploded the past 10 years or so, and I would have liked to read a bit more about that. Some important artists were mentioned in the end, like Charley Crockett and Jesse Daniels, but Fairbanks doesn't spend a ton of time on them.

In my mind, this is two books - one is the history of the members of the Highwaymen. The other book is about the resurgence of outsider country artists like Jason Isbell, Brandi Carlile, Sturgill Simpson, Margo Price, etc. But because these two subjects are merged, the last bit of the book feels rushed and a bit unfocused.

Still, I enjoyed reading this - I just can't help but wonder how it could have been an even better series of books!

[Elena · Rating 3 out of 5]

Deeply sourced nonfiction is a bit of a double edged sword. Tons of quotes! Tons of stories! Unfortunately these quotes and stories often feel a bit cobbled together, with prose that ranged from genuinely moving to noticeably corny. As a result it took me a long time to read. Editing, I think, is a major culprit here; why is Allison Russell mentioned on one page (in the context of the Highwomen) and then mentioned with biographical information on the next page? If you are an author stringing together smaller snippets of writing, this of course happens, but it should have been caught in editing. This sort of issue pops up repeatedly, as does the disjointedness of the narrative, which purports to be about the OG and rebirthed outlaw country and the race/gender/sexuality diversification of country in the last decade or so, but in reality kind of meanders, to the point where we're yanked from COVID to Johnny Cash's death in the space of like 1.5 chapters.

I may also not be the PRIME target audience for this book, as someone who knows a decent chunk of this already (like...most of it). So, grain of salt. My wife really liked it; I thought it was mid. (Lesbianism!)

[Katy Huggins · Rating 4 out of 5]

This book is in my wheelhouse.

I grew up listening to Outlaw Country with my grandparents and getting this inside look at its inception and legacy really hit me with all the feels.

Brian Fairbanks takes the reader back to before outlaw country was a thing--- to see the motivations and moments that led Waylon, Willie and the boys to take that leap into creating their own brand of content. From making what could be inside baseball moments with recording studios and producers entertaining to showing us the depths that addiction drove these men to at points in their journey-- the reader gets the full gamut of the ups and downs of changing the music scene.

I loved getting a closer feel of Waylon and Willie and Kris and Johnny. The anecdotes helped give humanity to the larger than life Highwaymen I grew up listening to on the radio.

I also really enjoyed the final few chapters. Fairbanks explores their legacy in ways that I hadn't thought about and it helped the book come full circle.

[Greg Hartley · Rating 2 out of 5]

My first nonfiction book of the year and I was excited to get into this one due to the subject matter.

Unfortunately, I feel that the book had quite a lot of information and needed some editing to really get the author’s thoughts across.

The footnotes also were quite confusing at first and took a while to get the hang of. I think numbers would’ve been much better.

I think that a lot of the stories and artists mentioned were what kept me from DNF’ing this book. The sections of the book that intrigued me the most were probably the two chapters prior the the final chapter that divulged into the modern era of “alt-country” and the importance of the formation of the Highwomen.

Overall I think this book had some positives and wouldn’t be opposed to reading some future work of the author, granted with a proper visit to the editor.

2/5 Stars

[Dale Dewitt · Rating 3 out of 5]

This book was very well researched but let me feeling let down. I felt there was too much emphasis on the what the author calls "The New Highwaymen" and did not focus enough on the lives of the actual Highwaymen. It was as though not much happened in their lives in the 90s right up until Johnny Cash died, but Kris and Willie are still around but no mention of what they are up to now or their thoughts on the next generation. The author pre-supposes that I already know the amazing exploits of Sturgill Simpson when i dont even know why he is relevant to this book. While the author name-checks interviews in the acknowledgments many of the quotes from the "main characters" seem to be re-hashed from archival material with little added to that with ne material

[John Schorg · Rating 4 out of 5]

In case you ever wanted as complete a list as possible of all the wild shit that has happened in the lives of Willie Nelson, Waylon Jennings, Kris Kristofferson and Johnny Cash, well, here is your encyclopedia. That alone makes this a highly entertaining read. Just off the top of my head, I'm thinking about the guy who loses his marbles after a spider bite and ends up watching an orgy with Waylon, the car accident that nearly cost Faron Young his tongue, and Kristofferson shutting up Toby Keith. The rest of the book is familiar if you've read any stories about a plucky band of outsiders who have succeeded battling the corporate types who run Nashville music.

[Robin · Rating 3 out of 5]

Interesting stuff, but the organization was less than clear. The stories go back and forth in time, and people pop up - such as the assorted spouses of these men - not always with sufficient explanation of who they were and exactly how they fit into the overall story.

It’s hard enough to keep track of one complex, messy life, but Fairbanks takes on Willie Nelson, Waylon Jennings, Kris Kristofferson, and Johnny Cash, plus others, and the subject gets away from him.

It’s interesting stuff, and though I already knew a fair amount about these people and the period, I learned more. So, worth it, pretty much.

[Joe Goss · Rating 3 out of 5]

The first 60% and last 10% of this book is great, the other 30% of this book is utter dog shit that is nearly impossible to trudge through.

Reading the stories of how Waylon, Willie, Johnny Cash, and Kris Kristofferson became who they were was incredibly fascinating. But then the book starts just name dropping unknown modern musicians for 150 pages; thinly tying them into the book because they aren’t part of corporate Nashville (well, neither am I, yet I shouldn’t be mentioned in the book).

The good parts of the book (Waylon, Willie, Cash, Kristofferson) brought back a lot of memories of what their music meant to me.

[Joe Besserfan · Rating 2 out of 5]

Brian Fairbanks' "Willie, Waylon, and the Boys: How Nashville Outsiders Changed Country Music Forever" ended up being a disappointment to me. I did learn some things that I didn't know about Willie, Waylon, Jonny Cash and Kris Kristofferson but I wanted to learn more. Fairbanks spends at least a third of his book talking about other artists (none of whom I care about). Another problem I had with the book has to do with Fairbanks himself. Many times I had the feeling that he doesn't like Willie, Waylon, Cash and Kris. In fact, I'm not even sure Fairbanks likes country music in general. At least that's the feeling I was left with. That said, "Willie, Waylon..." goes down as an okay read.

[Willie · Rating 3 out of 5]

I've always had a casual love of 'outlaw' country because I'm named after one of the Highwaymen. I picked up this audiobook for a road trip with my family cause I thought it was something we could all enjoy. For the first two thirds of this book it was a perfect time filler, then the last third kind of went off the rails. The narrative got away from Willie, and Waylon, and the boys and started following the obscure offshoots of modern country in a way that felt disjointed and unrelated to the first two thirds of the book. The book had some great information but I can't say I can easily recommend it to anyone.