In Binghamton, no such dramas occurred: the night had the approximate tension of a visit from a roguish uncle, which is roughly the role Nelson plays to many Americans. But every so often there was a flicker of real fire: when his clearly blessedly unarthritic fingers took flight across that eroded fretboard on Tom T Hallโs โShoeshine Manโ; when he found some grit in his genial growl on a medley of Hank Williams songs; when he unloaded his โAlways On My Mindโ, still the best version, trumping the self-regarding bombast of Elvis Presleyโs version with something that sounds much more plausibly like a heartfelt, rueful dispatch from the doghouse.
He took his bow after another Williams song, a rousing โI Saw The Lightโ, and was gone without an encore. Shortly after, people report seeing Nelsonโs tour bus leave: on the road again, another nightโs mobile sleep, guitar tucked in alongside him.
Trigger is one of the most important instruments in the history of American music. Dozens of immortal songs have been written on it, and it has accompanied Nelson throughout the assembly of a catalogue which has shifted more than 50 million albums and made Nelson one of country musicโs truly canonical figures. Were Nashville ever to sculpt a Mount Rushmore of its own, heโd be a certain starter, alongside Hank Williams, Johnny Cash and Merle Haggard.
โTrigger is about 50 years old,โ he says. โI had a Baldwin guitar, and I was playing a show in San Antonio and some drunk stepped in it and busted it. I sent it to Shot Jackson in Nashville, who had a music store, and asked him if he could fix it. He said, โI canโt fix it, but I got a new Martin up here I can sell you,โ and I said OK. Bought it sight unseen, off the shelf. Paid $750 for it. A lot of money 50 years ago.โ
Nelson replies to most questions in this manner. His entire career, at least as he prefers to present it, has been a sequence of benefactors suggesting things, and him blithely agreeing to them. Itโs true of the Binghamton show: โThe booking agencies just send you around wherever.โ Itโs true of his fine new album, Country Music: โT Bone [Burnett, producer] put all the songs together. I only bought one to the session which was [Nina Simoneโs] โNobodyโs Fault But Mineโ. Why that one? I got no idea. I just really like singing it.โ And, when heโs pressed, itโs even true of the song that first marked him out as something other than another Nashville wannabe.
โIโd just gone to Nashville,โ he remembers, โand I was hanging out in Tootsieโs one night. Tootsieโs had already let me put my version of โCrazyโ, which Iโd recorded in Texas, on the jukebox โ so Iโd already made the big time, you know โ Iโm in Nashville getting my record played in Tootsieโs! Charlie Dick, Patsy Clineโs husband, was in there, and heard the song, and said, โPatsy needs to do that song. Letโs go play that for Patsy.โ I said well, okay, but itโs midnight. He said no matter, weโd wake her up. We had been drinking a lot. So we went and Charlie woke Patsy up, and she came out to the car and got me โ I didnโt want to go in. So I went in and sang her โCrazyโ, and she recorded it the next week.โ