GARY P NUNN For Old Times Sake LP 1989 RARE Still Sealed Americana Texas Outlaw

$

78

Record: Mint (M) Still Sealed! Cover: Very Good Plus (VG+) Labels: Clean! Gary P. Nunn For Old Times Sake 1989 United States AO Records AO-001 12" Stereo 33 RPM Vinyl LP SB-60687

Gary P. Nunn
For Old Times Sake

 1989 United States AO Records 12" LP Vinyl Record

Hard to Find Out of Print Still Sealed 1989 RARE!

Condition
Vinyl: Mint (M) Still Sealed!
Sleeve: Very Good Plus (VG+) light ring impression and storage wear, but no cuts or marks

Please see item specifics section above for more details

Tracks:
Gary P. Nunn And The Sons Of The Bunkhouse Band – For Old Times Sake Label: AO Records (3) – AO-001 Format: Vinyl, LP, Album Country: US Released: 1989 Genre: Folk, World, & Country Style: A1 Cuttin A Rug (Til The Cows Come Home) A2 If You Don´t Believe I Love You (Ask My Wife) A3 Cut And Putt A4 Nine Cents Change A5 The Chilli Song A6 Pickup Truck, Texas B1 For Old Times Sake B2 The Domino Song B3 I Fell A Party Coming On B4 Gracias For Esse B5 Uncle Bud B6 The Reggae Armadillo (A.O.)

GARY P NUNN For Old Times Sake LP 1989 RARE Still Sealed Americana Texas Outlaw Real Name: Gary Phillip Nunn Profile: American country singer and songwriter, born in Oklahoma, USA. He is married to Ruth Nunn. He was previously married to Karen Brooks, with whom he had a son, Lukin Tolliver Nunn. Gary P. Nunn (born December 4, 1945)[1] is an American country music singer-songwriter. He is best known for writing "London Homesick Blues", which was the theme song for Austin City Limits from 1977 to 2004 (seasons 2–29).[2] Nunn is also considered the father of the progressive country scene that started in Austin in the early 1970s.[3] Biography Nunn (far right) with The Lost Gonzo Band, 1977 Nunn was born in Okmulgee, Oklahoma and moved to Brownfield, Texas as a sixth grader.[4] He began his musical career as a seventh grader in a garage band in Brownfield, Texas, where he was an honor student and all-around athlete. Upon graduation from high school, he attended Texas Tech University and South Plains College, while he also played with a Levelland, Texas rock band The Sparkles during the 1960s. In addition to the Sparkles, Nunn played in such bands as the Shucks with former Cricket J.I. Allison, and the Night Spots with Don Caldwell. "I always had fun in Lubbock," said Nunn, "and I always enjoy going back there."[4] In 1968, he transferred to the University of Texas at Austin where he was a pharmacy major.[5] Nunn was there at the start of the "cosmic cowboy" movement with one of Austin's favorite bands, The Lavender Hill Express, with the late Rusty Wier.[6] Nunn immersed himself further in the local music scene, playing bass for Michael Martin Murphey, the late Jerry Jeff Walker, and Willie Nelson. From there he was a pianist for the Lost Gonzo Band that backed Walker and Murphey both on stage and in the studio. Jerry Jeff Walker and the Lost Gonzo Band (including Nunn) released six albums through MCA Records over the course of four years.[7] The Lost Gonzo Band parted ways with Walker in 1977, after which they produced three albums for MCA and Capitol Records, finally disbanding in 1980.[8] Nunn then moved on to pursue a solo career.[9] In 1985, Nunn moved to a family farm in Oklahoma, running an 800-acre cattle ranch at the same time as his musical career. He established the Terlingua North Chili Cook-Off and Music Festival there, where now-popular acts like Pat Green and Cross Canadian Ragweed played early in their careers. "It seems every time we had a young and upcoming band up there, it was like they hit a diving board and just sprung into the air," Nunn notes. And within today's thriving Texas and Red Dirt scene, he's a revered elder statesman to countless performers and songwriters who teethed and grew up on his music. "They’ve let me know I inspired them and showed them how it could be done."[10] Nunn moved back to the Austin area in 2003.[10] Nunn's songs have been recorded by various nationally known country artists, including Jerry Jeff Walker, Michael Murphey, Tracy Nelson, David Allan Coe, Rosanne Cash, and Willie Nelson among others. With a continuing array of successful solo albums and an army of fans, Nunn has made a permanent mark on the Texas/Southwestern/Country/Folk music scene. Along with being a touring performer, Nunn has appeared on programs such as Nashville Now, The Nashville Network's Texas Connection, music videos and special appearances on TNN, Austin City Limits, Texas Rangers baseball games (singing the national anthem), among other appearances.[11] Awards, honors and recognition 1985: Designated Official Ambassador to the World by Texas Governor Mark White.[11] 1990: Received an Award of Appreciation by the San Antonio Chapter of the Texas Music Association (along with other artists such as ZZ Top, Moe Bandy, and Tish Hinojosa).[11] 1991: Given a Citation of Recognition by the Oklahoma House of Representatives for his contribution to the preservation of the unique Southwestern style of music.[11] Honored by the Texas Department of Commerce and Tourism, chosen to be included in the Department's List of Lone Star Greats. This award was created to recognize individuals in the state of Texas that they deem to be leaders in the fields of art, athletics, and music.[12] 1995: Added to the West Texas Walk of Fame in Lubbock, Texas; as part of the festivities, Nunn was also honored by the Lubbock Civic Center as well as the Mayor and City Council of Lubbock, the Chamber of Commerce, and others in conjunction with the opening of the Buddy Holly Museum.[12] 1998: Invited to sing the National Anthem at the UT-BAYLOR game on October 24, 1998, with the University of Texas band. Nunn rode on the Budweiser Clydesdale Wagon around the track of the Darrell K. Royal Memorial Stadium.[11] 2004: Inducted into the Texas Hall of Fame.[11] 2007: Texas Governor Rick Perry made him a Musical Ambassador for Texas.[4] Awarded several Gold and Platinum Records for writing, publishing and performing.[11] Discography With the Lost Gonzo Band: The Lost Gonzo Band (1975) Thrills (1976) Signs of Life (1977) Rendezvous (1992) Hands of Time (1995) Dead Armadillos (1998) As a solo artist: Nobody But Me (1980) Pride of Texas – Live at Dingwall's, London (1983) Home with the Armadillo (1984) Border States (1987) For Old Times Sake (1989) Live from Mingus, Texas (with Larry Joe Taylor) (1990) Where There's a Willie, There's a Way (single, 1991) Totally Guacamole (1993) Roadtrip (1994) Under My Hat (1996) What I Like About Texas: Greatest Hits (1997) How 'Bout Them Cowboys (single, 1998) It's a Texas Thing (2000) Greatest Hits: Volume 2 (2001) Something for the Trail (2004) Live from the Majestic (2008) Taking Texas to the Country (2010) Christmas Time in Texas (2010) One Way or Another (2012)    Americana (also known as American roots music)[1] is an amalgam of American music formed by the confluence of the shared and varied traditions that make up the musical ethos of the United States of America, with particular emphasis on music historically developed in the American South. Definition The term "Americana music" was defined by the Americana Music Association (AMA) in 2020 as "…the rich threads of country, folk, blues, soul, bluegrass, gospel, and rock in our tapestry."[2] A previous 2016 AMA definition of the genre included rhythm and blues, with additional comments that Americana music results "in a distinctive roots-oriented sound that lives in a world apart from the pure forms of the genres upon which it may draw. While acoustic instruments are often present and vital, Americana also often uses a full electric band."[3] History Prehistory: Roots music The origins of Americana music can be traced back to the early 20th century, when rural American musicians began incorporating elements of folk, blues, and country music into their songs.[4] Americana musicians often played acoustic instruments such as the guitar, banjo, fiddle, and upright bass, and their songs typically told stories about the struggles and hardships of everyday life.[5] Folk music revival Pete Seeger in 1955 The American folk music revival began during the 1940s and peaked in popularity in the mid-1960s. The folk revival in New York City was rooted in the resurgent interest in square dancing and folk dancing there in the 1940s as espoused by instructors such as Margot Mayo, which gave musicians such as Pete Seeger popular exposure.[6][7][8] The folk revival more generally as a popular and commercial phenomenon begins with the career of The Weavers, formed in November 1948 by Pete Seeger, Lee Hays, Fred Hellerman, and Ronnie Gilbert of People's Songs, of which Seeger had been president and Hays executive secretary. The Kingston Trio, a group originating on the West Coast, were directly inspired by the Weavers in their style and presentation and covered some of the Weavers' material, which was predominantly traditional. The Kingston Trio's popularity would be followed by that of Joan Baez, whose debut album Joan Baez reached the top ten in late 1960 and remained on the Billboard charts for over two years. It was not long before the folk-music category came to include less traditional material and more personal and poetic creations by individual performers, who called themselves "singer-songwriters". As a result of the financial success of high-profile commercial folk artists, record companies began to produce and distribute records by a new generation of folk revival and singer-songwriters Phil Ochs, Tom Paxton, Eric von Schmidt, Buffy Sainte-Marie, Dave Van Ronk, Judy Collins, Tom Rush, Fred Neil, Gordon Lightfoot, Billy Ed Wheeler, John Denver, John Stewart, Arlo Guthrie, Harry Chapin, and John Hartford, among others. Some of this wave had emerged from family singing and playing traditions, and some had not. These singers frequently prided themselves on performing traditional material in imitations of the style of the source singers whom they had discovered, frequently by listening to Harry Smith's celebrated LP compilation of forgotten or obscure commercial 78rpm "race" and "hillbilly" recordings of the 1920s and 30s, the Folkways Anthology of American Folk Music (1951). A number of the artists who had made these old recordings were still very much alive and had been "rediscovered" and brought to the 1963 and 64 Newport Folk Festivals. For example, traditionalist Clarence Ashley introduced folk revivalists to the music of friends of his who still actively played the older music, such as Doc Watson and The Stanley Brothers. Emergence of folk rock In the 1950s and 1960s, folk revival music began to evolve and incorporate elements of rock and roll and other popular music styles. Artists such as Bob Dylan and the Byrds began blending traditional folk and country music with electric guitars and drums, creating a new sound that came to be known as folk rock.[4] Joan Baez and Bob Dylan in 1963 On January 20, 1965, the Byrds entered Columbia Studios in Hollywood to record Bob Dylan's acoustic tune "Mr. Tambourine Man" for release as their debut single on Columbia. The full, electric rock band treatment that the Byrds and producer Terry Melcher had given the song effectively created the template for the musical subgenre of folk rock.[9][10] McGuinn's melodic, jangling 12-string Rickenbacker guitar playing—which was heavily compressed to produce an extremely bright and sustained tone—was immediately influential and has remained so to the present day. The single also featured another major characteristic of the band's sound: their clear harmony singing, which usually featured McGuinn and Clark in unison, with Crosby providing the high harmony.[11] Additionally, Richie Unterberger has stated that the song's abstract lyrics took rock and pop songwriting to new heights; never before had such intellectual and literary wordplay been combined with rock instrumentation by a popular music group.[12] Within three months "Mr. Tambourine Man" had become the first folk rock smash hit,[13] reaching number one on both the U.S. Billboard Hot 100 chart and the UK Singles Chart.[14][15] The single's success initiated the folk rock boom of 1965 and 1966, during which a number of Byrds-influenced acts had hits on the American and British charts.[12] The term "folk rock" was itself coined by the American music press to describe the band's sound in June 1965, at roughly the same time as "Mr. Tambourine Man" peaked at number 1 in the U.S.[16][17] The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home (1965), Highway 61 Revisited (1965), and Blonde on Blonde (1966)—encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form. Dylan's controversial appearance at the Newport Folk Festival on July 25, 1965, where he was backed by an electric band, was also a pivotal moment in the development of the genre. Emergence of alternative country Exene Cervenka and John Doe during an X concert in 1983 In the 1990s the term alternative country, paralleling alternative rock, began to be used to describe a diverse group of musicians and singers operating outside the traditions and industry of mainstream country music. Many eschewed the increasingly polished production values and pop sensibilities of the Nashville-dominated industry for a more lo-fi sound, frequently infused with a strong punk and rock and roll aesthetic. Alternative country drew on traditional American country music, the music of working people, preserved and celebrated by practitioners such as Woody Guthrie, Hank Williams, and The Carter Family, often cited as major influences.[18] Another major influence was country rock, the result of fusing country music with a rock & roll sound. The artist most commonly thought to have originated country rock is Gram Parsons (who referred to his sound as "Cosmic American Music"), although Michael Nesmith, Steve Earle[19] and Gene Clark are frequently identified as important innovators.[20] The third factor was punk rock, which supplied an energy and DIY attitude.[19] Attempts to combine punk and country had been pioneered by Nashville's Jason and the Scorchers, and in the 1980s Southern Californian cowpunk scene with bands like the Long Ryders[21] and X,[22] and the Minneapolis-based band the Jayhawks. X signed with major label Elektra in 1982 and released Under the Big Black Sun, which marked a departure from their trademark sound. While still fast and loud, with raw punk guitars, the album displayed evolving country leanings. The Scorchers released their debut, D.I.Y. EP, Reckless Country Soul, in 1982 on the independent Praxis label. But these styles merged fully in Uncle Tupelo's 1990 LP No Depression, which is widely credited as being the first "alt-country" album, and gave its name to the online notice board and eventually magazine that underpinned the movement. Formation of Americana Music Association In the 1990s and 2000s, Americana music underwent a resurgence in popularity, as a new generation of artists began incorporating elements of traditional American music into their songs. Artists such as Wilco, Lucinda Williams, and Gillian Welch helped to popularise a new style of Americana music that blended elements of rock, folk, country, and blues.[23][24] Rolling Stone notes that "Americana" first came to fashion as a descriptive musical phrase in the mid-Nineties, when a group of radio promoters and industry outsiders dispersed throughout Nashville, California and Texas sought to carve out a distinct marketplace for a wave of traditionally minded songwriters like Guy Clark, Darrell Scott and Jim Lauderdale, artists whose work was no longer being served by a country music industry riding high on Garth Brooks and Shania Twain.[25] This new style of music reflected a renewed interest in traditional American music forms, and it helped to establish Americana music as a distinct and important genre in its own right. The Americana Music Association, a not-for-profit trade organization advocating for American Roots Music around the world, was formed in 1999.[26] It is a network for Americana artists, radio stations, record labels, publishers, and others with the goal of developing an infrastructure that will boost visibility and economic viability. The Lumineers performing in 2023 The 2010s saw several musical groups connected with Americana music finding their way on to the Billboard charts. Bands like Mumford and Sons, The Lumineers and The Avett Brothers helped bring contemporary Americana to more people than ever before. Their popularity as artists took the genre (which was somewhat of a niche, in the shadow of country and rock) and made it mainstream.[27] In 2011, the genre was officially inducted into the Merriam-Webster dictionary.[28] Expansion of definition In modern times, Americana music continues to evolve and expand, as new generations of artists continue to draw inspiration from the rich history and cultural traditions of the United States. The instrumentation of Americana music continues to be characterized by acoustic guitars, fiddles, banjos, mandolins, and harmonicas, as well as electric guitars and drums. The genre remains deeply rooted in the cultural and social landscape of the United States, and it continues to reflect the diverse experiences and perspectives of the American people. In recent years, the genre has incorporated more influences from blues, R&B, and soul, in addition to the country and folk elements that have always been prominent. In 2017 Rolling Stone published an article claiming that Americana was having an "identity crisis," which focused on changing definitions and efforts to promote ethnic diversity in the genre. In 2014, traditional country musician Dale Watson formed the Ameripolitan Music Awards, focused on the genres of honky tonk, outlaw, Western swing, and rockabilly, on the premise that these genres can no longer be properly categorized as country or Americana, thus necessitating the creation of a new term, "Ameripolitan". Radio format The radio station laying the best claim to the Americana radio format origins is KFAT in Gilroy, California, active from mid-1975 to January 1983, as described in the book Fat Chance,[29] authored by Gilbert Klein in 2016 and published by MainFramePress.com. KFAT was succeeded by KHIP in Hollister CA, KPIG in Freedom CA, and Fat 99 KPHT-LP in Laytonville CA. Though some[who?] say Americana as a radio format had its origins in 1984 on KCSN ("college radio") in Northridge, California, but that did not happen until after KFAT, Gilroy went off the air when it was sold and the format changed. Mark Humphrey, a contributor to country/folk Frets magazine, hosted a weekly radio show called "Honky Tonk Amnesia" which played "country, folk, honky tonk, cajun, dawg, blues, and old-time music", a combination that the country music station KCSN advertised as "Americana".[30] The format came into its own in the mid-1990s as a descriptive phrase used by radio promoters and music industry figures for traditionally-oriented songwriters and performers. Americana type radio shows can be heard on a variety of non commercial radio stations. Instrumentation Acoustic guitar The acoustic guitar is perhaps the most essential instrument in Americana music. It is often used to provide the rhythmic foundation of a song, as well as to accompany vocals and other instruments.[31] In Americana music, the acoustic guitar is often played fingerstyle, which produces a warm and organic sound that is perfect for the genre's earthy, rootsy feel.[32] Banjo The banjo is a distinctive and essential instrument in Americana music.[33] Its bright, twangy sound is instantly recognizable and often associated with Appalachian and bluegrass music also. Banjos are often played using a technique called clawhammer, which involves striking the strings with the back of the fingernail.[34] The banjo adds a unique texture to Americana music, and its intricate, fast-paced playing can create a driving rhythm that propels a song forward. Mandolin The mandolin is a small, stringed instrument that is commonly used in folk and bluegrass music. Its bright, high-pitched sound adds a distinctive flavor to Americana music, and its fast, intricate playing can create a lively and upbeat feel. Mandolins are often played using a technique called tremolo, which involves rapidly picking the strings to create a sustained, shimmering sound.[35] Fiddle The fiddle is a traditional stringed instrument that is often used in Americana music.[36] Its versatile sound can create both slow, mournful melodies and fast, lively rhythms. Fiddles are often played using a technique called "sawing," which involves rapidly moving the bow back and forth across the strings to create a driving rhythm.[37] Fiddles can add a haunting quality to Americana music and can create a sense of nostalgia and longing. Use in Canada Despite the genre's most common name, it is not practiced solely by artists from the United States, as numerous artists from Canada are also prominent in the genre.[38] Canadian bands in the genre will sometimes be referred to as Canadiana rather than Americana in Canadian media,[39] although this is not a widely recognized synonym elsewhere. A Norwegian scene is often referred to as Nordicana.[40] See also Grammy Award for Best Americana Album Alternative country Country rock Roots rock Heartland rock Southern rock Americana Music Festival & Conference Sisters Folk Festival Mile of Music Outlaw country[2] is a subgenre of American country music created by a small group of iconoclastic artists active in the 1970s and early 1980s, known collectively as the outlaw movement, who fought for and won their creative freedom outside of the Nashville establishment that dictated the sound of most country music of the era. Willie Nelson, Waylon Jennings, Merle Haggard, Johnny Cash, Kris Kristofferson, Johnny Paycheck and David Allan Coe were among the movement's most commercially successful members. The music has its roots in earlier subgenres like Western, honky tonk, rockabilly and progressive country, and is characterized by a blend of rock and folk rhythms, country instrumentation and introspective lyrics.[3][4] The movement began as a reaction to the slick production and limiting structures of the Nashville sound developed by Chet Atkins and other record producers.[3][5] History Some country fans consider outlaw country a slightly harder-edged variant of progressive country.[6] The outlaw sound has its roots in blues music,[7] honky tonk music of the 1940s and 1950s, rockabilly of the 1950s, and the evolving genre of rock and roll.[4][8] Early outlaws were particularly influenced by predecessors like Bob Wills, Hank Williams, Elvis Presley, and Buddy Holly. A greater transition occurred after Waylon Jennings and Willie Nelson were able to secure their own recording rights, and began the trend of bucking the "Nashville sound". According to Michael Streissguth, author of Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville, Jennings and Nelson became outlaws when they "won the right" to record with the producers and studio musicians they preferred.[4] The 1960s was a decade of enormous change, a change reflected in the music of the time. The Beatles, Brian Wilson, Bob Dylan, The Rolling Stones, and many who followed in their wake cast off the traditional role of the recording artist. They wrote their own material, had creative input in their albums, and refused to conform to what society required of its youth. One author states that the Beatnik movement, from the late 1940s to the mid-1960s, was a precursor to outlaw country, as participants in both movements emphasized that they felt "out of place" in mainstream society.[9] At the same time, country music was declining into a formulaic genre that appeared to offer the establishment what it wanted with artists such as Porter Wagoner and Dolly Parton making the kind of music that was anathema to the growing counterculture. While Nashville continued to be the focus of mainstream country music, cities like Lubbock and Austin became the creative centers of outlaw country. Southern rock also had a strong influence on the outlaw country movement, and that sound and style of recording was centered in Muscle Shoals, Alabama. In the Western United States, the Bakersfield sound was providing a counterpoint to the traditional Nashville sound, and the counterculture was also giving rise to the fusion genre of country rock, with groups such as the Flying Burrito Brothers and The First National Band (whose lead singer Michael Nesmith had similar creative rebellion against the West Coast music establishment dating to his time with The Monkees). Origin of term The movement was named, at various points, "redneck rock", progressive country, or "armadillo country", after the animal which would become the movement's unofficial mascot, before it was termed "outlaw country".[1] The origin of the outlaw label is debated. According to Jason Mellard, author of Progressive Country: How the 1970s Transformed the Texan in Popular Culture, the term "seems to have sedimented over time rather than exploding in the national consciousness all at once".[10] The term is often attributed to "Ladies Love Outlaws", a song by Lee Clayton and sung by Waylon Jennings on the 1972 album of the same name.[11] Another plausible explanation is the use of the term a year later by publicist Hazel Smith of Glaser Sound Studios to describe the music of Jennings and Tompall Glaser. Art critic Dave Hickey, who wrote a 1974 profile in Country Music magazine, also used the term to describe artists who opposed the commercial control of the Nashville recording industry.[10] In 1976, the outlaw movement solidified the term with the release of Wanted! The Outlaws, a compilation album featuring songs sung by Waylon Jennings, Willie Nelson, Jessi Colter, and Tompall Glaser. Wanted! The Outlaws became the first country album to be platinum-certified, reaching sales of one million.[12] L-R Kris Kristofferson, Willie Nelson, Waylon Jennings at the Dripping Springs Reunion in 1972 Development As Southern rock flourished, veteran country artists incorporated rock into their music in this genre. Songwriters/guitarists such as Willie Nelson, Waylon Jennings, and Hank Williams, Jr. shed the formulaic Nashville sound, grew long hair, and replaced rhinestone-studded suits with leather jackets. Outlaw country artists spoke openly about smoking marijuana.[13] Fiercely independent, the "outlaws" abandoned lush orchestrations, stripped the music to its country core, and added a rock sensibility to the sound.[2] At the same time, outlaw country performers brought back older styles that had fallen into disuse, such as honky tonk songs and "cowboy ballads".[14] As well, Nelson and Jennings incorporated more R&B and soul music into their country music by working with Memphis and Muscle Shoals Rhythm Section musicians.[13] The outlaw country artists aimed to resist the big "machine" of the Nashville establishment, which "codified" norms of sounds, styles, and even appearance and behavior through influential "tastemaker" shows such as Grand Ole Opry.[15] The Grand Ole Opry, which was "staunchly conservative", used its influence over Nashville's Music Row to control who could play and what types of songs they could perform. Jennings described his experience in that city's recording industry as like working on an assembly line, in which records were produced like "clockwork".[15] In 1973 Jennings produced Lonesome, On'ry and Mean. The theme song was written by Steve Young, a songwriter and performer who never made it in the mainstream, but whose songs helped to create the outlaw style.[citation needed] The follow-up album for Jennings was Honky Tonk Heroes and the songwriter hero was Texan Billy Joe Shaver. Like Steve Young, Shaver never made it big, but his 1973 album Old Five and Dimers Like Me is considered a country classic in the outlaw genre.[citation needed] Willie Nelson's career as a songwriter in Nashville peaked in the late 1960s. As a songwriter, he had written a number of major pop-crossover hits, including "Crazy" for Patsy Cline and "Hello Walls" for Faron Young, but as a singer, he was getting nowhere. He left Nashville in 1971 to return to Texas. The musicians he met in Austin had been developing the folk and rock influenced country music that grew into the outlaw genre. Performing and associating with the likes of Jerry Jeff Walker, Michael Martin Murphey and Billy Joe Shaver helped shape his future career. Williams Jr. had long spent much of his early career in the shadow of his father Hank Williams Sr., who died when Williams Jr. was three years old. In 1975, Williams was severely injured in an avalanche while mountain climbing, disfiguring him to the point where he no longer resembled his father; he grew a beard to hide the scars, which he has maintained ever since. He also began collaborating with the other outlaws, beginning with his album Hank Williams Jr. and Friends released shortly before he was injured. At the same time as Nelson was reinventing himself, other influential musicians were writing songs and playing in Austin and Lubbock. Butch Hancock, Joe Ely and Jimmie Dale Gilmore formed the Flatlanders, a group that never sold huge numbers of albums, but continues to perform. The three founders have each made a significant contribution to the development of the outlaw genre. The Lost Gonzo Band and their work in conjunction with Jerry Jeff Walker and Michael Murphey were integral in the birth of Outlaw Country.[16] Other Texans, like Townes Van Zandt, Steve Earle and Guy Clark, developed the outlaw ethos through their songwriting and ways of living. Although Johnny Cash spent most of his time in Arkansas and Tennessee, he experienced a revival of his career with the outlaw movement, especially after his live albums At Folsom Prison and At San Quentin, both of which were recorded in prisons. Cash had working relationships with Nelson, Jennings and Kris Kristofferson in his later career, culminating in the formation of The Highwaymen; the four would record and perform as a supergroup in addition to their solo careers through the late 1990s. Cash had also been on good terms with several folk counterculture figures, a fact that irked Nashville and television executives (Cash hosted a variety show from 1969 to 1971). Like the other outlaw singers, he eschewed the polished Nashville look with a somewhat ragged (especially in later years), all-black outfit that inspired Cash's nickname, the "Man in Black". Gary P. Nunn For Old Times Sake 1989 United States AO Records AO-001 12" Cover: Very Good Plus (VG+) light ring impression and storage wear, but no cuts or marks Record: Mint (M) Still Sealed! Labels: Clean!  SB-60687

This exquisite slice of retro music history is a vinyl sound recording (not a CD). Please reference Item Specifics above for additional detail. Strict Goldmine grading -- Over 26 years on Ebay! Combine Items to Save $$$!

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