Ol’ Waylon
In the ‘60s, country music was still, for the most part, very traditional. There were some crooners like Eddie Arnold and Jim Reeves, and a couple of others, but it was still a few years before the influence of pop music would change country music in a big way. The ‘60s country music was pretty much steel guitars and fiddles accompanying song themes that spoke of new love, lost love, drinkin’ and cheatin’.
At one point during this period, I can distinctly recall hearing a new artist whose recordings differed from the norm. The sound was raw, edgy, and had a distinct twangy style of guitar picking that featured prominently in the mix. It wasn’t quite like the Bakersfield sound of Merle and Buck, nor did it have the smoothness of Nashville. I soon learned the artist’s name was Waylon Jennings, and he came from the Lubbock area.
I thought, “Well, of course.”
If you’ve ever been to that part of northwest Texas, you know it’s a hard-scrabble kind of place, producing a hard-scrabble kind of people. Folks had to have a little toughness and grit in their blood to grow up in that area. Maybe for this reason, the region has persistently produced many fine musicians and recording artists. Could be something in the water, or maybe music became a means of escape from the harsh conditions.
Besides Waylon, the list is long of notables who left the area and hit the big time: Buddy Holly, Floyd Tillman, Jimmy Dean, Billy Walker, Delbert McClinton, Mac Davis, Lloyd Maines, Natalie Maines, Joe Ely, Jimmie Dale Gilmore, Butch Hancock, Terry Allen, Sonny Curtis, Tanya Tucker, and Don Williams, to name a few. Mac Davis even had a big hit with a song he wrote, “Texas in My Rearview Mirror.”
Early Waylon songs that had an impact on me were “Nashville Bum,” “Just to Satisfy You,” and “The Chokin’ Kind.” But my favorite from that era was “Only Daddy That’ll Walk the Line.” That song established the notable “Waylon beat” and featured the chicken-pickin’ guitar style on his Fender Telecaster, which, to me, really put him on the map for good.
I grew up in a completely different area of Texas, in the small town of Almeda, just south of Houston and only about 45 miles from the Gulf Coast. On Christmas morning in 1955, I woke up to find a Silvertone Roy Rogers-model guitar under the Christmas tree. Shortly afterwards, my mom signed me up for guitar lessons from our local country music star Buster Phillips. I was in hog heaven and was determined to learn how to play and sing.
The first songs I learned were all 3-chord Hank Williams songs. At the age of 6, I played my first gig when some folks stood me up on the bar at my grandparents’ beer joint in downtown Almeda and I played my guitar and sang “Hey Good Lookin’.” The place was small, smoky and loud and always packed with local folks who all knew each other. They quieted down while I started the song and at the end of it they erupted with hoots and hollers and a long round of applause. That was my first taste of being in the limelight.
As the years passed, I was occupied of course by school, but also in the early part of the ‘60s, diving and surfing became a focal point in our family’s life as we opened the Blakers Water Sports business. Our shop had everything from live bait for fishing, to snorkeling and scuba gear and custom-made surfboards. But during those years, my guitar was always close at hand.
In 1970, our family sold Blakers Water Sports and moved to the Hawaiian island of Maui. Our good friend Jim McLemore, who had also worked at our shop, followed us there. He was a good surfer and played guitar much better than me. We formed a duo shortly thereafter, rehearsed a lot and then auditioned for a few gigs.
In 1973, I decided to move to California to start a country band. That’s where I met Allene, who became my bass guitarist and later my wife. Jim, meanwhile, became my brother-in-law when he married my sister Annie, and soon formed the band Jimmy Mac and the Kool Kats, that ended up being the hottest showband in Hawaii for over 40 years.
The band I formed in California grew in popularity over the next three years in the southern California country music scene but in the mid-‘70s a new outlaw country movement exploded out of Austin, Texas, which was the antithesis of the Nashville establishment. At the forefront were Willie Nelson and Waylon Jennings, along with many other Austin-based notables.
My curiosity in this new wave of country music – which seamlessly combined traditional, redneck, outlaw and even a little rock‘n’roll – had to be satisfied. I needed to hear and experience it for myself by going to Texas. I did, and two big things happened there that changed my life, and my life goals.
The first thing was going to Willie Nelson’s 1976 Fourth of July Picnic. Not only was it notable because it was the 200-year anniversary of the signing of the Declaration of Independence, but the 85,000 people who attended the event made this the largest Fourth of July gathering in U.S. history. Throughout the day, there was one superb act after another, but when Waylon Jennings hit the stage in the late afternoon, and that syncopated beat took hold, the crowd all rose to their feet as one. Looking out over the heads of the huge crowd was like seeing a vast field of grain moving together in the wind. Never before in my life had I witnessed the awesome power of music on such a scale as Waylon gave us that day. At that moment I knew without a doubt that I wanted music to be my life.

Ol’ Waylon
So in December of that year, our whole band moved to Texas and the second big thing happened. That was meeting, and eventually becoming good friends with, the Ace in the Hole Band in San Marcos, Texas. Their lead singer was George Strait, who of course went on to become one of the biggest country stars in history. This association led to our being the opening act at arena shows around the country with George and his band, which gave us new credibility. George was also the first major artist to record some of my songs and that opened the door to my having a second parallel career as a professional songwriter.
As the years and my career moved along, we got to share the stage with many popular country entertainers of various eras, including shows with some of my all-time favorites Willie Nelson, George Jones and Merle Haggard. Unfortunately, we never got to do a show with Waylon, but we did go to many of his concerts.
The mid-‘80s through the ‘90s was the height of our popularity as a band. During this time, we were doing 150 to 275 shows a year. I had hired a full-time business manager named Claudia Kemmerer, and one of the first things she did was get us signed up with one of the well-known booking agencies in Nashville. To our good fortune, the company assigned Terry Jennings to be our designated agent. Terry was Waylon’s oldest son and was not only a very nice guy but a real hustler when it came to booking gigs. Of course, the more gigs he got us, the more commissions he was paid, but he believed in us and wanted us to succeed, especially in getting a major label recording deal.
Terry worked closely with Claudia and together they were an excellent team. He came out to many of our shows and even joined us on a few road trips on our tour bus. We had bought Roy Clark’s old, transformed Greyhound and it was a very comfortable ride. To pass the time when we were rolling, we’d usually play poker or Acey-Deucy. Terry loved to play and was always excited when we got a game going. He was not a very good player though, and usually lost, but he was a good sport and it ever seemed to bother him.
The best thing about having him on the road with us was that he was a great storyteller, and having Waylon for a dad made for some great stories. He had been his father’s road manager for many years and kept us mesmerized with tons of wild anecdotes.
During this time, Claudia arranged some showcases in Nashville with a couple of the major record labels that had shown some interest in us. A showcase is a private concert of 45 minutes to an hour that is for the executives and personnel of a record company to see what a band is all about, and whether it would fit with the other artists on their label. Claudia would set it up with the record company, agree on a date, then book the venue and coordinate with the label personnel to get them out to the gig. Since Terry knew a lot of the people at the various labels, Claudia kept him in the loop so he could help with getting them out to our show.
The first showcase we did was for Columbia Records and was at a place called 12th and Porter, one of the nicer concert venues in Nashville. By then, Allene had retired as bass guitarist and was happy to be the bus driver, especially on the longer trips to Tennessee and points beyond. She drove us to Nashville, arriving the day before the gig, and we got some rooms at the Shoney’s Inn near Music Row.
The next afternoon she drove us to the venue and parked the bus right beside the stage door. We were met by the soundman and he guided us through the load-in, set-up, and sound check. Claudia and Terry were also there and when they, the soundman, the band and I were all happy with the sound, we left the stage and waited for Claudia to arrange a couple of taxis to take us back to the hotel.
I walked over to Terry and said, “Hey man, is your dad in town?”
“Yeah, he is. The band just got back to Nashville a couple of days ago.”
“Why don’t you invite him out to our show tonight? I sure would like to meet him.”
“Nah, he hates stuff like this. I can ask him but there’s no way he would come.”
“Okay, cool, man,” I said. “Definitely no harm in asking.”
So that was that, and I put the thought out of my mind.
Back at the hotel, we all ate a light meal at the restaurant then went to take showers and rest up a bit. Claudia once again arranged for taxis to take us back to the venue.
We boarded the bus and changed into our stage clothes. Claudia went inside the club to check on things, then came back and said showtime would be in about ten minutes and that the band should go ahead and tune up and be ready.
As everyone left the bus, including Allene, who wanted to make sure the table for her and Claudia wasn’t taken, Claudia said “I’ll come back and get you when it’s time. Let’s have a great show.”
“No worries,” I said. “We’ll do our best,”
While sitting there alone mulling over the set list, someone knocked on the bus door. Thinking it was Claudia, I opened the door and to my shock and surprise, Waylon Jennings was standing there.
He stuck out his hand and asked, “Are you Clay?”
“Yes, I am,” I said as I shook his hand.
“I’m Waylon,” he said.
I laughed and said, “Yeah, I know who you are. Come on in.” I showed him to the couch and sat on the lounge chair across from him.
The next thing out of his mouth was, “What are we going to do about Willie? The IRS is about to clean him out.”
“I know,” I replied. “I’m caught up in that mess myself. We’re cutting our new album at Willie’s studio in Pedernales and when the IRS raided the place they confiscated two of our big tape reels. Johnny Bush is also recording his new album there and they took two of his reels too. He and I are trying to get our lawyers to get our tapes back so we can finish our albums.”
“Aw, man, that’s terrible. I’ll try to help out any way I can.”
“Thanks for offering,” I said, right as there was a knock on the door.
I opened the door and Claudia stepped up into the bus. Immediately she realized Waylon was sitting there and her jaw dropped. She was as shocked as I had been. She recovered her composure quickly and stuck out her hand, saying, “I’m Claudia Kemmerer, Clay’s manager.”
Waylon stood and shook her hand, “Very nice to meet you, Claudia.”
She smiled and, looking at both of us, said, “Okay boys, it’s showtime. Let’s go.”
We followed Claudia through the stage door and I took a left to the stairs leading up to the stage. Claudia and Waylon headed the opposite way to enter the showroom. Suddenly Waylon turned and said, “Hey, Clay! Break a leg!”
I gave him a thumbs up and stepped onto the stage. I grabbed my guitar and walked to the mic as the band kicked off the opening song at the same time the house lights came up. The adrenalin was flowing, to say the least.
I thought the show went very well and the audience, which consisted of mostly Columbia personnel, was very enthusiastic. Margie Hunt, who was the head of the A & R (Artists and Repertoire) department at Columbia at the time, was sitting at the center table right in front of the stage with other bigwigs from A & R. Waylon was sitting right next to Margie.
Two notable things happened during our 45-minute show. The first was at about the show’s midpoint. As we were finishing one song a thought hit me and I decided to deviate from the set list. I turned to the band and said, “Let’s play Nashville Bum.”
That was one of my favorite songs from Waylon’s early career. The song tells the tale of the trials and tribulations of a young artist trying to make it big in Nashville. We had been performing it occasionally for a good while and I decided then and there to send it out to Waylon.
I turned back to the mic and said, “Ladies and gentlemen, we have a special guest in the house tonight, Mr. Waylon Jennings.”
When the applause died down I looked straight at Waylon and said, “Waylon, thanks so much for coming out to our show. We’d like to dedicate this next song to you.”
As we kicked the song off, Waylon immediately recognized it by the intro, threw his head back, his mouth wide open in a big laugh and his hands raised up into the air. The crowd went wild.
The second notable thing happened right before we started our last song.
“Ladies and gentlemen, we’re gonna play one more song for you but before we go, the whole band and I want to thank Margie Hunt and all the folks from Columbia Records for giving us the opportunity to perform for you tonight. We hope you enjoyed the show.”
After we kicked off the song, I saw Waylon bend down and whisper a long message in Margie Hunt’s ear and then give her a hug. Waylon stood, tipped his hat to us and made his way swiftly to the stage door to get out before the crowd.
The next morning, Terry joined us and Claudia for breakfast at the Shoney’s restaurant. Claudia and Terry wanted to talk about our show. They had a couple of criticisms and some suggestions but overall they were very pleased and thought we had done a good show that definitely conveyed to the label what we were all about. As we were finishing breakfast a thought hit me. I turned to Terry and said, “Hey man, did you see your dad lean over and whisper something to Margie last night before he split?”
“Yeah, I did, as a matter of fact. I was curious about that too, so I called him this morning and asked him what he’d said. He said he told her, ‘Margie, you need to sign these guys. They’re great, and they’re the real deal.’”
“Wow,” I said. “That’s pretty cool, man. Be sure and thank him for putting in a good word.”
We said our goodbyes to Terry, checked out of the hotel and boarded the bus. Allene was already behind the wheel, ready to take us to the interstate, then west and south back to Texas.

Terry and his Dad
A few weeks later, Claudia received a call from Margie saying that Columbia would not be signing us to their label. Claudia wasted no time in setting up a couple of more showcases for different labels. Still, no one would sign us. I finally got fed up with Nashville and formed my own record label called Neobilly Records. My songwriting royalties and what we made from touring was sufficient for me to promote the label myself. The label is still active to this day with many new recordings over the years. In fact, I plan to do a new album of original songs in the near future.
Our steel guitar player at that time, Tommy Detamore, approached me with a brilliant idea of starting a recording studio at his place in Floresville, Texas, where we could record my song demos and albums instead of going to various other studios in Texas and Nashville. The studio is called Cherry Ridge and is still one of the most successful recording studios in central Texas. I will be recording my new album there for sure.
After many more years of touring, I finally had enough of the road and Allene and I made the decision to move to Bocas del Toro, Panama in early 2003, where we still live today in our tropical paradise.
In looking back, I have no regrets that I can think of, except for one.
In the late ‘90s, I was in Nashville for the last time, tidying up all the business with my songwriting publishers. As I was thumbing through the local music rag, I noticed a small ad for the Nashville Dinner Theater that said, “Tonight, the Chet Atkins Quartet with special guest Waylon Jennings.” I called the phone number from my hotel room and booked a table for one.
I later had the front desk call me a taxi that came and took me to the venue. I was shown to my table and the waitress came to take my dinner and drink order. Not long after, Chet and his band came on stage and played a one-hour set mixed with instrumentals and some songs. Then there was a 20-minute intermission while the waitresses cleared the tables and took new drink orders. Chet and his band appeared again onstage and kicked off with a rollicking instrumental. Chet’s guitar playing was as magnificent as ever, and by this time he was way up there in years. Then he introduced Waylon, who came from behind the curtain with his leather-encased Telecaster strapped on his back. In one swift movement he pulled it around front and immediately jump-started his set with the intro to “Only Daddy That’ll Walk the Line.” The audience went totally berserk. Waylon looked much worn down since the last time I’d seen him and was also somewhat overweight but his show that night was nothing short of spectacular. The exact same emotions ran through me that night as the first time I saw him perform at Willie’s Picnic way back in ’76. His voice, his guitar-playing and his charisma were as superb as ever.
After the show finished, Waylon disappeared backstage and the audience stood and applauded for a good while. He did not come back out for an encore. In my opinion, he had given everything he had and left it right there on the stage. The lights dimmed as I sat there finishing my drink and the crowd slowly filtered out. The waitresses were clearing the tables and I happened to glance back toward the stage and saw Chet and Waylon off to the side, talking to a small group of people … maybe friends, fans or possibly even family. I got up and headed that way with the idea to say hello to Waylon. When I got closer, I hung back in the shadows, not wanting to intrude on their privacy. The conversation went on for a while, and I gradually talked myself out of trying to approach Waylon. I turned and walked out without looking back and caught a cab back to the hotel. It was a decision I’ve always regretted as that was the last time I ever saw Waylon. It wasn’t long afterwards that he passed away from complications of diabetes.
Through the years, I managed to stay in fairly close contact with Terry. I sent him condolences when he lost his dad. We even stayed in touch after Allene and I moved to Panama. One day, out of the blue, I received a message from Terry asking for our Panama mailing address. He said he wanted to send us a gift.
A few weeks later a package came and after bringing it home from town, Allene and I opened it and were pleasantly surprised to see an autographed copy of Terry’s new book, “Waylon, Tales of my Outlaw Dad.” We both thought it was a great read and enjoyed it immensely.

Terry’s book about his Dad. Terrys autograph to us inside the front cover.
In January, 2019, Terry’s son Josh posted on facebook that Terry had passed away from unknown causes. I had chatted with Terry shortly before that and he had told me that he was having some medical issues but didn’t elaborate. It was all very sad, and hard for me to get my head around the fact that Terry and Waylon were both gone.
After a while though, I was able to take solace in thinking that now Terry was reunited with his Dad, those two together had enough wild adventures, memories, and tall tales to regale each other throughout eternity.
I still think about them often.