这场风暴的中心人物是Willie Nelson。1968年时，纳什维尔对他那较新的更多个人化的尝试的音乐的排斥，使他很沮丧。Nelson由此离开纳什维尔，到了德州（Texas）的奥斯汀（Austin），在那里他开始了一年一度的音乐会，并吸引了其他一些相似的当时不被注意的歌手，作曲人如Waylon Jennings和Kris Kristofferson等。
Outlaw Country was one of the more significant trends in country music in the '70s. During that decade, many of the most popular hardcore country singers of the '60s — from George Jones to Merle Haggard — softened their sound slightly, moving away from their honky tonk roots. While the outlaws weren't strictly honky tonk — they were as much storytellers in the tradition of folk songwriters as they were honky tonk vocalists — they kept that spirit alive. Outlaws didn't play by Nashville's rules. They didn't change their music to fit the heavily produced, pop-oriented Nashville sound, nor did they go out of their way to fit into the accepted conventions of country music. Instead, they created an edgy form of hardcore country that was influenced by rock & roll, folk, and blues. Ironically, two of the leading figures of the movement — Waylon Jennings and Willie Nelson — had their roots in the music industry, but by the time they came into their own as recording artists in the mid-'70s, they had developed a unique, defiant way of performing. Several other musicians — including David Allan Coe, Billy Joe Shaver, and Tompall Glaser — followed in their footsteps, and the outlaws were quite popular for a period of three to four years. At the end of the '70s, the urban cowboy movement easily eclipsed the outlaw movement in terms of commercial appeal, but the outlaws had a lasting influence. During the '80s, certain neo-traditionalists owed a bit of their sound to the outlaws, while a whole breed of songwriters, led by Steve Earle, demonstrated a massive debt to the outlaws and their fusion of country, folk, and rock.
|01||Always on My Mind||Willie Nelson||03:28|
|03||Blue Skies||Willie Nelson||03:34|
|04||Love Me Like a Song||Kimmie Rhodes||03:41|
|05||Luckenbach, Texas (Back to the Basics of Love)||Waylon Jennings||03:15|