Album Review: Waylon Jennings Never Say Die: The Complete Final Concert
July 29, 2007People used to make records
As in a record of an event
The event of people playing music in a room
Ani Difranco “Fuel”
Waylon Jennings’ Never Say Die: The Complete Final Concert is one of those records that people used to make in the truest sense. The balladeer’s latest is a live album of his final concert, recorded in 2000 at the Ryman Auditorium in Nashville. The Waymore Blues Band, comprised of many former Waylors, who Jennings called his “dream team” play back up. Though one suspects no one knew that this would be Jennings’ last concert, signs of Waylon’s poor health abound in his banter between the songs. Nonetheless, Jennings sounds as good as ever, despite the fact that this live album is bogged down by, well, live-album-ness. Medleys and duets that seem inspired when you’re sitting in the Ryman with Waylon are less enthralling seven years later burned onto a CD. (Note, this is not a review of the accompanying DVD.)
The album starts off eerily with “Never Say Die” which is either poignant, or darkly comedic, depending on your perspective. Then the album moves into its round of medley: “Good Hearted Woman” is paired with “Mamas Don’t Let Your Babies Grow Up to Be Cowboys” (somewhat charmingly, Jennings never really nailed down Willie Nelson’s parts) and “Amanda” with “A Couple More Years.” Though these medleys have their own value, I can’t imagine listening to them instead of the original album cuts. And, okay I’ll just say it: Jennings’ duets with his wife, Jessi Colter, never elevated either artist, in my opinion. Though Colter’s solo work, especially 2006’s Out of the Ashes, can be superb, “Love’s the Only Chain” and “Suspicious Minds” sound more like light rock than outlaw country. Indeed, so much of the album seems like classic rock redux, with versions of “Never Been to Spain,” “Drift Away,” and “The Weight” all earning air time over Jennings’ original songs.
In Jennings introduction of the country duo Montgomery Gentry — who help out on “Ramblin’ Man” — he mentions that they’re “good old boys,” a moniker which Jennings himself holds with pride. However, these two exemplars of good old boy country stars articulate the key difference between this generation’s and the last: a sense of humor. Sure, Jennings was an outlaw he also sang “Don’t You Think This Outlaw Bit’s Done Got Out of Hand?,” he was the balladeer for the “Dukes of Hazzard,” but also for “The Family Guy” parody. Jennings use of humor showed us that he knew the difference between the art and the packaging and rarely confused the two. This makes this messy final concert album all the more disappointing and his passing all more sad for country music.
Disapointment abounds for those looking forward to Bobby “Blue” Bland’s free concert tonight at Prospect Park’s Band Shell, a part of the 
