Waylon (57 page)

Momma moves on and off the bus, introducing me to people I haven’t seen in years and years. She’s Momma, and she has a right
to be proud today. We’ve come a long way from the outskirts of Littlefield. There’s a constant parade of blood and not-so-bloody
relatives, friends I can barely remember, and faces that seem oddly familiar, carved by time’s experience and the wisdom that
comes with life’s living. Kind of like my own reflection, when I look in the mirror.

I’ve been doing that a lot the past couple of years, working on this book. Sometimes it’s like trying to walk in my own footsteps.
When I played a show recently at the Surf Ballroom in Clear Lake, the first time I’d been back since that fateful night in
1959, making my peace with the spot where I last saw Buddy sitting, hot dog in hand, laughing, the me then mingled with the
me now until I couldn’t tell where one started and the other left off. Probably there’s no clear line, which is how your story
becomes told.

The truth is, I’ve had it luckier than most. I’m comfortable with who I am, and I know my own limits, even though some of
them I had to learn the hard way. I ain’t got a thing to be bitter about.

Maybe I purposely set it up that way, so I wouldn’t get disappointed. I didn’t have any goals. I think that’s a dangerous
thing, if you take aim and achieve it. Once you get to your destination, it’s over. Done did everything that needs done. I
didn’t want to be king of the world. Things just kept popping up. What did I have the right to expect? Anything past the cotton
patch was free, gratis.

I never thought it would last. Not for so many years. You know where I’m good? Coming down the other side. I’ve been real
good at that, because I always knew it was there.

Every once in a while I get a longing look toward town, at the me I used to be. I’d like to get crazy but I know I can’t do
that again. I gave my word to Jessi and Shooter, and myself. No more.

Will Campbell says if you love somebody just because they’re good, well, that’s not love. I don’t know if I’m right or wrong,
but I do what’s right for me. I didn’t have much of a choice. There’s always going to be a yahoo like me over here, that can’t
get it. That’s got to do it his own way.

Live and learn. Die and forget it all.

“I’m looking for my youth,” I tell the press conference over at the Crescent Motel, “but she’s gone.”

Actually, though it’s a good line and gets a laugh, it’s not exactly true. She’s here. Momma sits on the stage, right on the
drum riser, clapping her hands and watching her family. Tommy comes on; it’s his first time playing Littlefield, oddly enough,
and he’s excited. “I’m going to stand here and beller, and I hope you like what you hear,” he tells the crowd, and when he
sings a song about “Those Three Brothers of Mine,” he calls me and Momma and Bo and James D. up on the stage for a family
portrait. Somewhere above, I know my dad is watching, feeling Texas-proud.

It’s an Event, for sure. John strides out to sing with me, and I think of the curve at Bula, where his big voice is probably
carrying right now, and how his song has carried in my life for over forty years. Jessi moves behind the white piano for her
set, and when she gets to our duet on “Deep in the West,” I hold her hand and harmonize with her, looking out over the town,
caught in the setting sun with the infinite Lone Star night waiting in the wings, and remember when Heaven seemed so far away.

In the morning, I’ll take a walk through Lubbock and pay my respects at the statue they built for Buddy. Then I’ll say my
good-byes and get back on the bus, heading toward tomorrow.

The following is a chronological overview of the recorded works of Waylon Jennings and Jessi Colter. For a complete listing,
John L. Smith has spent many years compiling a thorough book-length discography—published by Greenwood Press of Westport,
Connecticut, and London—that includes session dates, recording studios and musicians, all available alternate versions and
releases, chart positions, and the ephemeral minutiae of a lifetime lived in song. Our appreciations to John for his attention
to detail and investigative zeal, and his invaluable dedication to the matrix number of preserved sound.

Song titles are listed in italics, while albums—both records and compact discs—are in boldface. Approximate release dates
are given; as most of Waylon’s singles were concurrently released on albums, we have not included separate singles, except
for the early, pre-album years. Repackagings are not covered, except where a “Greatest Hits” might prove an introduction to
Waylon’s body—and mind and soul—of work, and an essential soundtrack to this autobiography.

BRUNSWICK BR 9-551
Jole Blon / When Sin Stops
(3-59)

Waylon’s first release, recorded Sept. 10, 1958, at Norman Petty’s studios in Clovis, New Mexico, produced by Buddy Holly.

TREND 102
Another Blue Day / Never Again
(1961)

TREND 106
My Baby Walks All Over Me / The Stage
(4-63)

A&M 722
Love Denied / Rave On
(4-64)

A&M 739
Four Strong Winds / Just to Satisfy You (8-64)

A&M 753
Sing the Girls a Song Bill / The Race Is On
(10-64)

SOUND LTD 1001
Waylon Jennings at JD’s
(12-64)

A&M 762
I Don’t Believe You / The Real House of the Rising Sun
(1965)

The A&M masters were eventually collected onto an album released in March 1970, entitled
Don’t Think Twice.
(See separate listing.)

RCA LPM/S-3523
Folk-Country
(3-66)

RCA LPM/S-3620
Leavin’ Town
(10-66)

RCA LPM/S-3736
Nashville Rebel
(12-66)

The soundtrack album from the American International film starring Waylon.
Norwegian Wood
was not used in the film.

RCA LPM/S-3660
Waylon Sings Ol’ Harlan
(3-67)

RCA LPM/S-3825
Love of the Common People
(8-67)

RCA CAL/S-2183
The One and Only
(11-67)

RCA LPM/S-3918
Hangin’ On
(2-68)

RCA LPM/S-4023
Only the Greatest
(7-68)

RCA LSP-4085
Jewels
(12-68)

RCA LSP-4137
Just to Satisfy You
(3-69)

RCA LSP-4180
Country-Folk
(w/The Kimberlys) (8-69)

RCA LSP-4260
Waylon
(1-70)