Headquarters rejuvenated the singer. His popularity in Austin soared as he played his own brand of music that was a blend of country, folk, and jazz influences. Nelson had felt creatively hamstrung by RCA's strict recording practices and frustrated at not being permitted to use his touring band in the studio. In 2015, Nelson remembered his move to Austin: "I liked this new world. It fit me to a T. I never did like putting on stage costumes, never did like trim haircuts, never did like worrying about whether I was satisfying the requirements of a showman. It felt good to let my hair grow. Felt good to get on stage in the same jeans I'd been wearing all damn day.” During a trip to Nashville, Tennessee, Nelson attended a party in Harlan Howard's house, where he sang the songs that he had written for the album Phases and Stages. Another guest was Atlantic Records vice-president Jerry Wexler, who previously had produced works for artists such as Ray Charles and Aretha Franklin. Wexler was interested in Nelson's music, so when Atlantic opened a country music division of their label, he offered Nelson a contract that gave him more creative control than his deal with RCA. When Nelson asked Wexler if he was worried about the music not being commercial, Wexler replied, "Fuck commerce. You're going for art. You're going for the truth." In his autobiography Nelson later recalled, ""I'd never heard a record man talk that way. On the spot, I decided that Wexler was my man." When Nelson was released from his RCA contract, he signed with Atlantic for US$25,000 per year, becoming the label's first country artist. Recording The recording sessions took place in February 1973. Wexler provided Nelson and his band with a studio in New York City, where most of the recordings were produced. Additionally, parts of the album were recorded in the Quadraphonic studios in Nashville, as well as in the Sam Phillips Recording studio in Memphis. Doug Sahm and his band were also invited to the New York sessions. During the first session, Nelson recorded the songs for The Troublemaker. Later, he proceeded with Shotgun Willie. Wexler had encouraged Nelson after singing the gospel album to start with the new one, to couple old material with new, and covers. He initially recorded twenty-three tracks along with his and Sahm's band, but Nelson still was