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Hank Williams
Ultimate Collection (2002)
UTV Records
088 170 268-2
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He was unquestionably the first “superstar” of country music. His legacy lives on, and even seems to grow with the passage of time. This year marks the 50^th anniversary of his death, and yet new fans continue to discover his music. Why? Just listen. And listen again, and again – you won’t be able to listen only once. If you’re new to Hank’s music, you’ll realize you’ve heard it before. It’s so much a part of American culture you can’t avoid it. You may have heard “Your Cheatin’ Heart,” or “Hey, Good Lookin’” in a TV commercial. “I’m So Lonesome I Could Cry” and “Cold, Cold Heart” are epic ballads that have been covered by countless singers and “Jambalaya” has become synonymous with everything Cajun, and on and on. – You could say Hank became such a legend for many reasons. Perhaps one reason was his style – the charisma, the look. He was so tall and elegant in those Nudie suits, tall hats, and fancy boots. His presence towered over his fellow performers, who were often clad in overalls and plaid shirts. His performance style gave him a power over his audience like none before him; personified by his dark piercing eyes, the way the audience responded to him, and the way he moved. Keep in mind this was pre-rockabilly, pre-outlaw, but only a couple of years before Elvis. Promoter Oscar Davis remembers, “He was the first man to move. He’d move sexually, and the women would love him.” Hank created that magic on stage.

You could say it’s because of who he was – one of us, a star with a down-home personality. He touched people – he was vulnerable, imperfect, and sometimes even bitter. Born September 17, 1923 in Mount Olive, Alabama, he grew up poor, and he battled common temptations – alcohol and women. Few songwriters can live up to Hank’s talent for penning sad songs, such as “Alone and Forsaken,” “Please Don’t Let Me Love You,” “A Mansion On The Hill,” and “You Win Again.” His pain was visible to us.

You could say it’s because of his untimely death at the age of 29 – leaving us wondering what could have been. Every musical career has its peaks and valleys, and Hank’s undoubtedly had a mountain top…but who’s to say whether he would have turned out another hundred great songs or descended into a life of obscure misery. By his songs, some might say he was envisioning his death: “The Angel Of Death,” “Ready To Go Home,” “I’ll Never Get Out Of This World Alive.” We’ll never know, and it doesn’t really matter – we have his songs and his recordings, and they live on.

If you’ve listened, really listened, you know that the reason why Hank’s legacy is so large is because of his songs and how he sang them. No one has ever described Hank as a man who shared a lot about his feelings, sitting around chatting with his buddies about his pain, the sad drama of his love life, or his trouble with temptations. He did it in his songs – and he didn’t say it in a bland way. He said it in a way that cut through. His lyrics are simple, direct, honest, emotional, and heartfelt – they speak so directly to your heart they can really make you cry. His plaintive voice conveys – with unbearable intensity – sadness, loneliness, weariness, human frailty, frustration, and faith. Even the songs Hank didn’t write, he sang in a way that made them his own, such as “Take These Chains From My Heart,” “Rockin’ Chair Money,” and “Lost Highway.” Hank had another side too, and it was a funny one. You may laugh out loud the first time you hear “Move It On Over,” and you’ll surely smile while listening to “Why Don’t You Love Me” (after all, “my hair’s still curly, my eyes are still blue…”). While most people associate sadness, loneliness, and pain with the name Hank Williams, he obviously lived a life that also included a lot of fun and happiness.

You put it all together, and you know why no one since can compare. Hank’s music transcends genres: The word “Country” doesn’t adequately describe it. It is truly American music, as much a melting pot as this nation – with its primary influence being the common “hillbilly” Tin Pan Alley show tunes. He was an artist and a poet, and as Southern as they come. So many of today’s contemporary artists cite him as an influence, and they’re still writing songs about him. It’s a very short list of artists whose memory resonates with all generations, all types of people – from city sophisticates to rural folk, and with all corners of the world. We love Hank Williams. Why? Just listen.

Kira Florita is a co-producer of The Complete Hank Williams as well as other Williams compilations, and co-author of Hank Williams: Snapshots From The Lost Highway

ABOUT THE MUSIC: While the MGM session recordings are the most familiar version of his songs, There’s a starkness in the demo recordings that make them even more intimate and poignant. On the “live” recordings from the Grand Ole Opry (or radio performances), Hanks voice is sometimes more relaxed, and the songs benefit from having been performed countless times at that point. The four well-preserved tracks from the Health and Happiness radio shows have only been released once before on CD, as has the version of “Why Don’t You Love Me: from Grand Ole Opry show #139 on August 12, 1950 (on Live At The Grand Ole Opry). Hank recorded a series of songs using the pseudonym “Luke The Drifter” to avoid confusion for the juke-box trade, because many were recitations and all were of a more serious nature – not what the fans were used to hearing from Hank.

These recordings were mostly made onto acetate discs over 50 years ago, and though state-of-the-art restoration and noise-reduction systems have been used, the sound quality is below present-day standards. All recordings from this period are mono, some recorded as MGM sessions, and others for demos or for radio broadcast were cut onto amateur disc recorders. There are many Drifting Cowboy members represented on Hank’s recordings, but the most frequent appearing here are Jerry Rivers, Don Helms, Sammy Pruett, Bob McNett and “Cedric Rainwater” (Howard Watts); with musicians such as Chet Atkins, Zeke Turner, Ernie Newton, Louis Innis, Eddie Hill, Jerry Byrd, Tommy Jackson, Owen Bradley and Jack Shook appearing on his MGM session recordings.

There are two people who influenced Hank in such a significant way they must be mentioned: Fred Rose is co-writer, publisher, producer and mentor; and Audrey, his first wife. Rose recognized Hank’s talent early on and nurtured it, and if not for his influence and guidance, Hank may not have reached such a high level of success. Hank’s deep love for Audrey was also a painful one, and the tumultuous nature of their relationship was undoubtedly the source of inspiration for some of his best songs.

Finally, it’s virtually impossible to narrow down Hank’s essential recordings to this collection of forty-two. Hopefully, you’ll be inspired to listen to more Hank Williams compilations, including Best of/The Millennium Collection, Alone With His Guitar, Beyond The Sunset (Luke The Drifter), I Saw The Light (gospel), Live At The Grand Ole Opry, and the comprehensive double Grammy® -winner The Complete Hank Williams (10-CD boxed set), which features all existing session masters, available session and demo songs recorded, extensive liner notes, and previously unpublished photos.

Disc One:
 
1. I Saw The Light (Hank Williams)
Recorded April 21, 1947, Originally MGM 10271;

2. A Mansion On The Hill (Hank Williams – Fred Rose)
Recorded November 7, 1947, Originally MGM 10328;

3. Honky Tonkin’ (Hank Williams)
Recorded November 6, 1947 Originally MGM 10171;

4. Move It On Over (Hank Williams)
Recorded April 21, 1947, Originally MGM 10033;

5. You’re Gonna Change (Or I’m Gonna Leave) (Hank Williams)
Recorded March 1-2, 1949, Originally MGM 10506;

6. I’m So Lonesome I Could Cry (Hank Williams)
Recorded August 30, 1949, Originally MGM 10560;

7. Mind Your Own Business (Hank Williams)
Recorded March 1-2, 1949, Originally MGM 10461;

8. My Buckets Got A Hole In It (Clarence Williams)
Recorded August 30, 1949, Originally MGM 10560;

9. Long Gone Lonesome Blues (Hank Williams)
Recorded January 9, 1950, Originally MGM 10645;

10. Cold, Cold Heart (Hank Williams)
Recorded December 21, 1950, Originally MGM 10904;

11. Howlin’ At The Moon (Hank Williams)
Recorded March 16, 1951, Originally MGM 10961;

12. I Can’t Help It (If I’m Still In Love With You) (Hank Williams)
Recorded March 16, 1951, Originally MGM 10961;

13. Hey, Good Lookin’ (Hank Williams)
Recorded March 16, 1951, Originally MGM 11000;

14. Ramblin’ Man(as Luke the Drifter) (Hank Williams)
Recorded June 1, 1951, Originally MGM 11120;

15. I Dreamed About Mama Last Night(as Luke the Drifter) (Fred Rose)
Recorded June 1, 1951, Originally MGM 11017;

16. (I Heard That) Lonesome Whistle (Hank Williams – Jimmie Davis)
Recorded July 25, 1951, Originally MGM 11054;

17. Honky Tonk Blues (Hank Williams)
Recorded December 11, 1951, Originally MGM 11160;

18. Half As Much (Curley Williams)
Recorded August 10, 1951, Originally MGM 11202;

19. Jambalaya (On The Bayou) (Hank Williams)
Recorded June 13, 1952, Originally MGM 11283;

20. Settin’ The Woods On Fire (Fred Wilson – Ed Nelson)
Recorded June 13, 1952, Originally MGM 11283;

21. I’ll Never Get Out Of This World Alive (Hank Williams – Fred Rose)
Recorded June 13, 1952, Originally MGM 11366;

22. You Win Again (Hank Williams)
Recorded 11, 1952; Originally MGM 11318;

Disc Two:

1. Your Cheatin’ Heart (Hank Williams)
Recorded September 23, 1952, Originally MGM 11416;

2. Please Make Up Your Mind(as Luke The Drifter) (Hank Williams)
Recorded July 11, 1952, Originally MGM 11416;

3. Kaw-Liga (Hank Williams – Fred Rose)
Recorded September 23, 1952, Originally MGM 11479;

5. Rockin’ Chair Money (Lonnie Glosson – Bill Carlisle)
Recorded January – May 1949, Originally Mercury 314 536 077-2: The Complete Hank Williams;

6. Please Don’t Let Me Love You (Ralph James)
Recorded January – May, 1949, Originally MGM 11928;

7. Someday You’ll Call My Name (Eddie Hill – Jean Branch)
Recorded January – May, 1949, Originally MGM 12077;

8. Cool Water (Bob Nolan)
Recorded January – May, 1949, Originally Mercury 314 536 077-2: The Complete Hank Williams;

9. First Year Blues (Ernest Tubb)
Recorded January – May, 1949, Originally Mercury 314 536 077-2: The Complete Hank Williams;

10. Alone And Forsaken (Hank Williams)
Recorded January – May, 1949, Originally MGM 12029;

11. The Angel Of Death (Hank Williams)
Recorded circa 1951, Originally Mercury 314 536 077-2: The Complete Hank Williams;

12. Ready To Go Home (Hank Williams)
Recorded circa 1951, Originally Polydor 833752;

13. There’s A Tear In My Beer (Hank Williams)
Recorded October 25, 1951, Originally Polydor 847194;

14. Weary Blues From Waitin’ (Hank Williams)
Recorded circa 1951, Originally Polydor 825551;

15. Why Don’t You Love Me (Hank Williams)
Recorded at AFRS Grand Ole Opry Show, August 12, 1950, Originally Mercury 314 536 077-2: The Complete Hank Williams;

19. Moanin’ The Blues (Hank Williams)
Recorded at AFRS Grand Ole Opry Show, November 11, 1950, Originally MGM 15019;

17. I’m A Long Gone Daddy (Hank Williams)
Recorded at WSM Radio, October 1949, Originally Mercury 314 517 862-2: Health and Happiness Shows;

18. Lost Highway (Leon Payne)
Recorded at WSM Radio, October 1949, Originally Mercury 314 517 862-2: Health and Happiness Shows;

19. I Can’t Get You Off My Mind (Hank Williams)
Recorded at WSM Radio, October 1949, Originally Mercury 314 517 862-2: Health and Happiness Shows;

20. Lovesick Blues (Cliff Friend – Irving Mills)
Recorded at WSM Radio, October 1949, Originally Mercury 314 517 862-2: Health and Happiness Shows;

Compilation Produced by: Kira Florita, Andy McKaie and Mike Ragogna;
Digitally Mastered by: Doug Schwartz/Mulholland Music;
Production Coordination: Ute Friesleben;
Product Management: Adam Starr;
Licensing: Kelly Martinez;
Liner Notes: Kira Florita;
Art Direction: Vartan;
Design Mike Fink @ ilevel;
Photo Coordination: Ryan Null;

Photo Credits: Courtesy of Colin Escott/Showtime Music Archives (digipak cover and photo of Hank & The Drifting Cowboys at the Riverside Rancho, Los Angeles, CA, 1952, pgs. 2, 5, 6, 8, 12, 17 and 21); Courtesy of Showtime Music Archives (Booklet Cover, pg. 16); Courtesy of Les Levertt Collection (digipak portrait, pgs. 4, 14, 19, 22, 25, booklet back cover); Courtesy of Glenn Sutton (pg. 10); Courtesy of Grand Ole Opry (pgs. 20 & 23); Courtesy of George Merritt (pgs. 26-27); Courtesy of Pete Howard (digipak poster); Courtesy MGM/Mercury Nashville Archives (album covers on pg. 15). Special thanks to: Bruce Resnikoff, Bob Mercer, Jeff Moskow, Abacus Media, Emmie Anderson, Chris Butler, Jim Dobbe, Colin Escott, Alan Forney, Ramon Galbert, Richie Gallo, Rickie Goodman, Kathy Hale, Michael Kachko, Eric Kagiyama, Robin Kirby, Jason Kleve, Ben Kline, David Mucci, Meire Murakami, Luke Lewis, Ken Patrick, Mike Rosenberg, Laura Rutherford, Glen Sanatar, Anita Stewart and Jerome Stine.