Review of Waylon Jennings’ album “Songbird” by Saving Country Music
Outlaw Country enthusiasts on the Country DDS (#580) have reason to rejoice at the release of Waylon Jennings’ album “Songbird.” There is a special thrill in discovering previously unreleased recordings from a beloved artist, a sensation that may soon be overshadowed as artificial intelligence technology advances, bringing about a future where our favorite vocalists’ voices are simulated to accompany us in a state of suspended animation. However, before we succumb to this bleak vision of the future, there is the present joy of experiencing Waylon Jennings’ unearthed songs, skillfully compiled by his son, Shooter Jennings, into an album that transports listeners back to the ’70s and ’80s era of Waylon’s musical prowess.
The ten tracks featured in “Songbird” offer a glimpse into Waylon at the height of his powers, complete with his signature half-time beat and resonant voice that feels fresh and vibrant even decades later. Shooter Jennings delves into the family archives to unveil these hidden gems, acknowledging that while these tracks may not have seen the light of day during their time, they possess a nostalgic allure that transcends the need for chart-topping hits. Songs like the title track, a rendition of Christine McVie’s “Songbird,” and Johnny Rodriguez’s “The Cowboy (Small Texas Town)” provide a window into the essence of the era and locale where they were recorded.
Each track on the album brings something unique to the table, from the quintessential Waylon sound in songs like “I’m Gonna Lay Back With My Woman” to the acoustic intimacy of “Wrong Road Again.” Shooter’s careful curation of the music and subtle embellishments maintain the authenticity of the original recordings, capturing Waylon’s essence in each note. While some songs like “I Hate To Go Searching Them Bars Again” may feel slightly off-key, others like the cover of Jesse Winchester’s “Brand New Tennessee Waltz” elicit a sense of epic grandeur by the final notes.
As the album progresses, listeners can trace an evolution in Waylon’s musical style, transitioning from the mid-’70s vibrancy to the ’80s-influenced tones in tracks like “I Don’t Have Anymore Love Songs” and his cover of Johnny Cash’s “After The Ball.” Despite the absence of Waylon’s songwriting on this release, the selection of songs holds a special significance, representing the tunes that resonated with him on a personal level.
While “Songbird” may not consist of Waylon’s chart-topping hits, it offers a valuable insight into the artist’s creative process and musical influences. Shooter Jennings’ meticulous approach to compiling these tracks ensures that each song retains its original charm while breathing new life into the archives of one of country music’s most iconic figures. Waylon Jennings may have left us, but through “Songbird,” his spirit and outlaw panache continue to captivate audiences, reminding us of the enduring legacy of a true musical legend.