The first-ever book to cover the history of the renegade Outlaw
country music movement from its beginnings in the 1970s to its
resurgence today, "Outlaws Still At Large " draws from the author's
interviews with current artists to reveal a rich, vibrant music
scene beneath the mainstream Nashville gloss, while it shows the
trials and adventures of life on the road. Hamilton traveled more
than 20,000 miles with the Outlaws to get his story, and in the
end, the music changed his life. One of the Outlaws, Shooter
Jennings, who is the son of 1970s Outlaws Waylon Jennings and Jessi
Colter, says about Hamilton and this book: "Besides his insanely
neurotic attention to detail, or his relentless obsession with
perfection, Neil is someone who cares very deeply for music and
art. He cares so deeply that he's willing to spend as much time as
he finds necessary to do this right, to do it true, and do justice
to the thing he loves and protects with such grace and dignity. He
is, like us, a warrior." Hamilton begins with a historical
background to the rise of country music and the Outlaw movement,
before offering five chapter profiles on prominent Outlaws from the
1970s: Waylon, Willie Nelson, Billy Joe Shaver, Johnny Paycheck,
and David Allan Coe. He then shows how the 1970s Outlaw movement
faded, how Nashville pop regained its crown, and how the current
Outlaw movement has emerged. From there he presents chapter
profiles on 15 current artists, including Shooter, Blackberry
Smoke, Elizabeth Cook, Dallas Moore, Jackson Taylor, Jason Boland,
Lydia Loveless, Whitey Morgan, Wayne Mills, Joey Allcorn, and
Hellbound Glory. The book concludes with a look at the promoters
behind the Outlaw scene and the emergence of Outlaw music on
SiriusXM radio. Hamilton found that there's really no one Outlaw
musical form. Some of the artists are most heavily influenced by
Hank Williams, others by Elvis Presley, or by the 1970s Outlaws, or
by Southern rock, or even punk rock. Yet, beneath this diversity
and creativity, there remains a central attachment to country's
roots and to the belief that music should be created primarily for
the heart and not the wallet-even if it means many a hungry night
in a low-pay honky tonk. If readers bathed in music history get a
feeling that Hamilton formatted the book in word similar to the way
that Willie Nelson formatted his path breaking album "Red Headed
Stanger" in music, they will be right on the mark. That structure
is meant to convey the continuing link between country roots past
and present and the continuing belief that country music based on
sincerity still has something to say in a society awash with
shallow forms and fleeting moments.
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