Without a Clue 1988 Dvd Cover Roger Dodger 2002 Dvd Cover Art

1976 compilation album by Waylon Jennings, Willie Nelson, Jessi Colter and Tompall Glaser

Wanted! The Outlaws
Compilation anthology by Waylon Jennings, Willie Nelson, Jessi Colter and Tompall Glaser
Released	Original: Jan 12, 1976 Re-issued: Feb 15, 1996
Recorded	1970-1975 (original) 1965-1995 (1996 re-release)
Genre	State outlaw land
Length	Re-issue: 60:49
Label	RCA Victor
Producer	Waylon Jennings Richie Albright Chet Atkins Danny Davis Tompall Glaser Ray Kennedy Willie Nelson Ray Pennington Shel Silverstein
Waylon Jennings chronology
Dreaming My Dreams (1975) Wanted! The Outlaws (1976) Mackintosh & T.J. (1976)
Jessi Colter chronology
Jessi (1976) Wanted! The Outlaws (1976) Diamond in the Rough (1976)

Wanted! The Outlaws is a compilation album by Waylon Jennings, Willie Nelson, Jessi Colter, and Tompall Glaser, released past RCA Records in 1976. The album consists of previously released material with iv new songs. Released to capitalize on the new outlaw country movement, Wanted! The Outlaws earned its place in music history by becoming the first country anthology to be platinum-certified, reaching sales of one 1000000.^[i]

The album chop-chop reached No. 1 on the country charts and peaked at No. x on the popular charts, with two hit singles released, "Suspicious Minds" and "Good Hearted Woman." The 2 peaked at No. 2 and No. 1, respectively, both featuring Jennings. In 1984, this album was among the first to exist reissued on meaty disc by RCA Records, catalog number PCD1-1321.

Background [edit]

By 1973, Waylon Jennings and Willie Nelson had asserted creative command over their music, which they both felt had been hampered for years by the conservative approach taken to their recordings at the Nashville partition of RCA Records. In 1972, Nelson left the label for Atlantic Records and recorded a pair of critically acclaimed albums, Shotgun Willie (1973) and the concept album Phases and Stages (1974). With Nelson'southward popularity increasing, RCA did not want to lose Jennings as well, and granted him the authority to produce his records however he wanted. Jennings released the seminal Honky Tonk Heroes anthology in 1973, widely considered the first "outlaw" album, and This Fourth dimension in 1974, which was recorded at Tompall Glaser'south contained studio in Nashville. By 1975, after the explosive success of Nelson's Cherry-red Headed Stranger album, a whole new subgenre of state music had emerged called outlaw country. This new movement featured a more "progressive" sound, typified past the music of Jennings and Nelson but likewise inspired past songwriters like Kris Kristofferson, Billy Joe Shaver, Mickey Newbury, Lee Clayton, David Allan Coe and Townes Van Zandt.

In the wake of Blood-red Headed Stranger and the general media attention the outlaw country motility was generating, producer Jerry Bradley at the RCA studios in Nashville was determined to capitalize on the wealth of Jennings and Nelson recordings that RCA had at their disposal:

Waylon was selling, if we were lucky, two hundred and fifty yard albums. Willie comes out with Cherry-red Headed Stranger and that took off and sold a million records. Jessi Colter put out "I'grand Not Lisa" on Capitol. That damn thing sold one-half a 1000000, or a 1000000, set our barrel on fire. We're sitting over there, trying to sell two hundred and fifty thousand records, and we're still struggling. Tompall had a damn record...I never went to ane of their concerts, but I can imagine what it looked similar, them running up and down the highway doing that.^[ii]

Bradley approached Jennings about compiling some of his recordings with some old Nelson songs and calling it Wanted! The Outlaws. Jennings okayed the project on the status that a couple of Glaser tracks exist included.^[ii] Jennings subsequently remarked, "I liked Jerry, but he drove me a piffling nuts. He didn't take a clue about music, though he always tried to get involved in information technology, usually past remote control...He was a practiced merchandiser, though..."^[3] In one case he got the green light, Bradley went "all in" on the outlaw concept. As author Michael Streissguth observes, "Bradley hired Rolling Rock's Chet Flippo to pen liner notes, and looked to a Fourth dimension Life volume most the American West every bit inspiration for the anthology'southward iconic album cover, which featured photographs of Colter, Glaser, Jennings, and Nelson on a parched, bullet-riddled wanted poster.^[2] In the 2003 documentary Across Nashville, Chet Flippo recalled, "The appearance and the marketing of the album were extremely important in making a Nashville anthology look hip for the showtime time." In the aforementioned picture show Tompall Glaser stated, "People were and then hungry for something unlike than what was on the radio that they merely ate information technology up. And information technology sold a million in the first ii weeks and it went on up to five meg." Jennings, who e'er viewed the outlaw image with a degree of cynicism, conceded in the sound version of his autobiography Waylon that the motion was rooted in musical integrity:

The cover was pure Old West—Dodge City and Tombstone. Now, we weren't but playing bad guys; we took our stand exterior the country music rules, its fix ways, locking the door on its own jail prison cell. We looked like tramps..."Don't fuck with me," was what we were tryin' to say...We loved the energy of rock and roll, but stone had self destructed. Country had gone syrupy. For united states of america, "outlaw" meant continuing up for your rights, your own way of doing things. It felt similar a different music, and outlaw was every bit good a clarification as any. We more often than not thought it was funny; Tompall immediately made up outlaw membership certificates...RCA was delighted...At final, an image!

In Nelson's 1988 autobiography Willie, Glaser stated, "Everybody rushed out to buy the Outlaws album: stone and rollers, kids, lockjaw types from the East, people who'd never bought a country album in their whole lives bought that album...Ultimately, I think the outlaw movement or publicity or gimmick or whatever you want to call it did a slap-up affair for state music as a whole, because it opened the way for dissimilar styles."

Recordings [edit]

Although many of the songs included on Wanted: The Outlaws were several years old and featured a plethora of producers, the unifying outlaw theme gave the album a cohesion and freshness it might have otherwise lacked. Although the anthology was predominately upbeat, it begins with the brooding "My Heroes Take Always Been Cowboys," which laments the loneliness of outlaw life as much as it celebrates the freedom of it. In the audio version of his autobiography, Jennings confessed, "It was an oddly downbeat way to starting time an anthology, but it seemed to sum upwardly the frontier loneliness that often came hand-in-hand with our ideas of rugged individualism." Nelson would take the vocal to #1 in 1980 when information technology appeared on the soundtrack to The Electric Horseman. Jennings besides sings Billy Joe Shavers's "Honky Tonk Heroes," the title cut from his classic 1973 LP about "lovable losers" and "no business relationship boozers" who "danced holes in (their) shoes." Nostalgic themes are also found in Nelson'due south "Yesterday'due south Wine," the title track from his 1971 concept anthology of the same name. Nelson'south other solo track, "Me and Paul," which also appeared on the Yesterday'south Wine anthology, seemed to repeat the outlaw ethos with its tales of suspicious cops, drug busts and lines like, "We'd come to play and not just for the ride." In keeping with the cowboy theme, Glaser tips his hat to Jimmie Rodgers on a rousing version of "T For Texas" and provides some comic relief with the Shel Silverstein nugget "Put Another Log on the Fire." Contrasting with these songs, Colter'south selections, including "I'm Looking For Blue Eyes" and "You Mean to Say," address themes of loneliness and heartbreak. Jennings' and Colter's duet on "Suspicious Minds" had originally been released in 1970; at that time the song peaked at #25 on the Billboard country singles chart but, upon its rerelease in 1976, shot up to #two.

The biggest hit single from the album was the Jennings-Nelson duet of "Skillful Hearted Woman"; it peaked at number one on Billboard's Hot State Singles and at number 25 on the Billboard Hot 100. It was also awarded with the Single of the Year accolade by the Country Music Association. Largely written by Jennings, it had served every bit the title track of his 1972 album and had also been recorded by Nelson for his LP The Words Don't Fit the Picture show, also released that same yr. According to Joe Nick Patoski's 2008 memoir Willie Nelson, the live performance of "Good Hearted Woman" on Wanted: The Outlaws was recorded at Geno McCoslin'south Western Place in Dallas, although there has been speculation that the track was a studio creation because of what appears to be canned audience applause. In reality, Nelson'due south song was overdubbed onto the edited runway, which appeared in its original class on Jennings' 1976 live album Waylon Live.

In 1984, RCA reissued the original 11 track album on compact disc. By 1988, the original CD event was deleted, and RCA issued a truncated version of the album on CD, omitting Waylon & Jessi'due south "Suspicious Minds", Tompall Glaser's "Put Another Log On The Burn down" and Waylon's "Honky Tonk Heroes". The reasons for the deletions are unknown to this day. Wanted! The Outlaws was reissued on CD and cassette record by RCA for a third time in 1996 (as the remastered 20th Anniversary edition) with all eleven original tracks restored, and augmented with x bonus tracks. Only i of these, Steve Earle's "Nowhere Road", had previously been unreleased.

Critical reception [edit]

Professional ratings

Review scores
Source	Rating
Allmusic	[4]
Christgau's Record Guide	B+[5]

At the time of the album's release, Joe Nick Patoski of Country Music wrote, "Most of the tracks are from a flow when the first seeds of experimentation began to spill in Music City. Thus, a abiding clash of traditional and innovative influences dominates each artist's selections, in well-nigh instances, finely woven lyrics hiding behind still slick studio concepts." In 2014, Stephen Bletts of Rolling Stone described the album as, "Raucous, rebellious and decidedly uninterested in the blend of pop and land that was storming the charts at the time..." Kurt Wolff of AllMusic observes, "it marked the industry's recognition of the changing times, and as the center point of a campaign to publicize Nashville's new "progressive" brood, it worked like a charm."

Commercial performance [edit]

Wanted! The Outlaws reached at No. one on Billboard 'south Tiptop Country Albums chart where it stayed for 6 weeks. In November 1976, it became the offset land album to be awarded the platinum certification by RIAA, which introduced the platinum certification that twelvemonth.^[six]

Track list [edit]

Side one [edit]

1. "My Heroes Have Ever Been Cowboys" (Sharon Rice) – 2:48 (previously unreleased)
   • Performed past Jennings
2. "Honky Tonk Heroes" (Billy Joe Shaver) – iii:27 (new vocal and instrumental parts added to 1973 recording)
   • Performed past Jennings
3. "I'm Looking For Blue Optics" (Jessi Colter) – 2:fifteen (previously unreleased)
   • Performed by Colter
4. "You Mean to Say" (Colter) – 2:28 (alternate mix of 1971 single)
   • Performed by Colter
5. "Suspicious Minds" (Mark James) – 3:55 (new vocal parts added to 1970 recording)
   • Performed by Jennings and Colter

Side two [edit]

1. "Proficient Hearted Woman" (Waylon Jennings, Willie Nelson) – two:56 (live version previously unreleased, released later without Willie's vocal))
   • Performed past Jennings and Nelson
2. "Heaven or Hell" (Nelson) – ane:37 (originally issued in 1974)
   • Performed past Jennings and Nelson
3. "Me and Paul" (Nelson) – iii:45 (remix of 1971 track)
   • Performed by Nelson
4. "Yesterday's Wine" (Nelson) – 2:58 (remix of 1971 runway with added vocal parts)
   • Performed by Nelson
5. "T for Texas" (Jimmie Rodgers) – four:12 (previously unreleased)
   • Performed by Tompall Glaser
6. "Put Another Log on the Burn down (Male Chauvinist National Anthem)" (Shel Silverstein) – two:16 (previously released in 1974)
   • Performed by Glaser

Bonus tracks (20th ceremony reissue) [edit]

1. "Boring Movin' Outlaw" (Dee Moeller) – three:39 (previously released in 1974)
   • Performed by Jennings
2. "I'm a Ramblin' Man" (Ray Pennington) – 2:44 (previously released in 1974)
   • Performed past Jennings
3. "If She'southward Where You Like Livin' (Y'all Won't Feel at Dwelling with Me)" (Colter) – ii:51 (previously released in 1970)
   • Performed by Colter
4. "It's Not Easy" (Frankie Miller) – iii:10 (previously released in 1970)
   • Performed past Colter
5. "Why You Been Gone So Long" (Mickey Newbury) – three:04 (previously released in 1970)
   • Performed by Colter
6. "Under Your Spell Again" (Buck Owens, Dusty Rhodes) – 2:55 (mono single mix released 1971)
   • Performed by Jennings and Colter
7. "I Ain't the I" (Colter) – ii:09 (mono unmarried mix released 1970)
   • Performed by Jennings and Colter
8. "You Left a Long, Long Time Agone" (Nelson) – 2:37 (originally released 1971, version presented hither is a 1981 remix with added instruments)
   • Performed by Nelson
9. "Healing Hands of Time" (Nelson) – 2:21 (previously released in 1965)
   • Performed by Nelson
10. "Nowhere Road" (Steve Earle, Reno Kling) – 2:42
    • Performed by Jennings and Nelson

Personnel [edit]

• Jessi Colter - vocals
• Tompall Glaser - vocals
• Waylon Jennings - vocals
• Willie Nelson - vocals

likewise

• Richard Bennett - guitar, mando-guitar
• Steve Earle - audio-visual guitar
• Ray Kennedy - tambourine
• Greg Morrow - drums
• Mickey Raphael - bass harmonica
• Garry Tallent - bass
• Robby Turner - pedal steel guitar

References [edit]

1. ^ "Flashback: Waylon Jennings and Willie Nelson Make Music History". Rolling Stone . Retrieved 2016-04-09 .
2. ^ ^{a b c} Streissguth, Michael (2013). Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville. HarperCollins. pp. 189–190. ISBN978-0062038180.
3. ^ Jennings, Waylon; Kaye, Lenny (1996). Waylon: An Autobiography. Warner Brooks. p. 229. ISBN978-0-446-51865-9.
4. ^ Wolff, kurt. Wanted! The Outlaws at AllMusic
5. ^ Christgau, Robert (1981). "Consumer Guide '70s: O". Christgau's Tape Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN089919026X . Retrieved March 10, 2019 – via robertchristgau.com.
6. ^ "10 Musical Milestone". Billboard. 27 November 2004. p. 16.

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Source: https://en.wikipedia.org/wiki/Wanted%21_The_Outlaws

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