My Kind of Country

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Tag Archives: Danny Davis & The Nashville Brass

Album Review: Waylon Jennings – ‘Good Hearted Woman’

220px-Good_Hearted_Woman_cover_artReleased in 1972, Good Hearted Woman found Waylon Jennings making large strides in the direction towards the Outlaw Movement for which he’s most associated. Songwriting credits from the likes of Willie Nelson and Kris Kristofferson were paramount in making the musical shift.

Chet Atkins enlisted Ronnie Light to produce the project after Danny Davis exited the fold to focus his attention on his Brass Band. Jennings noted he put Light through hell during production although his anger was directed at the musicians who didn’t truly understand his artistic vision.

The #3 peaking title track served as the album’s first single. Famous for a version that featured Jennings singing with his co-writer Willie Nelson, “Good Hearted Woman” is presented here with Jennings singing solo (the duet came three years later on Wanted! The Outlaws). The background vocalists are dated and distracting, but the track is otherwise perfect.

Jennings solely penned the harmonica laced “Do No Good Woman” while Nelson took a sole writing credit on “It Should Be Easier Now.” The pedal steel soaked Nelson composition afforded Jennings the opportunity to give a tour de force vocal performance while his own track feels a bit run of the mill.

Chip Taylor and Al Gorgoni’s shuffle “Sweet Dream Woman” peaked at #7. The pesky background vocalists rear their ugly heads again, but other than that the track is excellent. I love Jennings’ vocal, too, but I get the sense he was being constricted. If I had to guess, I bet he would’ve desired to cut loose a lot more than he was able to.

Kristofferson composed the album’s closing track, the excellent recitation “To Beat the Devil.” Jennings’ baritone is the perfect vehicle to convey the story, about a man who happens upon a tavern on a cold winter’s night.

Harlan Howard contributed the honky-tonker “One of my Bad Habits.” With an ear-catching chugging beat the track details the plight of a man coming clean about his reckless behaviors (smoking, drinking, his woman) and trying to do something about them. I love the bright production, complete with both steel and twangy guitars.

Swamp rocker Tony Joe White contributed “Willie and Laura Mae Jones,” one of the album’s standout tracks. White composed the masterful lyric, about a friendship between a white family and their black neighbors, during the height of the Civil Rights Movement; three years prior to the release of Good Hearted Woman. The subtly is masterful. With just one line (‘that was another place, another time’) he’s able to get his message across beautifully.

Canadian Folk-Rocker Gordon Lightfoot graces Good Hearted Woman with his stone country ballad “Same Old Lover Man.” The tender qualities in the lyric and production are equally matched in Jennings’ vocal, which makes use of his higher register. There’s nothing wrong with the track but in the context of the album it feels a bit too light.

“Unsatisfied” is a more typical ballad, with Jennings using his lower register to convey the lyric. While I was listening the melody seemed somewhat familiar and it came to me. To my ears the track is similar to Bobby Goldsboro’s “Honey,” which might’ve been intentional or just something I heard. Otherwise, it’s a solid recording.

“I Knew You’d Be Leavin’” is another ballad, but unlike the previous two, has a peppier production that really caught my ear. I wasn’t fond of Jennings’ vocal, it seemed to low for my tastes, but the track itself is very good.

Good Hearted Woman is a wonderful album and well worth checking out to get a better view of Jennings’ recorded output during this era of his career. The proceedings are too clean and careful and “Willie Mae and Laura Jones” should’ve been the album’s second single. But I would still recommend this album as it is another strong entry in Jennings’ discography.

Grade: A 

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Album Review: Waylon Jennings – ‘Waylon’

Waylon_waylonWaylon Jennings began the 1970s with the self-titled Waylon. Nashville Brass founder Danny Davis joined Chet Atkins, Jennings sole producer until that time, to co-produce the project.

Waylon is best remembered for its only single, a spirited cover of Chuck Berry’s “Brown Eyed Handsome Man” that quickly rose to #3. Another significant track is Mickey Newbury’s “The Thirty-Third of August,” a dated and dreary ballad. The track was an early cut for the Texan, who would go on to key prominence in the Outlaw Movement and even be elected to the Nashville Songwriters Hall of Fame.

The jaunty harmonica drenched “Yellow Haired Woman” gave Jennings his sole writing credit on Waylon. Jennings co-wrote the tune, about his third wife Barbara Hood, with Red Lane. Lane solely contributed “Just Across The Way,” a schmaltzy ballad about a man, his lover, and the geographical distance that keeps them apart.

Jennings featured a heavily pop leaning version of Liz Anderson’s “Yes, Virginia” on his 1967 album The One and Only. An alternate take on the tune was featured here three years later. The confessional lyric is far better suited to the guitar-heavy production, which puts the man’s transgressions front and center.

“I May Never Pass This Way Again” is a cautionary tale written by Ray Buzzeo. The lyric focuses on a man’s warnings to a ‘little girl’ not to throw her virginity at him for the taking. Jennings’ commanding baritone only haunts the already creepy proceedings.

Another tale with a warning label is George Pollock’s “Don’t Play The Game.” Jennings is a man burned by a woman who doesn’t love him back. He has to learn the hard way that ‘if you don’t like the rules, don’t play the game.’

The heartache continues on “Shutting Out The Light,” which finds Jennings so fed up with his lady’s cool response that he puts an end to the relationship. The Nashville Sound signifiers, namely the background singers, date the recording significantly after forty-five years.

“This Time Tomorrow (I’ll Be Gone)” has Jennings in the role of a man realizing the woman he married is just like all the rest. He gives a mournful vocal on the tune about a man’s decision to leave town as a result of his enlightenment.

Waylon features two tracks that stand above the rest. Jim Owens’ “Where Love has Died” is an excellent ballad about a man trapped in a dead end marriage. The other highlight rests on a happier note as Anita Carter joins Jennings on Merle Haggard’s “All of Me Belongs To You.” Carter’s spirited vocal helps the delightful duet shine.

Jennings’ twelfth recording is a very, very good collection of ballads concerning various states of relationships as they reach their end. It’s a project that’s well worth seeking out, especially if you’re unfamiliar with this era of Jennings’ career.

Grade: A-

Album Review: Waylon Jennings – ‘Just To Satisfy You’

just to satisfy youWaylon’s first album release of 1969 was Just To Satisfy You. Released in March, the album would eventually reach #7 on Billboard’s country album chart and would result in one single, “I Got You”.

Just To Satisfy You is an eclectic mix of covers and new material that shows Waylon’s versatility, if nothing else.
The album opens with “Lonely Weekends”, a song that Charlie Rich wrote during his years on Sun Records. The song never charted for Charlie on the country charts but it was an integral part of his stage show for years and did have some pop success. Waylon gives the song a strong vocal reading, but the presence of a ‘wah-wah’ guitar riff is a bit off-putting.

“(Come On Home and) Sing the Blues to Daddy” was one of those songs that had ‘hit’ written all over it but it just didn’t happen for anyone. Bob Luman got the song up to #24 Billboard/#13 Record World, and many artists used the song as an album track. Waylon’s version is slower and a bit more bluesy than most versions I’ve heard, and I think the organ could be eliminated. My ears tell me that Bobby Bare is singing along with Waylon on this song, although I haven’t see him credited.

During this period, Curley Putnam was having much success as a songwriter. While “Change My Mind” never really had any potential as a single, it is a very good song, a slow ballad, that Waylon
performs very effectively.

If I should get a look of leavin’ in my eyes
Put your arms ’round me, woman, and change my mind
If I ever seem too restless or dissatisfied
Put your arms ’round me, woman, and change my mind

Don’t let me separate your love from mine
Don’t let me leave you, I might get the urge some time
If I do, you’ll know what to do to keep me by your side
Put your arms ’round me, baby, and change my mind

Many artists recorded the Lawton Williams song “Farewell Party” before Gene Watson finally turned it into a hit single, among them Jimmy Dickens and Ray Price. Waylon’s effort would not have been a good single lacking the dramatic presentation that Watson gave it. Waylon’s version is a straight forward ballad, with piano and organ seeming to dominate the instrumental arrangement. Waylon’s version also lacks the key change at the start of the second verse that Watson’s version made the standard interpretation.

“Rings of Gold”, written by Gene Thomas, was a song that reach #2 as a duet by label-mates Don Gibson and Dottie West. Waylon is joined by Anita Carter and their version could have worked as a single. Both Waylon and Anita had better voices that Don & Dottie so I don’t doubt that Waylon & Anita would have had at least as big a hit as their label-mates managed. I believe that this track was recorded a year or so before most of the tracks on the album.

Isn’t there anyone who’ll take me like I am‘ is the question asked in “Alone”, a Dee Moeller composition sung to perfection by Waylon. The song is a slow ballad with a mostly acoustic feel that needs to be heard several times in order to get the full impact of this very sad song.

Isnt there anyone
Who’ll take me like I am?
Someone who is willing
To take the blue in man

Someone that’ pleased enough
With herself to let me be
Someone who would love me
And try to understand my needs

No, I guess there isn’t
And theres no place
I can go, I guess
I’m destined to be alone

Waylon and pal Don Bowman collaborated on “Just to Satisfy You”, easily the best song on the album. I love the song and I feel that RCA missed a real bet in not choosing the song for single release.

Someone’s gonna get hurt before you’re through
Someone’s gonna pay for the things you do
How many hearts must break,how many will it take
To satisfy you,just to satisfy you
Another love,another fool
To play your game
Another love,another fool
They’re all the same
Someone’s gonna get hurt before you’re through
Don’t be surprised if that someone is you
You’re gonna find when it’s too late,a heart that just won’t break
To satisfy you, just to satisfy you

Helen Carter was one of Mother Maybelle’s daughters and sister to June Carter and Anita Carter. She was a fine singer and better song writer. I think that Waylon does on outstanding job on this thoughful ballad:

You tear me down a hundred times a day I’ve cried enough to wash the world away
I’ve tried so hard to be what you’ve wanted me to be
Till somewhere along the way I lost me
To give and keep on giving I have learned
There’s no way but yours where you’re concerned
I tried till finally I lost my own identity and somewhere along the way I lost me

I usually associate Ben Peters with upbeat songs like “Kiss An Angel Good Morning” but he was capable at the slower ballads, too. “I’ve Been Needing Someone Like You” is wistful but given a believable treatment by Waylon with harmonica prominent in the mix.

Although often remembered for novelties, with “For the Kids”, Shel Silverstein shows that he can tackle serious topic as well. This song tells of the breakup of a marriage with focus on the affects of divorce on the children. Again, this is another slow ballad that Waylon nails.

Ricci Mareno is probably best known for the string of successful hit records he wrote and produced for Tommy Overstreet in the early 1970s. “I Got You”, a Ricci Mareno- Gordon Galbraithvco-write was the only single released from this album. Waylon is joined by Anita Carter on this medium tempo ballad that reached #4 on the Billboard charts. At the time this record was produced, RCA was looking for reasons to use the Nashville Brass on their country recordings. There are trumpets in evidence toward the end of this single. When RCA tried to have Danny Davis, the leader of the Nashville Brass produce his records, Waylon rebelled.
The album closes with another Dee Moeller composition in “Straighten My Mind”, a mid-tempo ballad with brass instrumental breaks. The song is a a good one which Waylon sings well:

A tiger always walks at night and marks his prey while everything’s still
He waits until it’s unaware and then he strikes and makes his kill
That’s the way you’ve done me girl you never let me breathe
Couldn’t feel the way I felt so you’d tried to punish me
Baby it’s time to straighten my mind

Waylon’s vocals are strong throughout this album and while there are a few dubious instrumentation choices, Waylon’s vocals are strong enough to salvage minor mistake. The album could use a few more up-tempo songs. I would rate this album in the B+/A- range – the substitution of a few faster songs and elimination of the organ would turn this into an A album.

Willie Nelson: The early years

country favoritesWillie Nelson, alone among his contemporaries, continues to be an active and prolific recording artist. Not only is he releasing albums at a pace that would leave today’s stars thoroughly exhausted, but Willie continues to make guest appearances on the albums of other artists, famous and unknown alike.

The eighty year old Nelson continues to tour relentlessly, something he has been doing in one form or another for over fifty years.

Prior to “Blue Eyes Crying In The Rain”, most knew Willie Nelson (if they knew of him at all) as the man who wrote “Hello Walls” for Faron Young and “Crazy” for Patsy Cline, and some songs that other singers had success recording.

Outside of his home state of Texas, the public consciousness of Willie Nelson as a performer basically dates back to the two albums Willie recorded for Atlantic in the early 1970s after which time he moved to Columbia for his recording heyday. This article will discuss the major label albums issued before then.

The first album out of the box was … And Then I Wrote which was released on the Liberty label in September 1962. This album featured “Touch Me” as the single (it reached #7 on Billboard’s country chart) and featured some songs that other artists had recorded with some success such as “Hello Walls” and “Three Days” (Faron Young), “Crazy” (Patsy Cline), “Funny How Time Slips Away” (Joe Hinton, Billy Walker). Although not released as a singles, “Mr. Record Man” and “Darkness On The Face of The Earth” would become songs associated with Willie, and “Undo The Right” would be a top ten hit for long-time friend Johnny Bush in 1968 (Johnny Bush and Willie Nelson were both in Ray Price’s band the Cherokee Cowboys during the early 1960s, and played in each others bands at various points in time). “The Part Where I Cry” was the other single release from this album.

… And Then I Wrote was not a terribly successful album but it was the first opportunity most had to hear Willie’s quirky phrasing. Although marred by Liberty’s version of the ‘Nashville Sound’, it is certainly an interesting album.

Willie’s second and final album for Liberty was Here’s Willie Nelson. This album featured five songs that Willie wrote (“Half A Man”, “Lonely Little Mansion”, “Take My Word”, “The Way You See Me” and “Home Motel”). The originals compositions were nothing special – only “Half A Man” attracted much attention from other artists – but among the covers are the Fred Rose composition “Roly Poly” (a successful recording for Bob Wills and for Jim Reeves) and Rex Griffin’s “The Last Letter”.

There were no Country Album charts until 1964. Neither of the two Liberty albums made the pop charts.

From Liberty, Willie very briefly moved to Monument Records, with no success (I’m not sure if any tracks actually were released at the time). Some of these songs were released in 1980 on a two album set titled The Winning Hand featuring Brenda Lee, Dolly Parton, Kris Kristofferson and Willie Nelson and released to cash in on the popularity of Dolly and Willie. All four artists had recorded for Monument in the past, and Kristofferson and Lee recorded additional vocals to create duets (and some existing tracks were edited together to create duets). Twelve of the twenty tracks were duets, and despite the contrived origins of the project, it was critically well received and well worth owning.

Willie’s immense songwriting talents attracted the attention of Chester Burton (“Chet”) Atkins”, the head honcho of RCA’s Nashville operations, and he was signed to RCA.

There is the misconception that Willie Nelson’s RCA albums found Willie buried by syrupy string arrangements and soulless background choruses. While it is true that RCA was never really sure what to do with Willie, the reality is that only the occasional track suffered from over production. Unlike Decca where Owen Bradley buried his more traditional artist such as Webb Pierce and Ernest Tubb with unnecessary choral arrangements, Chet and his other producers went much lighter on the embellishments. Although what we would deem the classic ‘Willie and Family’ sound never completely emerged on the RCA recordings, many of Willie’s albums had relatively sparse production. In fact, when Mickey Raphael produced and released the 17 track Naked Willie album in 2009, an album in which he removed excess production off Willie’s RCA tracks, he probably corralled about 80% of the tracks on which the production could be deemed excessive. Whether or not RCA could turn Willie into a star, his records always featured some of the best musicians and arrangers on the planet.

Country Willie – His Own Songs features twelve songs Willie wrote or co-wrote. Some of the songs were also on his major label debut, but I prefer the RCA take on the ‘Nashville Sound’ to that of Liberty. The songs are great and Willie is in good voice.. Songs included are “One Day at a Time” (not the Marilyn Sellars/Cristy Lane gospel hit of the 1970s), “My Own Peculiar Way”, “Night Life”, “Funny How Time Slips Away”, “Healing Hands of Time”, “Darkness on the Face of the Earth”, “Hello Walls”, .”Are You Sure”, “Mr. Record Man”, “It Should Be Easier Now”, “So Much to Do” and “Within Your Crowd”. Pickers include Jerry Kennedy and Jerry Reed, and steel guitar is featured on some of the tracks. This could be considered a ‘best of’ compilation of Willie’s songs (not recordings) up to this point in time. This album reached #14 on Billboard’s Country Albums chart.

Country Favorites – Willie Nelson Style is one of my two favorite RCA albums. This 1966 album was recorded with members of Ernest Tubb’s legendary Texas Troubadours, augmented by fiddler Wade Ray and pianist Hargus Robbins. Willie and Wade, of course were regulars on ET’s syndicated television show and the use of the Troubadours and the lack of the ‘Nashville Sound’ trappings made for a swinging set of western swing and honky-tonk classics. This version of the Texas Troubadours included Buddy Charleton (steel), Jack Drake (bass), Jack Greene (drums) , Leon Rhodes (lead guitar) and Cal Smith (rhythm guitar) augmented by Wade Ray and pianist Hargus Robbins. This album reached #9 on Billboard’s Country Albums chart .

Standout tracks on this album include “My Window Faces The South”, “Columbus Stockade Blues” and “San Antonio Rose” but the entire album is good. Willie sounds comfortable and relaxed on this entire set and his vocals, while sometimes an awkward fit , reflect the fun he was having performing with this collection of musicians , who were not credited on the initial release. A truncated version of this album was released on RCA Camden in 1970 as Columbus Stockade Blues.

Country Music Concert was recorded live in 1966 at Panther Hall in Dallas Texas, one of two live albums RCA would record there (the other was 1968’s Charley Pride Live at Panther Hall). This live performance featured Willie on guitar and vocals backed by his band members, Johnny Bush on drums and Wade Ray playing bass guitar. This album is my other favorite RCA album, again featuring Willie uncluttered by strings and choruses, singing mostly his own songs, but with a few covers. The album opens with Willie introducing the band and then starts with the music with a pair of long medleys in “Mr. Record Man”/”Hello Walls”/ “One Day At A Time” and “The Last Letter”/ “Half A Man”. To me the highlights of the album are Willie’s take on Paul McCartney’s “Yesterday” and his own “I Never Cared For You” and “Night Life”. This album reached #32 on Billboard’s Country Albums chart.

Make Way For Willie Nelson is a mixed bag of original compositions and covers. Released in 1967, some of the recordings are a bit overproduced and the album produced no real hits. The quasi-title track “Make Way For A Better Man” is one of those songs only Willie Nelson would write:

Hear me talkin’ now you tried to make her happy you couldn’t make her happy
Make way for a better man than you
You tried your brand of lovin’ she couldn’t stand your lovin’

Make way for a better man than you
I held back cause you and I were friends
But old buddy this is where our friendship ends
I’m takin’ over now those signals she keeps sendin’ means your romance is endin’
Make way for a better man than you

Willie’s own composition “One In A Row” reached #19 two years before this album was released. Notable covers on the album include “Born To Lose” and “Mansion On The Hill”. This album reached #9 on Billboard’s Country Albums chart.

“The Party’s Over” and Other Great Willie Nelson Songs featured the title song, which while never a big hit, was made famous by the late Don Meredith, one of the original trio of announcers for ABC Monday Night Football. When the result of the games was already determined (regardless of the time left in the game) Don would sing this song. “The Party’s Over” reached #24 for Willie, in a somewhat overproduced version. The rest of the album could be described as moody and downbeat. This album also reached #9 on Billboard’s Country Albums chart.

Good Ol’ Country Singin’ was released on RCA’s budget Camden label in January 1968. RCA sometimes used the Camden label to release truncated versions of older albums, but RCA also used it to release material that would not be released on the main label. This album is the latter but RCA actually issued a single from the album, “Blackjack County Chain”, which reached #21. My favorite track on the album is a classic weeper “You Ought To Hear Me Cry”. Billboard did not chart budget albums.

Texas In My Soul was Willie’s 1968 tribute to his home state of Texas. Three of the songs, “Waltz Across Texas”, “There’s A Little Bit of Everything In Texas” and “Texas In My Soul” were songs performed by and associated with Ernest Tubb. “Who Put All My Ex’s In Texas” was one of the first songs written by Eddie Rabbitt to be recorded. This album reached #9 on Billboard’s Country Albums chart.

Good Times is a little different and finds Willie breaking away from ‘The Nashville Sound’ mold to some extent. Other than Mickey Newbury’s “Sweet Memories” and the Jan Crutchfield-Wayne Moss composition “Down To Our Last Goodbye”, all of the songs were written or co-written by Willie. The title track has very minimal production. This album reached #29 on Billboard’s Country Albums chart.

My Own Peculiar Way, released in 1969, features eight Willie Nelson compositions (one, “Any Old Arms Won’t Do”, co-written with Hank Cochran) plus an exceptional cover John Hartford’s “Natural To Be Gone”. The title track wasn’t a hit, but it is quintessential Willie. This album reached #39 on Billboard’s Country Albums chart (are you seeing a pattern?).

Both Sides Now was released in 1970 and is basically a covers album with Willie penning only three of the eleven tracks. This album included two songs from the Roy Acuff catalogue (“Wabash Cannonball”, “Pins and Needles In My Heart”), a song from the Ray Price hit list (“Crazy Arms”) plus covers of pop songs “Both Sides Now” (penned by Joni Mitchell but a hit for Judy Collins) and and “Everybody’s Talking” (penned by Fred Neil but a hit for Nilsson). The single from this album was penned by soon-to be-ex-wife Shirley Nelson and reached #42. The now familiar “Bloody Mary Morning” makes its debut here – it would be re-recorded and released as a single after Willie moved to Atlantic.

While I like this album, it is a disjointed affair and Willie’s unusual phrasing on some of the songs won’t be to everybody’s taste. “Crazy Arms” features steel guitar and a walking base line whereas “Both Sides Now” features little more than a guitar. This album did not chart.

Laying My Burdens Down also was released in 1970 but by this time RCA had given up on having Willie score any hit singles. The title track reached #68 and the over-produced “I’m A Memory” would reach #28 and would be Willie’s last top fifty chart appearance while signed to RCA. This album is mostly composed of Willie originals but isn’t his best work. This album did not chart.

Willie Nelson and Family is a collection of songs released in 1971 as performed by Willie and the beginnings of his family band. Paul English was on board playing drums as was his sister Bobbie Nelson playing the piano. This album would set the template for future albums. Songs include the Willie Nelson-Hank Cochran collaboration “What Can You Do To Me Now” along with Kristofferson’s “Sunday Morning Coming Down”, Hank Sr.’s “I’m So Lonesome I Could Cry”, James Taylor’s “Fire and Rain”, Merle Haggard’s “Today I Started Loving You Again”, plus some Nelson originals. This album reached #43 on Billboard Country albums chart.

Released with no fanfare in September 1971, Yesterday’s Wine contains some of Willie’s finest songs, and is Willie’s first concept album. The album contains the full complement of RCA’s finest session players but sounds surprisingly spare at times. The album has a deeply philosophical and religious feel to it without being too preachy (the premise is the life of an ‘Imperfect Man’ from birth to the day of his death). The single released from the album “Yesterday’s Wine” b/w “Me and Paul” barely dented the charts, but both are still loved and remembered today:

Miracles appear in the strangest of places
Fancy me finding you here
The last time I saw you was just out of Houston
Let me sit down, let me buy you a beer

Your presence is welcome with me and my friend here
This is a hangout of mine
We come here quite often and listen to music
And to taste yesterday’s wine

Yesterday’s wine, yesterday’s wine
Aging with time, like yesterday’s wine
Yesterday’s wine, yesterday’s wine
We’re aging with time, like yesterday’s wine

“Family Bible”, a song Willie wrote but sold in order to keep eating, makes an appearance here. This album did not chart.

There would be a couple more RCA albums, and RCA would re-release various permutations and combinations of old material after Willie hit it big in the middle 1970s (including an album an which Danny Davis and The Nashville Brass were overdubbed onto ten of Willie’s songs, but by the end of 1971 it was clear that Willie would need to look elsewhere if he was to achieve success as a recording artist.

It should be noted that RCA issued several singles on Willie that either never made it onto an album, or made it onto an album years later. Two notable examples were “Johnny One Time” which hit #36 for Willie in 1968 and was a minor pop hit for Brenda Lee in 1969, and “Bring Me Sunshine” which reached #13 in 1968 but wasn’t on an album until the 1974 RCA Camden release Spotlight On Willie.

In the digital age, there are plenty of good collections covering Willie’s earlier years, both anthologies and reissues of individual albums. For the obsessive Willie Nelson fan, Bear Family has issued an eight CD set with 219 recordings. That’s overkill for all but diehard fans, but there are numerous good anthologies available. There is also Naked Willie for those who would like to have multiple versions of some of Willie’s RCA recordings.