Mamou
—  Sub-prefecture and town  —
Mamou market
Mamou Location in Guinea
Coordinates: 10°23′N 12°05′W / 10.383°N 12.083°W / 10.383; -12.083Coordinates: 10°23′N 12°05′W / 10.383°N 12.083°W / 10.383; -12.083
Country	Guinea
Region	Labe Region
Prefecture	Mamou Prefecture
Population (2008)
• Total	76,269

Mamou is a city and sub prefecture in a valley of the Fouta Djallon area of Guinea. Population 76,269 (2008 est).^[1]

History[link]

It grew around the railway line from Conakry to Kankan and soon became the local administrative headquarters. Its main industry used to be until the 1990s decade meat processing, while it also acts as an important transport hub. All vehicles going to the Fouta Jallon, the forest region or Haute Guinée have to travel through Mamou.

See also[link]

• Railway stations in Guinea

Namesake[link]

There is another town in Guinea with the same name.

References[link]

External links[link]

v t e Mamou Prefecture Capital: Mamou Sub-prefectures Mamou-Centre Bouliwel Dounet Gongoret Kégnéko Konkouré Nyagara Ouré-Kaba Porédaka Saramoussaya Soyah Téguéréya Timbo Tolo

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Jean de Dieu Makiese (May 28, 1952 - August 11, 2007), popularly known as Madilu System, was a soukous singer and songwriter, born in Léopoldville, Belgian Congo - what is today known as Kinshasa, Democratic Republic of the Congo (DRC). He was once a member of the seminal soukous band TPOK Jazz which dominated the Congolese scene from 1960s through the 1980s.^[1]

Music career[link]

Beginning as a teenager in 1969, Madilu sang with "Orchestre Symba", "Orchestre Bambula", headed by Papa Noel, and with "Festival des Maquisards", led by Sam Mangwana. Madilu later formed his own band known as "Orchestre Bakuba Mayopi".

However, it was not until Madilu teamed up with Franco, that he became a Congolese and International star. Franco is the one who nicknamed him Madilu System, a name that stuck. Madilu's first hit with TPOK Jazz was “Mamou (Tu Vois),” which became a hit in 1984. That was followed by Madilu's own composition for the band, “Pesa Position.” Then came “Mario” and “Reponse de Mario” in 1985 and perhaps the best of the Franco-Madilu duets, “La Vie des Hommes” in 1986.

Following the death of Franco, TPOK Jazz stopped making music for one year. Then the group came together again with Madilu as one of the leaders. In the years that followed, he was a key participant in several of the band’s reunions, both on-stage and in the studio. Madilu went on to establish a lucrative solo career. He relocated his residence to Paris, France and later, Geneva, Switzerland, while maintaining a large fan base in his hometown of Kinshasa.

At the beginning of August 2007, Madilu travelled to Kinshasa to shoot videos for his new songs. He collapsed on Friday, August the 10th 2007. He was taken to the University Hospital in Kinshasa, where he died the next morning.^[2]

External links[link]

• Madilu System Biography and Discography

See also[link]

• Franco Luambo Makiadi
• Sam Mangwana
• Josky Kiambukuta
• TPOK Jazz

References[link]

Smiley Lewis (July 5, 1913 – October 7, 1966^[1]) was an American New Orleans rhythm and blues musician. The journalist, Tony Russell, in his book The Blues - From Robert Johnson to Robert Cray, stated "Lewis was the unluckiest man in New Orleans. He hit on a formula for slow-rocking, small-band numbers like "The Bells Are Ringing" and "I Hear You Knocking" only to have Fats Domino come up behind him with similar music more ingratiatingly delivered. Lewis was practically drowned in Domino's backwash".^[2]

Life and career[link]

Lewis was born in DeQuincy, Louisiana, U.S., a rural hamlet near Lake Charles, to Jeffrey and Lillie Mae Lemons, as the second of three sons and given the name of Overton Amos Lemons.^[3] His mother died while he was a child, and later Lewis named a song^[4] and several automobiles after her. In his mid-teens, he hopped onto a slow-moving freight train with some friends, who jumped off when the train began to speed up. Lewis alone remained on the train, getting off when it reached its stop in New Orleans. He found boarding with a Caucasian family in the Irish Channel, eventually adopting their surname of Lewis.^[5]

He began playing clubs in the French Quarter and "Tan bars" in the 7th Ward, at times billed as Smiling Lewis, a variation of the nickname earned by his lack of front teeth, and often accompanied by pianist Isidore "Tuts" Washington, whom he spent the mid-1930s with in Thomas Jefferson's Dixieland band. When the band dissolved, Lewis turned to going from one club to another, playing gigs for only tips.^[6]

Lewis married Leona Robinson in 1938, the couple living with her mother until they began having children, when they moved to South Tonti Street while Lewis spent the daytime hours working odd manual labor jobs and the nights singing. During World War II, he joined Washington again, this time with Ernest "Kid" Mollier's band entertaining soldiers stationed at Fort Polk outside of Bunkie, Louisiana while also serving as the house band at the Boogie Woogie Club. The two formed a trio with drummer Herman Seals after the war ended, and again began playing the French Quarter and down Bourbon Street.

An invitation by David Braun to record a session with his DeLuxe Records followed in 1947 for the trio and resulted in the release of his debut album, Here Comes Smiley,^[7] though Papa John French replaced Seals and played bass. The single "Turn On Your Volume" was a hit in local jukeboxes, but DeLuxe requested no more material and even left two other recorded sides unreleased. An invitation by Dave Bartholomew, who grew up in the same neighborhood as Lewis and was then beginning a production career with Imperial Records, led the trio to record a session in March 1950 that resulted in the song "Tee Nah Nah". Lewis scored his first national hit song with "The Bells Are Ringing" in 1952. In 1954 he recorded the original version of Bartholomew's song "Blue Monday", a hit for Fats Domino two years later.^[8][9] In 1955 he achieved his biggest sales with the original recorded version of "I Hear You Knocking" (written by Bartholomew and Pearl King) featuring Huey Smith on piano.^[10]

An attempt prompted by Imperial Records president Lew Chudd to attract new record buyers in 1957 saw Lewis recording pop and country music songs; the experiment failed and did nothing to boost Lewis's declining record sales. He was released from the label, and spent the early 1960s as an opening act for new performers, including Lee Dorsey, Irma Thomas, and Ernie K-Doe, the money short and Lewis arriving at gigs via the city bus. His career rounded out with a brief stint at Okeh Records in 1961 that consisted of one single, a 45 produced by Bill "Hoss" Allen in 1964 for Dot Records, and ended with a Loma Records release of "The Bells Are Ringing", remade with record producer Allen Toussaint.

He was hospitalized in 1965 and diagnosed with an ulcer; the operation led to the discovery that Lewis had stomach cancer, and quickly a benefit was organized by Bartholomew at La Ray's on Dryades Street. In the arms of his second wife, Dorothy Ester Lemons, whom he had married only six months prior, Lewis died on October 7, 1966, three days before the benefit.

Although Lewis' Imperial singles never sold more than 100,000 copies individually, they often lent themselves success to other artists.^[10] Gale Storm's pop version of "I Hear You Knocking" found its way into the top five on the charts.^[11] In the 1970s, Dave Edmunds covered the song as his first hit.^[12]

Elvis Presley's cover of the Lewis song "One Night" (altering one risque lyric) was #4 on the U.S. Billboard Hot 100 chart, and #1 on UK Singles Chart.^[13] Where Lewis' "I Hear You Knocking" had been too early to break from segregation involved in U.S. radio at the time of its release,^[14] Dave Edmunds' cover of the song reached number one in the UK^[12] and peaked at number four in the U.S.^[15] His version of the song lyrics actually names Lewis (alongside Chuck Berry, Fats Domino and Huey Smith).

Lewis' track "Shame, Shame, Shame" appeared on the soundtrack accompanying a dramatic chase through a collapsing attic in the film Baby Doll in 1956. The song failed to find entry to the R&B chart. It was covered by The Merseybeats on their EP On Stage in 1964.^[1] Later, Aerosmith included it on their blues album, Honkin' on Bobo. The song also provided the title for the fifth episode of HBO's original series Treme and included a re-written version of the song with lyrics critical of the government's response to Hurricane Katrina.

Key recordings[link]

• "Tee-Nah-Nah" - (1950) - Imperial Records
• "The Bells Are Ringing" - (1952) - Imperial
• "Blue Monday" - (1954)
• "(I Love You) For Sentimental Reasons" - (1954)
• "I Hear You Knocking" - (1955) - Rhythm & Blues #2
• "One Night (Of Sin)" - (1956) Rhythm & Blues #11
• "Please Listen To Me" - (1956) - Rhythm & Blues #9
• "Shame, Shame, Shame" - (1957) - Imperial
• "The Bells Are Ringing" (re-recording) - (1965) - Loma Records

See also[link]

• List of R&B musicians
• List of New Orleans blues musicians

References[link]

External links[link]

• Smiley Lewis, an R&B pioneer
• Smiley Lewis
• Smiley Lewis biography at Allmusic.com
• Affectionate, but well researched, offbeat.com Bio at Offbeat.com
• Discography

Waylon Jennings
Background information
Birth name	Waylon Arnold Jennings
Born	(1937-06-15)June 15, 1937 Littlefield, Texas, United States
Died	February 13, 2002(2002-02-13) (aged 64) Chandler, Arizona, United States
Genres	Country, outlaw country, country rock, progressive country
Occupations	Singer-songwriter, musician
Instruments	Vocals, guitar, bass, piano, mandolin
Years active	1958–2002
Labels	RCA Victor, MCA, Epic
Associated acts	Jessi Colter, Willie Nelson, The Highwaymen, Buddy Holly
Website	www.waylonjennings.com
Notable instruments
Fender Telecaster Signature of Waylon Jennings

Waylon Arnold Jennings (pronounced /welən dʒɛnɪŋz/; June 15, 1937 – February 13, 2002) was an American country music singer, songwriter, and musician. Jennings began playing guitar at eight and began performing at twelve on KVOW radio. He formed a band, The Texas Longhorns. Jennings worked as a D.J on KVOW, KDAV, KYTI and KLLL. In 1958, Buddy Holly arranged Jennings' first recording session, of "Jolie Blon" and "When Sin Stops (Love Begins)". Holly hired him to play bass. During the Winter Dance Party Tour, in Clear Lake, Iowa, Holly chartered a plane to arrive to the next venue. Jennings gave up his seat in the plane to J. P. Richardson, who was suffering from a cold. The flight that carried Holly, Richardson and Ritchie Valens crashed, on the day later known as The Day the Music Died. Following the accident, Jennings worked as a D.J in Coolidge, Arizona and Phoenix. He formed a rockabilly club band, The Waylors. He recorded for independent label Trend Records, A&M Records before succeeding with RCA Victor after achieving creative control of his records.

During the 1970s, Jennings joined the Outlaw movement. He released critically acclaimed albums Lonesome, On'ry and Mean and Honky Tonk Heroes, followed by hit albums Dreaming My Dreams and Are You Ready for the Country. In 1976 he released the album Wanted! The Outlaws with Willie Nelson, Tompall Glaser and Jessie Colter, the first platinum country music album. The success of the album was followed by Ol' Waylon, and the hit song "Luckenbach, Texas (Back to the Basics of Love)". By the early 1980s, Jennings was struggling with a cocaine addiction, which he quit in 1984. Later he joined the country supergroup The Highwaymen with Nelson, Kris Kristofferson and Johnny Cash. During that period, Jennings released the successful album, Will the Wolf Survive. He toured less after 1997, to spend more time with his family. Between 1999 and 2001, his appearances were limited by health problems. On February 13, 2002, Jennings died from complications of diabetes.

Jennings also appeared in movies and television series. He was the narrator for The Dukes of Hazzard. In 2001 he was inducted into the Country Music Hall of Fame, which he chose not to attend until later on. In 2007 he was posthumously awarded the Cliffie Stone Pioneer Award by the Academy of Country Music.

Early life[link]

Waylon Jennings was born in Littlefield, Texas, the seat of Lamb County, the son of Lorene Beatrice (née Shipley) and William Albert Jennings.^[1] His original birth name was Wayland, meaning land by the highway, but it was changed after a Baptist preacher visited Jennings' parents and congratulated his mother for naming him after the Wayland Baptist University in Plainview, Texas. Lorene Jennings, who had been unaware of the college, changed the spelling to Waylon. Jennings later expressed in his autobiography "I didn't like Waylon. It sounded corny and hillbilly, but it's been good to me, and I'm pretty well at peace with it right now."^[2] When Jennings was eight, his mother taught him to play guitar with the tune "Thirty Pieces of Silver". Jennings used to practice with the guitars of his relatives, until his mother bought him a used Stella, and later ordered a Harmony Patrician.^[3] Jennings never learned to read music, but he practiced to seek a career in music and avoid a possible future picking cotton and other temporary jobs.^[4][5]

Music career[link]

Beginnings in music[link]

The twelve-year-old Jennings auditioned for a spot on KVOW in Littlefield, Texas. Owner J.B. McShan, along with Emil Macha, recorded Jennings' performance. McShan liked his style, and hired him for a weekly thirty-minute program. Following this successful introduction, Jennings formed his own band. He asked Macha to play bass for him, and gathered other friends and acquaintances to form The Texas Longhorns. The style of the band, a mixture of country & western and bluegrass, often was not well received. At seventeen, Jennings and band recorded a demo of the songs "Stranger in My Home" and "There'll Be a New Day" at KFYO radio in Lubbock, Texas.^[6] In addition to performing on air for KVOW, Jennings later worked as a D.J for the station.^[7] Jennings dropped out of high school in tenth grade to pursue music. His early influences were Bob Wills, Floyd Tillman, Ernest Tubb, Hank Williams, Carl Smith and Elvis Presley.^{[8][9][10][11]} He moved to Lubbock, where he initially worked for KDAV, and later for KLLL, Jennings' show was successful in both venues.^[7]

Waylon Jennings (left) and Buddy Holly (right) in 1959

While working in KDAV, Jennings met Buddy Holly, during the broadcasts of Sunday Party. Holly, who wanted to start in record production, arranged a session for Jennings. On September 10, Jennings recorded the songs "Jolie Blon" and "When Sin Stops (Love Begins)", with Holly and Tommy Allsup on guitars with saxophonist King Curtis. The single was released on Brunswick in 1959 with limited success. Holly then hired Jennings to play electric bass for him during his "Winter Dance Party Tour".^[7]

	Jole Blon noicon During his first recording session in 1958, Jennings was accompanied by Buddy Holly on the guitar and King Curtis on the saxophone
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After a show in Clear Lake, Iowa, Holly chartered a plane for himself, Allsup and Jennings to avoid a long bus trip to Fargo, North Dakota. Allsup lost a coin toss to Ritchie Valens for his seat on the plane, while Jennings gave up his seat to J. P. Richardson, who was suffering from a cold and complaining about how uncomfortable a long bus trip was for a man of his size.^[12] Holly jokingly told Jennings, "I hope your ol' bus freezes up!". Jennings replied, "Well, I hope your ol' plane crashes!" During the early morning hours of February 3, 1959, later known as The Day the Music Died, the charter crashed outside Clear Lake, killing all on board.^[13] Jennings and Allsup continued the tour for two more weeks, featuring Jennings as the lead singer.^[7] Jennings later admitted that he felt severe guilt and responsibility for the crash, and that his words would haunt him for the rest of his life.^[13]

He later returned to KLLL and performed regionally.^[8] He released recordings under Trend Records, and experienced moderate success with his single "Another Blue Day".^[14]

Phoenix and the Nashville Sound[link]

Waylon Jennings publicitary portrait for RCA Victor circa 1965

In 1961, Jennings lived briefly in Coolidge, Arizona working in radio, before moving to Phoenix, where he formed a rockabilly band, The Waylors. Jennings and his band performed at a newly opened nightspot called JD's. The band earned a small fan base, eventually signing with the independent label Trend Records. The recordings were not successful and Jennings began working as a record producer. In 1963, he moved to Los Angeles, California where he signed a contract with Herb Alpert of A&M Records.^[14][15]

His records had little success, because A&M's main releases were folk music rather than country.^[16] He had a few hits on local radio in Phoenix, including Ian Tyson's "Four Strong Winds" and "Just To Satisfy You" (co-written with Don Bowman). He also recorded an album on BAT called JD's. After 500 copies were sold at the club, another 500 copies were pressed by the Sounds label.^[17] He also played lead guitar for Patsy Montana on a 1964 album.^[18] Alpert tried to shift Jennings' style from country to pop, but Jennings refused. After his only single, "Sing the Girl a Song, Bill", Alpert released Jennings.^[15]

Singer Bobby Bare, who covered Jennings' songs "Four Strong Winds" and "Just To Satisfy You", recommended Jennings to producer Chet Atkins, who signed Jennings to RCA Victor in 1965.^[16]

	"Just to Satify You" noicon From the album of the same name, the song was a local radio hit for Jennings in Nashville
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In 1966, Jennings released his debut album for RCA Folk-Country, followed by Leavin' Town, and Nashville Rebel.^[19][20] Nashville rebel was the soundtrack to an independent film of the same name, starring Jennings.^[21] In 1967, Jennings released a hit single, "Just to Satisfy You". During an interview, Jennings remarked that the song was a "pretty good example" of the influence of his work with Buddy Holly and rockabilly music.^[22] During the next years, Jennings produced mid-chart albums that sold well, including Just to Satisfy You, that included the same-named hit single of 1967.^[19]

In 1972, Jennings released Ladies Love Outlaws. The single that headlined the album became a hit for Jennings, and was his first approach to Outlaw Country.^[23] Jennings was accustomed to performing and recording with his own band, The Waylors; a practice that was not encouraged by powerful Nashville producers. Over time, however, Jennings felt limited by the Nashville sound's lack of artistic freedom.^[24] The music style publicized as "Countrypolitan" was characterized by orchestral arrangements, and the absence of traditional country music instruments. The producers did not let Jennings play his own guitar, or select material to record.^[14]

Outlaw Country[link]

In an interview Jennings recalled the restrictions of the Nashville establishment, "They wouldn't let you do anything. You had to dress a certain way: you had to do everything a certain way [...] They kept trying to destroy me.... I just went about my business and did things my way [...] You start messing with my music, I get mean"^[25] In 1972, his recording contract was nearing an end. Hepatitis-afflicted Jennings accepted an offer from Neil Reshen to renegotiate his recording and touring contracts. At a meeting in a Nashville airport, Jennings introduced Reshen to Willie Nelson. By the end of the meeting, Reshen had become manager to both singers. Jennings' new deal gained him a $75,000 advance and artistic control.^[26][27] Reshen advised Jennings to keep the beard that he had grown in the hospital, in order to match the image of outlaw country.^[28][29][30]

L-R: Kris Kristofferson, Willie Nelson, Waylon Jennings at Nelson's 4th of July Picnic 1972.

By 1973, Nelson had returned to music, finding success with Atlantic Records. Now based in Austin, Texas, Nelson had made inroads into the rock and roll press by attracting a diverse fan base that included the rock music audience.^[31][32] Atlantic Records was now attempting to sign Jennings, but Nelson's rise to popularity persuaded RCA to renegotiate with Jennings before losing another potential success.^[33]

He followed with Lonesome, On'ry and Mean and Honky Tonk Heroes in 1973, the first albums recorded and released under his creative control. The albums were commercial and critical successes. More hit albums followed, with The Ramblin' Man and This Time, in 1974, and Dreaming My Dreams, in 1975.^[34][35] In 1976, Jennings released Are You Ready for the Country, Jennings wanted the record to be produced by Los Angeles producer Ken Mansfield. Although RCA denied the request, Jennings and The Waylors went to Los Angeles and recorded with Mansfield at his expense. After a month, Jennings presented the master tape to Chet Atkins who decided to release it. The album hit number one on Billboard's country albums three times the same year, topping the charts for ten weeks. It was named country album of the year in 1976 by Record World Magazine and it was certified gold by the RIAA.^[36]

	"Luckenbach, Texas (Back to the Basics of Love)" noicon A hit for Jennings, the song was released in the album Ol' Waylon
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In 1976 Jennings released the album Wanted! The Outlaws, recorded with Willie Nelson, Tompall Glaser and Jessie Colter for RCA. The album was the first country music album certified platinum.^[14] The following year, RCA issued Ol' Waylon, an album that produced a hit duet with Nelson, "Luckenbach, Texas (Back to the Basics of Love)."^[37] The album Waylon and Willie followed in 1978, producing the hit single, "Mammas Don't Let Your Babies Grow Up to Be Cowboys".^[38] Jennings released I've Always Been Crazy, also in 1978.^[39] The same year, at the peak of his success, Jennings began to feel limited by the outlaw movement. The "outlaw image" restricted the repertoire he could record, as well as the material that audiences expected from him.^[40] Jennings referred to the over-exploitation of the image in the song "Don't You Think This Outlaw Has Gone a Bit Out of Hand?", denouncing that the movement had become a "self-fulfilling prophecy".^[40][41] In 1979 he released Greatest Hits,^[39] which was certified gold the same year, and in 2002 was certified quintuple platinum.^[42]

Later years[link]

	Highwayman noicon Fragment of the song Highwayman, sung by Jennings with the country supergroup The Highwaymen
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In the mid-1980s, Johnny Cash, Kris Kristofferson, Nelson and Jennings formed a successful group called The Highwaymen.^[43] Aside from his work with The Highwaymen, Jennings' released a gold album WWII (1982) with Willie Nelson.^[38]

Waylon Jennings in concert, playing his custom 1953 Fender Telecaster

In 1985 Jennings joined with USA for Africa to record "We Are the World", but he left the studio due to a dispute over the song's lyrics that were sung in Swahili.^[44][45] By this time, his sales decreased. After the release of Sweet Mother Texas, Jennings signed with Music Corporation of America.^[15] The debut release with the label, Will the Wolf Survive (1985), peaked at number one in Billboard's Country albums in 1986.^[46] Jennings' initial success tailed off, and in 1990, he signed with Epic Records. His first release, The Eagle, became his final top ten album.^[15][47] In 1993, in collaboration with Rincom Children's Entertainment, Jennings recorded an album of children's songs, Cowboys, Sisters, Rascals & Dirt, which included "Shooter's Theme", a tribute to his 14-year-old with the theme of "a friend of mine".^[48]

Despite low record sales, Jennings attracted large audiences in live appearances.^[15] In 1997, after the Lollapalooza tour, he decreased his tour schedule and became centered on his family.^[49]

In 1998, Jennings teamed up with Bare, Jerry Reed and Mel Tillis to form The Old Dogs. The group recorded a double album of songs penned entirely by Shel Silverstein.^[50] In mid 1999, Jennings assembled what he referred to as his "hand-picked dream team" – and formed Waylon & The Waymore Blues Band. Consisting primarily of former Waylors, the thirteen-member group performed a limited number of concerts from 1999 to 2001.^[51] In January 2000, Jennings recorded what would become his final album at Nashville's historic Ryman Auditorium, Never Say Die: Live.^[52]

Music style and image[link]

Jennings was characterized by his "powerful" singing voice, noted by his "rough-edged quality", as well as his phrasing and texture.^[53][54] Accompanying his vocals, he played guitar. He was recognized for his "spanky-twang" playing. To create his sound, he used a mixture of thumb and fingers during the rhythmic parts, while using picks for the lead runs. He combined hammer-on and pull-off riffs, with eventual upper-fret double stops and modulation effects.^[55] Jennings played a 1953 Fender Telecaster, which was purchased used by The Waylors. Jennings' bandmates adorned his guitar with a distinctive leather cover, that featured a black background with a white floral work.^[56][57] Jennings did further customizing work on the guitar, by filing down the frets to lower the strings on the neck to obtain the slapping sound.^[58][59] His signature image was characterized by his long hair and beard, as well as his black hat and the black leather vest he wore during his appareances.^[60][61]

Movies and television[link]

In 1966, Jennings starred in the movie Nashville Rebel, an independent production shot in Nashville. Jennings portrayed Alvin Grove, a local singer on his way to stardom.^[21] Jennings next appeared in the movies All American Cowboy, and The Oklahoma City Dolls.^[62] Outside the music industry, Jennings was known as the primary voice of the narrator/balladeer on the television series The Dukes of Hazzard and its predecessor, the 1975 film, Moonrunners.^[63] The theme song, "Good Ol' Boys", an original Jennings composition, became one of the most well-known television theme songs in American television history.^[64] In 1986 he appeared in the movie Stagecoach, portraying Hatfield, alongside Cash, Nelson and Kristofferson.^[65]

Jennings made an appearance on Xuxa, Married... with Children,^[66] and played a truck driver in the 1985 film, Sesame Street Presents Follow That Bird. Jennings sang "Ain't No Road Too Long" in the movie with Big Bird and the other Sesame Street characters.^[67] In 2000, he provided the voice of Judge Thatcher in the animated adaptation of Tom Sawyer.^[68] In an episode of The Angry Beavers entitled The Legend of Kid Friendly that aired in April 1999, Jennings provided the voice for the narrator/singer.^[69] In 2001, Jennings voiced a character in an episode of Family Guy for a Dukes of Hazzard parody (his last televised appearance). The episode was entitled "To Love and Die in Dixie". The episode originally aired that November. He also narrated a watch fight in an earlier episode, "Chitty Chitty Death Bang".^[69]

Personal life[link]

Jennings was married four times, and had six children. He was first married to Maxine Caroll Lawrence in 1956 at age 18, with whom he had four children Terry Vance Jennings (born January 21, 1957), Julie Rae Jennings (born August 12, 1958), Buddy Dean Jennings (born March 21, 1960), and Deana Jennings.^[70] Jennings married again on December 10, 1962 to Lynne Jones, adopting a child Tomi Lynne. They divorced in 1967.^[71] He next married Barbara Rood. He composed the song "This Time" about the trials and tribulations of his marriages and divorces.^[72] He married for the fourth and final time in Phoenix, Arizona, on October 26, 1969 to Jessi Colter.^[73][74] Colter and Jennings had one son, Waylon Albright "Shooter" Jennings (born May 19, 1979). Colter had one daughter, Jennifer, from her previous marriage.^[75] Jennings' grandson, William "Struggle" Harness, became a rap/hip hop artist, based out of Nashville.^[76]

In 1997, he stopped touring to be close to his family. To set an example about the importance of education to his son Waylon Albright, Jennings earned a GED.^[67][77]

Addiction and recovery[link]

Jennings started to consume amphetamines at the time he lived with Johnny Cash during the mid-1960s. Jennings later stated, "Pills were the artificial energy on which Nashville ran around the clock".^[8] In 1977, Jennings was arrested by federal agents for conspiracy and 'possession of cocaine with intent to distribute'. A private courier warned the Drug Enforcement Administration about the package sent to Jennings by a New York colleague that contained twenty-seven grams of cocaine. The DEA and the police went to Jennings' recording studio. They found no evidence, because while they were waiting for a search warrant, Jennings flushed the cocaine. The charges were later dropped and Jennings was released.^[78] The episode was recounted in Jennings' song "Don't You Think This Outlaw Bit's Done Got Outta Hand?"^[79]

During the early 1980s, his cocaine addiction intensified. Jennings claimed to have spent US$1500 daily to satisfy his addiction, draining his personal finances and leaving him bankrupt with debt of up to US$2.5 million.^[74] Though he insisted on repaying the debt and did additional tours to earn the funds, his work became less focused and his tours deteriorated.^[79] Jennings decided to quit his addictions, leased a home in the Phoenix, Arizona area and spent a month detoxing himself, intending to start using cocaine again in a more controlled fashion afterward. In 1984 he quit cocaine. By Jennings' own admission in interviews, his son, Shooter Jennings, was the main inspiration to quit permanently.^[80]

Illness and death[link]

Jennings' health had been bad for years prior to his death. Jennings quit cocaine, and his habit of smoking six packs of cigarettes daily. In 1988 he underwent heart bypass surgery.^[74] By 2000 his diabetes worsened, and the pain reduced his mobility, forcing Jennings to end most touring.^[67] Later the same year he went under surgery to improve his leg circulation.^[8] In December 2001 his left foot was amputated at a hospital in Phoenix, Arizona. On February 13, 2002, Jennings died in his sleep of diabetic complications in Chandler, Arizona. Jennings was buried in the Mesa City Cemetery, in Mesa, Arizona. At the funeral ceremony, on February 15, Colter sang "Storms Never Last" for the attendees, who included Jennings' close friends and fellow musicians.^[67][74]

Legacy[link]

Waylon Jennings Boulevard sign in Littlefield, Texas

Between 1966 and 1995, 54 Jennings' albums charted, with 11 reaching number one. Meanwhile between 1965 and 1991, 96 singles charted, with 16 number ones.^[81] In October 2001, Jennings was inducted into the Country Music Hall of Fame. In one final act of defiance, he did not attend the ceremony and opted instead to send son Buddy Dean Jennings.^[67] On July 6, 2006, Jennings was inducted to Hollywood's Rock Wall in Hollywood, California.^[82] On June 20, 2007, Jennings was posthumously awarded the Cliffie Stone Pioneer Award by the Academy of Country Music.^[83]

Discography[link]

Awards[link]

See also[link]

Biography portal

• Outlaw country
• Academy of Country Music
• List of country musicians
• Country Music Association
• List of best-selling music artists
• Inductees of the Country Music Hall of Fame

References[link]

Bibliography[link]

• Breskin, David (2004). We Are the World: The Story Behind the Song booklet. (Album notes). Image Entertainment, Inc.. 
• Brown, Charles (1986). Music U.S.A.: America's Country & Western Tradition. Prentice-Hall. 
• Carr, Joseph; Munde, Alan (1997). Prairie Nights to Neon Lights: The Story of Country Music in West Texas. Texas Tech University Press. ISBN 978-0-89672-365-8. 
• Cramer, Alfred (2009). Musicians and Composers of the 20th Century-Volume 2. Salem Press. ISBN 978-1-58765-514-2. 
• Thompson, Clifford (2002). Current Biography Yearbook 2002. H.W. Wilson. pp. 622. ISBN 978-0-8242-1026-7. 
• Clarke, Donald (1998). The Penguin Encyclopedia of Popular Music. Penguin Books. ISBN 978-0-14-051370-7. 
• Ward, Robert (2012). Renegades: My Wild Trip from Professor to New Journalist With Outrageous Visits from Clint Eastwood, Reggie Jackson, Larry Flynt, and Other American Icons. Adams Media. ISBN 978-144053314-3. 
• George-Warren, Holly; Romanowski, Patricia; Pareles, Jon (2001). The Rolling Stone Encyclopedia of Rock & Roll. Fireside. ISBN 978-0-7432-0120-9. 
• Hart, Kylo-Patrick (2007). Mediated Deviance and Social Otherness: Interrogating Influential Representations. Cambridge Scholars Publishing. ISBN 978-1-84718-245-6. 
• Huang, Hao (1999). Music in the 20th Century. 2. M.E. Sharp. ISBN 978-0-7656-8012-9. 
• Hunter, David (2010). Star Guitars: 101 Guitars That Rocked the World. Voyageur Press. ISBN 978-076033821-6. 
• Jennings, Waylon; Kaye, Lenny (1996). Waylon: An Autobiography. Warner Books. ISBN 978-0-446-51865-9. 
• Jensen, Richard (2003). Trespass in Hazzard County: My Life as an Insider on the Dukes of Hazzard. iUniverse. ISBN 978-0-595-28220-3. 
• Kaplan, Mike (1989). Variety's Who's Who in Show Business. R.R. Bowker. 
• Kingsbury, Paul (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford University Press. ISBN 978-0-19-517608-7. 
• Larkin, Colin (1995). Guinness Encyclopedia Of Popular Music. 3 (2nd ed.). Guinness Publishing. ISBN 978-1-56159-176-3. 
• LeRoy, Ashby (2006). With Amusement for All: a History of American Popular Culture Since 1830. University Press of Kentucky. ISBN 978-0-8131-2397-4. 
• Lewis, George (1993). All That Glitters: Country Music in America. Popular Press. ISBN 978-0-87972-574-7. 
• Oerman, Robert (1999). A Century of Country: an Illustrated History of Country Music. TV Books. ISBN 978-1-57500-083-1. 
• Parish, James Robert; Pitts, Michael (2003). Hollywood Songsters: Allyson to Funicello. Routledge. ISBN 978-0-415-94332-1. 
• Pendergast, Tom; Pendergast, Sara (2000). St. James Encyclopedia of Popular Culture. 2. St. James Press. ISBN 978-1-55862-400-9. 
• Petrusich, Amanda (2008). It Still Moves: Lost Songs, Lost Highways, and the Search for the Next American Music. Macmillan. ISBN 978-0-86547-950-0. 
• Ratiner, Tracie (2009). Contemporary Musicians. 65. Gale. ISSN 9780787696153. 
• Seal, Graham (2011). Outlaw Heroes in Myth and History. Anthem Press. ISBN 978-0-85728-792-2. 
• "Cashville" - Dilution of Original Country Music Identity Through Increasing Commercialization. Diplomica Verlag. 2012. ISBN 9783842878457. 
• Wishart, David (2004). Encyclopedia of the Great Plains. University of Nebraska Press. ISBN 978-0-8032-4787-1. 
• Wolff, Kurt; Duane, Orla (2000). Country Music: The Rough Guide. Rough Guides. ISBN 978-1-85828-534-4. 

Journals[link]

• Denberg, Jody (January 1988). "Chantilly Lace and Jolly Face". Texas Monthly 16 (1). ISSN 0148-7736. 
• Jessen, Wade; Evans Price, Deborah; Stark, Phyllis (February 23, 2002). "Waylon Jennings Remembered as Country Music Legend". Billboard 114 (8). ISSN 0006-2510. 
• Billboard 112 (12). March 18, 2000. ISSN 0006-2510. 
• "Patsy Montana Early Country Favorites". Bluegrass Unlimited (Bluegrass Unlimited) 18 (1-6). 1983. ISSN 0006-5137. 
• Country song roundup. Country Song Roundup. 1967. p. 15. 
• The Journal of country music (The Country Music Foundation) 6 (3). Fall 1975. 
• The Southern Quarterly (University of Southern Mississippi) 22. 1983. ISSN 0038-4496. 

Further reading[link]

• Denisoff, R. Serge. Waylon: A Biography (1983). Knoxville: University of Tennessee Press. ISBN 0-87049-387-6.
• Smith, John L. (compiled by) The Waylon Jennings Discography (1995). Greenwood Press. ISBN 0-313-29745-2.

External links[link]

Find more about Waylon Jennings on Wikipedia's sister projects:
	Images and media from Commons
	Quotations from Wikiquote

• Official website
• Waylon Jennings : February 15, 2002 - Fresh Air from WHYY (RealAudio)
• USA Today obituary
• Waylon Jennings' Gravesite
• Waylon Jennings at Allmusic