The Highwaymen - Live Greek Theater, L.A. 1996

Back From The Dead...
Originally posted May 6, 2014

The Highwaymen - Greek Theater

Los Angeles, CA.
June 4, 1996

 Soundboard @320

Upgraded Link

This show has made the rounds for awhile. An excellent show, grab it if you don't have it!

The Highwaymen
  Willie Nelson
  Johnny Cash
  Kris Kristofferson
  Waylon Jennings

 

Set List:
CD 1
1- Opening
2- Highwaymen
3- It Is What It is
4- Only Daddy That'll Walk the Line
5- Folsom Prison Blues
6- Me and Bobby McGee
7- Blue Eyes Cryin' in the Rain
8- Live Forever
9- I've Always Been Crazy
10- Ring of Fire
11- Sunday Morning Coming Down
12- Band Introduction
13- Make it Through the Night
14- Still is Still Movin to Me
15- Everybody Gets Crazy Now and Then
16- Will the Wolf Survive
17- Get Rhythm
18- Shipwrecked in the Ighties
19- Undo the Wrong > Wild Ones
20- Ain't No Good Chain Gang
 

CD2
1- Bird on a Wire
2- Here Comes the Rainbow
3- An End to Understanding
4- Ghost Riders in the Sky
5- Orange Blossom Special
6- Between Heaven and Here
7- Night Life
8- Good Hearted Woman
9- Chase the Feeling
10- Desperados Waiting for a Train
11- Always On My Mind
12- Big River > I Do Believe > Death & Hell
13- Why Me Lord

 

 Greek Theatre '96

 

 

The flac recording of this show made available HERE by T.U.B.E.

 

 

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Waylon Jennings - The Taker, Tulsa - 1971

Waylon Jennings - Taken/Tulsa

Studio recordings @320

{Out of Print}

The Taker - Tulsa essentially began the progressive country and outlaw movements of the early '70s. The record represents the discovery of Kris Kristofferson by Waylon Jennings; though it isn't entirely a repertoire album, most of the songs on the album were written by Kristofferson, who worked outside of the conventions of Nashville. The result is one of Jennings' first major statements. Although there are a couple of weak spots on the record, there's no denying that it helped spark a movement that revolutionized the country music industry. ~ Thom Owens, All Music Guide


Excellent in composition, production, and sequencing, The Taker/Tulsa stands the test of time as the first recording by Waylon Jennings to show what it was he had been crucifying Nash Vegas producers over. The end of his long production relationship with Chet Atkins (as Atkins was moved upstairs), his hostile, barely a year tenure with Atkins pick Danny Davis, a successful run with Lee Hazlewood that the establishment on Music Row disowned because it wasn't homegrown, and the final straw with Atkins protégé Ronnie Light ultimately led Waylon to hire a new lawyer and manager and begin producing himself. The Taker/Tulsa is chock-full of Kris Kristofferson's songs. Mickey Newbury brought Kristofferson to Jennings' attention a couple of years earlier, but this time out, Jennings decided to theme his recording and showcase Kristofferson's songs. The result — despite the fact that the record was culled from over two years of work with Davis and Light — is the first real salvo in the outlaw movement (not Ladies Love Outlaws, which was full of demo sessions and unfinished tracks). Kristofferson's tunes, including "Loving Her Was Easier," "Sunday Morning Coming Down," "Casey's Last Ride," and others, brought Jennings closer than ever to the flame, to the dream of producing his own records with his own band. The Kristofferson tunes stand out, but so does "Tulsa" by Wayne Carson Thompson and Jennings' own "You'll Look for Me." The albums dovetails together like one session and offers a view of what Waylon could issue when he got his way. This is one of Jennings' true classics, and with Lonesome, On'ry and Mean still a year away. It was the first unruly outing by a man who, along with his friends, was about to change everything.
~Unknown

pass - fbsvw

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