Turnstyled Junkpiled Review

The fact that Country music did indeed find its identity in the 70's was due largely to the influence of Waylon and fellow outlaws Willie Nelson, David Allen Coe, and Kris Kristoferson, listening to the recordings on this album is like walking across that musical bridge from the muddled, unfocused Country of the 60's to the proud and unabashed Country of the 70's. The project gives hope to those who feel Country has again lost its bearings, reminding them that one single voice can inspire others to correct course and follow suit. More importantly, listening to these songs is like reconnecting with a long lost friend.

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Waylon one of the original "Outlaws" and a "Highwayman" in his own right, on this album sounds like he just came out of the studio yesterday with these songs. Larger than life., that is the feelings I got while listening to these well preserved historic recordings.

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Country's Chatter: "He left us something great."

Keeping that in mind, I think everyone knows what to expect when they pick up this new release.  They can expect great country music, from a great country artist, who certainly left this world way too soon.  I think we all agree that it is great to still have his music.  He left us something great.

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Midwest Record: "Keep those excavation trucks moving if this is what we can find."

Fresh off a number one hit that didn't reflect where he was headed, this was how it was. Even if it ain't outlaw, it's pure uncut Waylon and that's always a treat. Keep those excavation trucks moving if this is what we can find.

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News Coverage for "The Lost Nashville Sessions"

Kentucky Country Music

94.9 The Outlaw KOLI-FM

Country Music News International

Glide MagazIne

Waylon Jennings "YOUNG WIDOW BROWN" Review by Robert K. Oermann

Writers: Waylon Jennings/Sky Corbin; Producers: Robby Turner; Publishers: Heart Of The Hills/Trio/Fort Knox, no performance rights listed; Country Rewind

- Finding new Waylon music is always a good thing. He and a bunch of other country acts recorded a series of short, military-recruitment radio shows in 1970. These tapes have recently been rediscovered. Former Waylon band member Robby Turner put new instrumentation on the performances to bring them up to date. Most of the tunes on the resulting The Lost Nashville Sessions CD are early waylon hits such as "Just To Satisfy You," "Only Daddy That'll Walk The Line," "Mental Revenge" and "Brown Eyed Handsome Man." This tasty country rocker is more obscure, the tale of a man who inherits a lusty gal he can't keep up with. Delightful.

Robert K. Oermann/DisClaimer Music Row Magazine

Waylon Jennings - The Lost Nashville Sessions

An impressionable country music singer, who became a Grammy recipient early in his career (for " MacArthur Park") and forged his name as an iconic figure in American music history, Waylon Jennings was a member of the "Outlaw Country" music movement and genre.  He shared the billing with renowned, award-winning recording artists such as Willie Nelson, Merle Haggard and Kris Kristofferson . THE LOST NASHVILLE SESSIONS showcases Jennings' stout talents as a young and promising recording artist (spotlighting the number one hit “Only Daddy That'll Walk The Line” ) and highlights a piece of music history that may have easily been lost and forgotten.

The musical gem features 14 never-heard-before tracks originally recorded at Scotty Moore's Music City Recorders (July 1970) as part of a U.S. military recruitment radio program. The 15-minute recorded shows hosted performances by, and banter with, popular country artists (Jennings, George Jones, Dolly Parton, Conway Twitty and Tammy Wynette to name a few). Created to encourage recruitment, the shows were distributed for “promotional-use only” on vinyl to 2,000 participating radio stations. Country Rewind Records President, Thomas Gramuglia, dusted off the masters from each and every recorded program with the idea to bring these performances to life via today's contemporary and digital musical formats. (THE LOST NASHVILLE SESSIONS is just one of hundreds of recordings.)

Grammy award winning musician and producer, Robby Turner (who is also the late country legend's longtime steel guitarist and producer, and now plays with Chris Stapleton), added instrumentals and background vocals to the raw original tracks (including Waylon Jennings' classics and his renditions of Chuck Berry's " Brown Eyed Handsome Man" and Kris Kristofferson's " Sunday Morning Coming Down" ).

With audio quality of the highest twenty-first century standard, the project has been described as “Delightful” (Robert K. Oermann/Music Row Magazine ). The production sounds as if Waylon and A-list musicians recorded the project just yesterday. Jennings' widow, Jessi Colter, and their son (Shooter Jennings) have given their permissions and blessings to release the project.

New Waylon Jennings Album Unearths 'The Lost Nashville Sessions'

A collection of never-released Waylon Jennings recordings will finally be heard September 2nd when The Lost Nashville Sessions hits stores. The album's track list includes classics such as "Only Daddy That'll Walk the Line," "Singer of Sad Songs" and "Green River." A few cover songs are thrown into the mix, as well, including Jennings' take on Chuck Berry's "Brown Eyed Handsome Man" and Kris Kristofferson's "Sunday Morning Coming Down." (The latter song was made famous by Johnny Cash, who just so happened to be Jennings' roommate in the few years prior to Jennings' recording of the melancholic ballad.)

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Review: Mickey Gilley Here I Am Again

Review by Paul W. Dennis - My Kind Of Country

It probably isn't fair to describe Mickey Gilley as a second tier artist since he had seventeen Billboard #1 hits and another seventeen songs that reached the top ten, and was the name behind the most famous country music nightclub ever. Born in 1936 in Natchez, MS, a second cousin to a pair of Ferriday, LA, fireballs in Jerry Lee Lewis and evangelist Jimmy Swaggart (Jerry Lee and Jimmy are first cousins to each other), Mickey probably was somewhat accustomed to being overlooked. In fact Mickey was 38 years old before he was regarded as more than a local artist. Mickey Gilley ran off a string of hits between 1974 and 1978 for Playboy Records, at which time his contract was purchased by Epic Records. His first singles on Epic were less successful than his Playboy singles. Then came the successful Urban Cowboy movie.

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Review: Connie Smith The Lost Tapes

Review by Preshias Harris

Every now and then, a recording surfaces that the world never knew existed or was believed to have been lost forever. ‘Connie Smith: The Lost Tapes' presents us with a collection of just such treasures.

Beginning in the 1960s, each branch of the United States military produced series of radio programs that were syndicated across the country, mainly for recruiting purposes, and also heard overseas on the Armed Forces Radio Network for the entertainment of troops. Many popular country music artists were invited to participate, singing some of their songs and talking to the show's host.

The artists had very little time to rehearse, often running through their set just one time before the recording began. On December 8, 1972, Connie Smith walked into Music City Recorders in Nashville to record an episode of a show titled Navy Hoedown. The studio owner and chief engineer for the session was none other than the legendary Scotty Moore, formerly of Sun Studios, and whose guitar can be heard on Elvis Presley's early hits.

A quick rehearsal and the then tape was running. In about one hour Connie recorded sixteen tracks, all the more remarkable in that artists will generally devote many hours, or even days, to cutting a single song. For these special shows, it was ‘one and done.' Connie left the studio and went back on the road, performing her hits for her legion of fans. The show was broadcast and the tapes were shelved and all but forgotten.

Hindsight Records' CEO Thomas Gramuglia has become an expert at tracking down tapes that were made for radio broadcast and then discarded, reviving them for release on his Country Rewind label. Gramuglia took the Connie Smith tapes to Apostle Paul's Clubhouse Recording Studio in Hendersonville, Tennessee, where he was joined by Connie along with Marty Stuart, recording engineer Mick Conley and several of Nashville's finest musicians. It was there that (in Stuart's words), they “retouched history as lightly as possible. Painstaking measures were taken to embellish these songs in a pure and authentic light.” The result: audio quality that is close to perfect.

The eleven tracks on this album include a version of Connie's breakthrough Number One hit “Once A Day” (penned by Bill Anderson) but part of the joy of this collection is listening to her version of other songs such as “The Race Is On” and “Long Black Limousine,” as well as Gospel-inspire favorites “Amazing Grace” and “How Great Though Art.” Because of the circumstances of the original recording session, the listener can sense the spontaneity and sheer fun that Miss Smith and the musicians must have experienced back on that day in '72.

“Connie Smith The Lost Tapes” is a valuable addition to the genre of newly discovered recordings and is on a par with Country Rewind's other recent release, “You Don't Know Me,” a collection of similarly rediscovered Faron Young tapes.

Review: Faron Young You Don't Know Me

Review by Preshias Harris

Make no mistake: this is not a collection of re-re-re-released tracks that turn up from time to time, and are often of dubious quality, when someone licenses the songs of a legendary artist.

There's no doubt that Faron Young is a legendary artist, but this album is indeed a rarity: literally a brand new collection from the beloved singer who passed away back in 1996. As Faron's son, singer-songwriter Robyn Young, says in the liner notes, the CD is a collection of very rare, one-of-a-kind recordings that most people never knew existed. They are from live performances, old radio broadcasts and old unreleased studio cuts. The tapes sat around, lost and forgotten for years.

Many of the tracks were cut on acetate pressings that were intended for a single play on the radio and were then discarded or destroyed. As such, several of the tracks were in extremely poor condition, and have been painstakingly repaired and modernized to contemporary standards by the dedicated people at Country Rewind Records.

Scott Oliver is the producer who was charged with the task of taking these songs and making them sound as if Young had recorded them today. As Oliver points out, this is not a re-mastered album, but essentially a brand new multi track project utilizing the resources and audio quality of the type available to current artists today. Understandably, all of the original recordings were one-track mono. Oliver has been totally faithful to the original sound while adding guitars, vocals and orchestral arrangements to breathe new life into tracks that would otherwise have been left for dead forever.

All of the tracks were originally recorded in one take, a single shot to get it right, recorded ‘live' to acetate without ‘punch-ins' or endless re-takes and tweaks. As a result, the tracks capture not only Young's talent and faultless professionalism in his dedication to his craft, but also communicate a sense of fun and spontaneity that gets lost by the third (or thirtieth) take.

On some of these tracks, we here the radio announcer's banter with Young at the start of the track, or the spontaneous applause from those in the studio at the end of a song. Every cut showcases Young's magnetic personality and his crystal clear diction and pitch. The album features unique versions of his familiar hits such as ‘Goin' Steady' and ‘Hello Walls' but perhaps the standout cut is the title track, “You Don't Know Me.” The song was a hit for Eddy Arnold (and recorded by many other artists including Ray Charles, Jerry Vale and Elvis Presley) but Young's version has a plaintive quality that could have given him a major hit if it had ever been released. Now we get to hear it all these years later.

The fifteen unique tracks on “You Don't Know Me” will bring the voice of the “Hillbilly Heartthrob” to a new generation of listeners and will be a thrill to longtime fans who still love the legendary Faron Young.

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