WaylonandWillie.com
The official website of Waylon Jennings and
the official website of Willie Nelson Friendship
The official website of Waylon Jennings and
the official website of Willie Nelson Friendship
Waylon and Willie Music
This was the first official collaboration between Waylon and Willie. This was Waylon's idea. He was a marketing genius and felt like if he could package himself, Jessi, Willie and their buddy Tompall Glaser as a bunch of 'Outlaws' people might pay attention. This was THE breakthrough album for all their careers. The man was a marketing AND a musical genius. He created an entire new musical genre by compiling a best of record. Enjoy these videos that I've found online. The beauty is - they are all here in one spot. Plus, I pick ones with old photos that people have added. Enjoy these for now.
T for Texas - Tompall Glaser
Put Another Log on the Fire - Tompall Glaser
The Original:
My Heroes Have Always Been Cowboys (Waylon)
Honky Tonk Heroes (Waylon)
I’m Looking For Blue Eyes (Jessi)
You Mean to Say (Jessi)
Suspicious Minds (Waylon & Jessi)
Good Hearted Woman (Waylon & Willie)
Heaven And Hell (Waylon & Willie)
Me And Paul (Willie)
Yesterday’s Wine (Willie)
T For Texas (Tompall)
Put Another Log On the Fire (Tompall)
The Lost:
Slow Movin’ Outlaws (Waylon)
(I’m A) Ramlin’ Man (Waylon)
If She’s Where You Like Livin’ (You Won’t Feel At Home With Me) (Jessi)
It’s Not Easy (Jessi)
Why You Been Gone So Long (Jessi)
Under Your Spell Again (Waylon & Jessi)
I Ain’t the One (Waylon & Jessi)
You Left A Long, Long Time Ago (Willie)
Healing Hands Of Time (Willie)
The New:
Nowhere Road (Waylon & Willie)
The Liner Notes from this album include the notes from the original 1976 release, in addition to the following:
What a scene one recent night in February of 1996: magical guitar notes echoing out of a music row studio, Willie Nelson’s big tour bus “Honeysuckle Rose II” idling out in the alley, and in the studio, a regular rogues’ gallery of music legends.
There’s Dan Penn, who wrote such classic songs as “Dark End Of The Street,” resplendent in blue overalls and gimmie cap. Sitting beside him on the couch is Don Fritts, the renowned “Alabama Leading Man.” Kim Carnes just strode in and is saying hello to Willie’s harmonica player, Mickey Raphael.
Puffing away on a cigarette and sipping from a can of Dr. Pepper in the control room is the hyperactive Steve Earle, his eyes hidden behind black shades. Advancing on the microphone are the two main players in this drama, outlaws legends Willie Nelson and Waylon Jennings. They’re beginning to look like figures from Mount Rushmore: ragged and worn from the years, but looking more and more majestic.
Willie’s gimmie cap faces forward; Waylon’s is turned backwards. Earle, a true son of outlaw, bounces into the room, saying to Willie and Waylon, “If y’all have heart attacks at the same time, ten we’re set.” Willie and Waylon laugh at this bit of nonsense and turn their attention to lyric sheets for Earle’s song “Nowhere Road,” that they’ve decided to cut to add to the re-issue of “Wanted: The Outlaws,” their epochal album that revolutionized the world of country music. Earle is producing this session, at least in name, because no one really produces Waylon and Willie. By now, they’re just like forces of nature: natural and uncontrollable.
“You got any idea how to split it up Steve?” Willie asks, knowing all the while that he and Waylon will figure it out during the first take. Earle makes a suggestion and heads for the control room: “Let’s saddle up, everybody! It’s in A-flat, the people’s key. My body’s in G.”
They run through one take, those grizzled old voices as beautiful as ever. After a playback, Waylon grumbles, “I think we one better take in us. We have kicked the asses of writers and singers who have done less than that.” After another take, Willie grins impishly and says, “That was perfect! Let’s do one more.”
“That’s what Chet Atkins always used to say,” Waylon laughs.
Another magical take, and Earle comes in to hear the playback. “You know, Willie,” he says, “I saw you play the Silver Dollar in Pasadena before all these things changed with outlaws, especially in Texas. Half the people there wanted to dance and a bunch of hippies came in and sat down in front and just wanted to listen. One of the dancers kicked one of the hippies and it started to get ugly. Then, you stopped the show and said, ‘There’s room for some to sit and there’s room for some to dance.’ I liked that.” “Yeah,” Willie smiled, “I guess that’s part of what we did.”
They did that and more. That Outlaws record did a lot of things: it brought forth a young generation like Steve Earle; it blew the lid off the conservative country music establishment in Nashville; it introduced a vibrant new strain of country music to the world; and, it pushed the envelope of social and cultural worlds that country inhabits and informs. They showed there was indeed room for those that sit and those that dance.
Chet Flippo
Nashville Bureau Chief, Billboard Magazine
Title: Wanted: The Outlaws
Waylon Jennings, Willie Nelson, Jessi Colter, Tompall Glaser
RCA Records: APL1-1321, January 1976
Original Liner Notes:
It’s unfortunate that there still has to be a sampler, or primer, or golden book of some of the best singers working anywhere, but apparently not everyone has gotten the message yet. Maybe this album can introduce you to some people you would have liked to have known sooner, but just didn’t have the opportunity to meet.
These are some special people, very special. They’ve been waiting in the wings for years, too many years, to assume their proper places in the structure of American music. When it became apparent to them that their proper places wee perhaps being unduly delayed because of certain resentments harbored against them because of their real and imagined unconventionality, they--by God--decided to take matters in their own hands. There resulted a rather difficult period of figurative doors being smashed and general confusion and namecalling in Nashville. When the smoke cleared and the fallout returned to Earth, there was effected a major shift in country music. “Progressive Country” (for want of a better term) was on the map, was here for good. And these are the people responsible for that. Call them outlaws, call them innovators, call them revolutionaries, call them what you will, they’re just some damned fine people who are also some of the most gifted songwriters and singers anywhere.
They are musical rebels, in one sense, in that they challenged the accepted way of doing things. Like all pioneers, they were criticized for that, but time has vindicated them.
Tompall Glaser was one of the first in Nashville to chart his own musical course and it was lonely for him for years, but now he is beginning to received the recognition due him.
Waylon Jennings, as the most visible of the progressive country pack, has been quietly fighting for years in his own way for acceptance. Both he and Jessi Colter (who, coincidentally, is also know as Mrs. Waylon Jennings) were authentically ahead of their time. Now, the times have caught up with them.
That streak of rugged individualism that is the unifying bond for these musical outlaws is nowhere more evident than in Willie Nelson’s life and times. Unquestionably one of the finest songwriters who ever lived, Willie was know for years only to other writers and to a slowly growing cult of followers. All that has changed now. “Miracles appear in the strangest of places,” Willie sings in “Yesterday’s Wine,” one of my favorites from his collection of remarkable songs. And that’s true. When I first started keeping track of Willie and Waylon and Jessi and Tompall, I (along with their other cult followers) felt almost responsible for them since they weren’t that well know to the public and the music industry as a whole didn’t like to acknowledge them. They didn’t wear Nudie Suits and their music didn’t conform to the country norm of songs of divorce and alcohol and life’s other little miseries. The only thing that worried me was that I knew these people were born scrappers and really loved fighting for acceptance. What would happen to them, I wondered, when they inevitably won (as I knew they would)? Would they, like so many who struggle just for the sake of the struggle, grow fat and lazy when they grew successful?
There was no need to worry. This past year, each of them has gotten better, writing better, and singing with a breathtaking confidence.
They’re the cutting edge of a brand of American music that I find the most satisfying development in popular music in the past decade. It’s not country and it’s not country-rock, but there’s no real need to worry about labeling it. It’s just damned good music that’s true and honest and you can’t ask for more than that.
Chet Flippo
Associate Editor, Rolling Stone
My Heroes Have Always Been Cowboys (Waylon)
Honky Tonk Heroes (Waylon)
I’m Looking For Blue Eyes (Jessi)
You Mean to Say (Jessi)
Suspicious Minds (Waylon & Jessi)
Good Hearted Woman (Waylon & Willie)
Heaven And Hell (Waylon & Willie)
Me And Paul (Willie)
Yesterday’s Wine (Willie)
T For Texas (Tompall)
Put Another Log On the Fire (Tompall)
The Lost:
Slow Movin’ Outlaws (Waylon)
(I’m A) Ramlin’ Man (Waylon)
If She’s Where You Like Livin’ (You Won’t Feel At Home With Me) (Jessi)
It’s Not Easy (Jessi)
Why You Been Gone So Long (Jessi)
Under Your Spell Again (Waylon & Jessi)
I Ain’t the One (Waylon & Jessi)
You Left A Long, Long Time Ago (Willie)
Healing Hands Of Time (Willie)
The New:
Nowhere Road (Waylon & Willie)
The Liner Notes from this album include the notes from the original 1976 release, in addition to the following:
What a scene one recent night in February of 1996: magical guitar notes echoing out of a music row studio, Willie Nelson’s big tour bus “Honeysuckle Rose II” idling out in the alley, and in the studio, a regular rogues’ gallery of music legends.
There’s Dan Penn, who wrote such classic songs as “Dark End Of The Street,” resplendent in blue overalls and gimmie cap. Sitting beside him on the couch is Don Fritts, the renowned “Alabama Leading Man.” Kim Carnes just strode in and is saying hello to Willie’s harmonica player, Mickey Raphael.
Puffing away on a cigarette and sipping from a can of Dr. Pepper in the control room is the hyperactive Steve Earle, his eyes hidden behind black shades. Advancing on the microphone are the two main players in this drama, outlaws legends Willie Nelson and Waylon Jennings. They’re beginning to look like figures from Mount Rushmore: ragged and worn from the years, but looking more and more majestic.
Willie’s gimmie cap faces forward; Waylon’s is turned backwards. Earle, a true son of outlaw, bounces into the room, saying to Willie and Waylon, “If y’all have heart attacks at the same time, ten we’re set.” Willie and Waylon laugh at this bit of nonsense and turn their attention to lyric sheets for Earle’s song “Nowhere Road,” that they’ve decided to cut to add to the re-issue of “Wanted: The Outlaws,” their epochal album that revolutionized the world of country music. Earle is producing this session, at least in name, because no one really produces Waylon and Willie. By now, they’re just like forces of nature: natural and uncontrollable.
“You got any idea how to split it up Steve?” Willie asks, knowing all the while that he and Waylon will figure it out during the first take. Earle makes a suggestion and heads for the control room: “Let’s saddle up, everybody! It’s in A-flat, the people’s key. My body’s in G.”
They run through one take, those grizzled old voices as beautiful as ever. After a playback, Waylon grumbles, “I think we one better take in us. We have kicked the asses of writers and singers who have done less than that.” After another take, Willie grins impishly and says, “That was perfect! Let’s do one more.”
“That’s what Chet Atkins always used to say,” Waylon laughs.
Another magical take, and Earle comes in to hear the playback. “You know, Willie,” he says, “I saw you play the Silver Dollar in Pasadena before all these things changed with outlaws, especially in Texas. Half the people there wanted to dance and a bunch of hippies came in and sat down in front and just wanted to listen. One of the dancers kicked one of the hippies and it started to get ugly. Then, you stopped the show and said, ‘There’s room for some to sit and there’s room for some to dance.’ I liked that.” “Yeah,” Willie smiled, “I guess that’s part of what we did.”
They did that and more. That Outlaws record did a lot of things: it brought forth a young generation like Steve Earle; it blew the lid off the conservative country music establishment in Nashville; it introduced a vibrant new strain of country music to the world; and, it pushed the envelope of social and cultural worlds that country inhabits and informs. They showed there was indeed room for those that sit and those that dance.
Chet Flippo
Nashville Bureau Chief, Billboard Magazine
Title: Wanted: The Outlaws
Waylon Jennings, Willie Nelson, Jessi Colter, Tompall Glaser
RCA Records: APL1-1321, January 1976
Original Liner Notes:
It’s unfortunate that there still has to be a sampler, or primer, or golden book of some of the best singers working anywhere, but apparently not everyone has gotten the message yet. Maybe this album can introduce you to some people you would have liked to have known sooner, but just didn’t have the opportunity to meet.
These are some special people, very special. They’ve been waiting in the wings for years, too many years, to assume their proper places in the structure of American music. When it became apparent to them that their proper places wee perhaps being unduly delayed because of certain resentments harbored against them because of their real and imagined unconventionality, they--by God--decided to take matters in their own hands. There resulted a rather difficult period of figurative doors being smashed and general confusion and namecalling in Nashville. When the smoke cleared and the fallout returned to Earth, there was effected a major shift in country music. “Progressive Country” (for want of a better term) was on the map, was here for good. And these are the people responsible for that. Call them outlaws, call them innovators, call them revolutionaries, call them what you will, they’re just some damned fine people who are also some of the most gifted songwriters and singers anywhere.
They are musical rebels, in one sense, in that they challenged the accepted way of doing things. Like all pioneers, they were criticized for that, but time has vindicated them.
Tompall Glaser was one of the first in Nashville to chart his own musical course and it was lonely for him for years, but now he is beginning to received the recognition due him.
Waylon Jennings, as the most visible of the progressive country pack, has been quietly fighting for years in his own way for acceptance. Both he and Jessi Colter (who, coincidentally, is also know as Mrs. Waylon Jennings) were authentically ahead of their time. Now, the times have caught up with them.
That streak of rugged individualism that is the unifying bond for these musical outlaws is nowhere more evident than in Willie Nelson’s life and times. Unquestionably one of the finest songwriters who ever lived, Willie was know for years only to other writers and to a slowly growing cult of followers. All that has changed now. “Miracles appear in the strangest of places,” Willie sings in “Yesterday’s Wine,” one of my favorites from his collection of remarkable songs. And that’s true. When I first started keeping track of Willie and Waylon and Jessi and Tompall, I (along with their other cult followers) felt almost responsible for them since they weren’t that well know to the public and the music industry as a whole didn’t like to acknowledge them. They didn’t wear Nudie Suits and their music didn’t conform to the country norm of songs of divorce and alcohol and life’s other little miseries. The only thing that worried me was that I knew these people were born scrappers and really loved fighting for acceptance. What would happen to them, I wondered, when they inevitably won (as I knew they would)? Would they, like so many who struggle just for the sake of the struggle, grow fat and lazy when they grew successful?
There was no need to worry. This past year, each of them has gotten better, writing better, and singing with a breathtaking confidence.
They’re the cutting edge of a brand of American music that I find the most satisfying development in popular music in the past decade. It’s not country and it’s not country-rock, but there’s no real need to worry about labeling it. It’s just damned good music that’s true and honest and you can’t ask for more than that.
Chet Flippo
Associate Editor, Rolling Stone
| Title:
Waylon & Willie
(RCA Records: AFL1-2686, January 1978) |
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Original Liner Notes: I have made serious mistakes before but probably the most serious was in underestimating the talents of a couple of ornery old coots by the name of Willie Nelson and Waylon Jennings. After the rest of the world finally caught up with their ornery music and finally started buying their records, I figured that what would probably happen would be this: Willie would sit at home with his grandkids on his knees and say things like, “Now, see this gold record? I got this for...” And waylon would retire to his mountaintop and become a burly recluse, coming into town once a year, on the day the new Cadillac hit the deals. Once a year they would appear on stage for a moment at the end of somebody else’s show and throw out a quick duet on “Good Hearted Woman.” In other words, I thought that success--as that high goddess usually does--would dry up the well. I should have know better, should have know that the two Godfathers of modern country music know a little bit better than I do what they are capable of, what they want to do, and what they think country music needs. What country music needs right now, I decided the minute I heard this album, IS this album. Some of the stuff that’s passing for country these days--no names needed, you and they know who they are--is nothing but a disgrace. I humbly submit that the world needs a lot more Willie & Waylon right now and a whole lot less of that other crap. I’ve not always approved of everything they’ve recorded, but when these two guys really crank it up, nobody--but nobody--can touch them. One listen to these songs made me a believer again. Willie & Waylon invoke the sheer beauty and power of real, honest country music as no one else does. It’s a cliché, but a cliché I firmly believe in
that wine,
women, and song are the only worthwhile things this
world
holds. And I’m very happy that Willie & Waylon are
again
taking care of the song department, for there are
times that
song is better than wine or women.
Song list:
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