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Ol' Waylon

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Editors’ Notes

By 1977 Waylon Jennings was a grizzled elder statesmen — he had won equal recognition in the realms of rock and country, and virtually founded Outlaw, the movement that united those two worlds. Ol’ Waylon shows that Jennings had become his own genre. Certainly the songs here aren’t country in the traditional sense. “If You See Me Getting Smaller,” “Belle of the Ball” and “Till I Gain Control Again” pursue a brand of low-glow barroom balladry patented by Waylon. On the other hand, “Lucille,” “This Is Getting Funny (But There Ain’t Nobody Laughing)” and the singer’s “Medley of Elvis Hits” are galloping dancers, more rock ’n’ roll than country. Both sides come together on Waylon’s cover of “Sweet Caroline,” in which the able-voiced outlaw turns Neil Diamond’s sunny pop hit into a windswept roadhouse waltz. The album’s centerpiece is the steady-rolling ballad “Luckenbach, Texas (Back to the Basics of Love),” which features Willie Nelson and presages the pair’s impending full-length collaboration. More importantly, the song shows that Waylon could sing a sentimental song without making it sugary — a rare ability.

Customer Reviews

One of my very favorite Waylon albums

Probably one of my most-listened to albums of 1977 (besides Fleetwood Mac's Rumours and Linda Ronstadt's Simple Dreams). Not a weak cut among them, AWaylon was in great voice, too.

Best Waylon ever!

Fell in love with this Waylon collection by listening to it on an 8 track tape in the year 2007!!

Waymores outlaws

It doesn't get any better than this album!!!!! Waylon at his best!


Born: June 15, 1937 in Littlefield, TX

Genre: Country

Years Active: '50s, '60s, '70s, '80s, '90s, '00s

If any one performer personified the outlaw country movement of the '70s, it was Waylon Jennings. Though he had been a professional musician since the late '50s, it wasn't until the '70s that Waylon, with his imposing baritone and stripped-down, updated honky tonk, became a superstar. Jennings rejected the conventions of Nashville, refusing to record with the industry's legions of studio musicians and insisting that his music never resemble the string-laden, pop-inflected sounds that were coming...
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