Old 97′s and Waylon Jennings (EP Review)

The argument is often put forth – and not wholly without merit – that modern commercial country and western is an extension of rock music. The thinking goes that today’s c&w superstars craft songs that have much in common musically with “classic rock,” and that what they do to change it has more to do with lyrical subject matter and (real or affected) regionally accented vocals.

And while that may be true, those c&w acts aren’t exactly fishing in the deep end of the pond; record sales aside, The Eagles are few critics’ idea of an artistically valid musical aggregation. And while some might not have an affinity for more modern rock sounds (a la Nirvana and even newer groups), at least those artists were/are trying – if only fitfully – to do something new. No old wine in new skins for them. Modern country, in contrast, tends to serve up the same lite pilsner, album after album. The country scene is a narrow one, leaving no room for artists like Junior Brown (with his cross pollination of the styles of Ernest Tubb and Jimi Hendrix; hybrids such as his serve only to confuse modern pop-country tastes).

It need not be so. There have been a few successful hybridizations of country and rock. The Byrds‘ later-period output is the most celebrated example. Even the work of Tom Petty draws from the quality parts of both styles. And said styles share common roots, so it makes sense that finding the commonalty shouldn’t be impossible. Outlaw country, for example, arguably has more in common with Led Zeppelin than it does with, say, Blake Shelton.

One of the most successful exponents of the country/rock hybrid in modern times has (and remains) Old 97′s. Sporting songcraft that falls firmly into the outlaw/honkytonk subgenres, Old 97′s couch their melodies in arrangements that owe more to powerpop than anything one might hear on country radio. And thus they can serve as a gateway drug for the rock fan who’s interested in exploring country music.

A new EP collects a handful of early Old 97′s rarities including some previously-unreleased cuts in which they back a master of outlaw country. Old 97s & Waylon Jennings features a pair of finished tunes – “Iron Road” and “The Other Side” with Waylon Jennings on lead vocal, plus four band demos from 1996.

By ’96, the band had released their first two albums – Hitchhike to Rhome (1994) and 1995′s Wreck Your Life, both of which were highly regarded among the cognoscenti, and neither of which set the charts alight.

That happened after Old 97′s signed with Elektra and released 1997′s superb Too Far to Care. But one suspects that the four demos cut a year earlier helped seal the deal with Elektra. The spare tunes mostly feature Rhett Miller on lead vocals, and often include little beyond vocal and acoustic guitar, but the bare bones delivery serves to highlight the quality of the songs themselves.

And working with Jennings – a dream pairing the band pursued on a whim – yielded the pair of songs cut late that same year. The fire is there, with Old 97′s stinging yet twangy lead guitars duetting with Jennings, who spins out a tale of life on the railroad. Phillip Peeples‘ shuffling drum work in particular conjures the vibe of the rails.

It’s tantalizing to think what might have become had the band gone on to cut an entire album’s worth of material with Jennings. Despite the pleadings of its title, Jennings’ then-current album Right for the Time failed to chart, and is considered a middling, unadventurous effort at best. But his final album Closing in on the Fire (a big “wow” on the alternately and ironic and prophetic nature of his album titles!) cast a wider stylistic net and fared much better with fans and critics alike; one wonders if Jennings’ experience with the young Old 97′s upstarts from Dallas influenced his approach on what turned out to be his final release.

We’ll never know, but this pair of tunes represents a worthwhile and interesting addition to the bodies of work of both Jennings and Old 97s.


About Bill Kopp / Musoscribe

Depending on one’s interest, one is either amazed and entertained or bored to tears with Bill Kopp’s encyclopedic knowledge of the popular music of the last fifty years. A rock/pop music historian, he has amassed a collection of way more than 6,000+ albums, nearly half of those on vinyl. Bill has written for the now-defunct Skope (where he ran things as Editor-in-Chief for two years), Billboard, No Depression, Trouser Press, Ugly Things, WNC Magazine, Mountain Xpress, The Laurel of Asheville, Shindig! Magazine, 60sgaragebands.com and Jambase.org, among others.

Bill has interviewed and written features on artists including Chris Squire (Yes), The Psychedelic Furs, Bill Wyman, Todd Rundgren, The Flaming Lips, Ray Manzarek (Doors), R. Stevie Moore, Harry Shearer, Nick Lowe, Van Duren, George Thorogood, Ozric Tentacles, Steve Hackett (Genesis), Tommy James, John Wetton (UK, Asia, King Crimson), Larry Coryell, Felix Cavaliere (Rascals), Akron/Family, Paul Revere & the Raiders, The Moody Blues, Gary Wright, Greg Lake (Emerson, Lake & Palmer), Martin Newell (Cleaners From Venus), Bootsy Collins, Ann Wilson (Heart), Kim Wilson (Fabulous Thunderbirds), Ian Anderson (Jethro Tull), Henry Rollins, Yoko Ono, Ian McLagan (Small Faces), Kenney Jones (Small Faces / The Who), Van Dyke Parks, Richard Barone, Jason Falkner, Rose Windows, Tony Levin, Mitch Ryder, Steve Cropper (Booker T & the MGs), Crowded House, Camper Van Beethoven, Project/Object, The Church, Jack Casady, Trey Gunn, Porcupine Tree, The Turtles, Howard Jones, Creedence Clearwater Revisited, The Fleshtones, KT Tunstall, Andy Partridge, Terry Adams (NRBQ), Carmine Appice, The Black Angels, Robyn Hitchcock, Roky Erickson, Gentle Giant, Richard Barone, Adrian Belew, The Polyphonic Spree, Shoes, Zoé, Thrice, Pat Mastelotto, Steve Wynn, Nik Turner, Fall Out Boy, Dungen, Richie Havens, Sean Lennon, Bigelf, Pete Yorn, The Residents, Los Straitjackets, Radio Birdman, Veruca Salt, Richard X Heyman, Tommy Keene, Black Mountain, Marshall Crenshaw, Bob Moog, The Veronicas, The New York Dolls, Johnny Winter, Thijs van Leer (Focus), Roger Manning (Jellyfish), The Waterboys’ Mike Scott, Jeremy Spencer (Peter Green’s Fleetwood Mac), John McLaughlin, The Fuzztones, George Thorogood, Randall Bramblett, Rose Windows, Opeth, Bobby Rush, Thijs van Leer (Focus), Doug “Cosmo” Clifford (CCR), Southern Culture on the Skids, The Orange Peels, and many others. He’s reported on the Bonnaroo, Moogfest, Hopscotch, YepRoc 15, Dig!, Ponderosa Stomp, Americana Music Association, Mountain Oasis and Echo Project festivals, and written about consumer products including the Microsoft Zune, Rock Band: The Game and many others.

He’s currently working on a couple of book proposals (music-related, of course. He lives in a century-old house in Asheville, NC with his vintage motorcycle and way, way, way too many synthesizers.

Views: 906

Tags: 97's, jennngs, old, omnivore, waylon

Comment by Tommy Lagniappe on January 17, 2014 at 6:29am

Cool article Bill!!



Comment by Will James on January 17, 2014 at 9:13am

I've heard people say before that "modern country" (a misnomer as it isn't country) is an extension of rock music. This is too much of an insult to rock music, and of course untrue besides. Gram Parsons (whom you didn't mention) accurately called the Eagles a "plastic dry ____." If you want more valid vulgarity on the subject, I highly recommend Saving Country Music's blog on Tim McGraw's latest, totally over the top and couldn't be more accurate. Again the warning in you're squeamish. http://www.savingcountrymusic.com/tim-mcgraws-lookin-for-that-girl-...

And thanks for the writeup of Old '97s and Waylon, who has said many things on the subject including "Oh pop can be country if "country" fans say so? Can chicken shit be chicken salad if chicken salad fans say it's cool?"

Comment by Bill Kopp on January 17, 2014 at 9:58am

"Gram Parsons (whom you didn't mention)..."

I mentioned The Byrds' late-period output; that'll have to suffice. :D

Comment by Ray Finkle on January 17, 2014 at 8:24pm

Very well done, 

Comment by Michael Helwig on January 18, 2014 at 9:34am

I don't know who, besides, apparently, you guys, think the Eagles are not "artistically valid", but I would certainly disagree with you...much of their lyric content shows as much care, concern and insight as much of the Byrds' stuff...in fact it might be telling that the Byrd's best song was written by Bob Dylan, not them


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Created by No Depression Feb 17, 2009 at 9:06pm. Last updated by No Depression Sep 24, 2012.