“Whisperin’ Bill Anderson has been a member of the Grand Ole Opry since 1961. The iconic country singer-songwriter has released more than 40 studio albums and has reached No.1 on the country charts seven times with hits like “Mama Sang A Song,” “Still,” “I Get the Fever,” and “My Life (Throw It Away If I Want To).” Through it all, including being a television star, Anderson has learned to ride the wave and embrace change. 

The Country Music Hall of Fame, Georgia Music Hall of Fame, Nashville Songwriters Hall of Fame and Songwriters Hall of Fame is still challenged to write and record. Released in 2018, Anderson, is the Columbia, South Carolina born and Georgia-raised, artist’s staggering 72^nd album. Yes, 72. Anderson himself is 81 years of age. Between a robust touring schedule, with several appearances at the Grand Ole Opry, Anderson carved out some time to chat via phone. His career reflections not only felt as warm as the strings in his guitar, his advice and outlook are proof to his legacy and legendary status. 

With such a varied career and outside of the No. 1 hits aforementioned, Anderson has penned a slew of pivotal songs adamantly important to American history: “City Lights” (1958 chart hit for Ray Price), “Still” (James Brown recorded Anderson’s version in 1979), “A Lot of Things Different” (Kenny Chesney hit No. 6 with this on the Billboard Hot Country Chart in 2002),  “Whiskey Lullaby” (Brad Paisley and Alison Krauss recorded in 2003) and in 2006 the Academy of Country Music Song of Year, “Give It Away” co-written by Anderson and sung by George Strait (the song also claimed the 2007 Country Music Association Song of the Year). 

What is left for Anderson?

“I think about that from time to time,” Anderson said. “I’ve been so blessed. It’s just so hard for me to sit here and say, ‘Well, golly. I didn’t get to do this, or I didn’t get to do that.’ I’ve gotten to do so much more than I ever dreamed I would. I was just an average kid growing up down in Georgia in a very average family. Just getting on a jet plane and fly across the ocean, and getting to play Carnegie Hall in New York, and the London Palladium, and all these things. I don’t know what I’d put on my bucket list. I really don’t know.

“There’s some things I’d like to go back and spend maybe a little more time doing. In this business you travel, and you look out the window of the bus, you see a sign that says, ‘Grand Canyon, 10 miles’ and you think, “Gee, I wish I had time to see that.” But we got to get to the show.”

Anderson’s admits that one day he might just take the time off and go and see the places instead of just letting them pass him by. He said he finds inspiration everywhere. And, like most people, he has bills – writing songs is both a necessity and his outlook in life all falls back to music.

“I liken it to a painter,” he said. “…if an artist who paints wakes up in the morning and he looks out and he sees a beautiful blue sky and the sunshine and the clouds, maybe. And he paints with colors, I can’t draw a broomstick cowboy. But I could look at the same scene and write, ‘Oh, the sky is blue, and the sun is too,’ or something. 

“I just look at the world in terms of a song. People say things to me all the time that give me ideas. I get them out of real life, of course. I get them from movies, television shows, things people say, things I read…”

Sometimes an Anderson song interpretation has been just as impactful sung by another artist. James Brown’s version of “Still” tops Anderson’s list of appreciation. He also mentioned Aretha Franklin’s co-writing abilities on “I May Never Get To Heaven.”

“I appreciate an artist giving it his interpretation,” Anderson said. “If James Brown had recorded ‘Still’ just like I recorded…I say anybody can trace a picture, but it takes a great artist to paint one. When a Bing Crosby records one of my songs or these other people, it’s a great compliment that they like the song well enough. Then, when they take it and put their own stamp on it, that’s the ultimate compliment to me.”

It’s easy to compliment Anderson’s legendary career and it feels only natural to still reflect on the words that he first wrote as a 19-year-old while working at WJC-AM and the Ray Price hit in 1958, “City Lights.” “The cabarets and honky-tonks, their flashing signs invite / A broken heart to lose itself in the glow of city lights…they paint a pretty picture of a world that’s gay and bright/But it’s just a mask for loneliness beyond those city lights.” One might ponder the weight of these words on future musicians and aspiring songwriters. 

“I think if I could put that into one word, I  would say originality,” Anderson said, giving his advice to up-and-coming artists. “Be different. I’ll have people come to me all the time and in years gone by, and say, ‘I want to sing just like Johnny Cash.’ Well, go home and learn to sing like yourself. We’ve already got a Johnny Cash. If you’re going to write songs, don’t copy me. Don’t copy Tom T. Hall, don’t copy Tom Douglas, these great writers, Bobby Braddock, that are out there today. Figure out your own way and write and express your feelings and thoughts and try to do it in a way nobody’s done it before, because that’s the way you’re going to be successful.” 

Just as Anderson’s songs have been embraced for nearly 60 years, his own originality and longevity doesn’t seem to be slowing down. 

“I’m a stylist,” he said. “I do things my own way. As far as the songs, I’m just hoping that they will outlive me. If they do, I would consider that probably my greatest accomplishment.”