More than two decades after country music icon Waylon Jennings’ death in 2002, his son Shooter Jennings has breathed new life into the outlaw legend’s legacy with “Songbird,” a collection of previously unreleased recordings from 1973 to 1984 that showcases Jennings at his creative peak, blending heartfelt covers and original vibes with the sparse, authentic sound that defined his rebellion against Nashville’s gloss. Released October 3, 2025, via Son of Jessi/Thirty Tigers, the 10-track album— the first of three promised from archival tapes—features Jennings’ baritone front and center, backed by his Waylors band including drummer Richie Albright and pedal steel wizard Ralph Mooney, with guests like Tony Joe White and Jessi Colter adding depth to a project that feels less like a cash-in and more like a resurrection of the raw energy that fueled the outlaw movement.

“Songbird” opens with a stunning cover of Fleetwood Mac’s Christine McVie-penned title track, a waltz infused with weepy pedal steel and piano that transforms the soft rock staple into a country lament, featuring added harmonies from modern stars Elizabeth Cook and Ashley Monroe to polish the archival tape without overproducing it. Jennings’ voice—earthy, vital, and laced with that signature half-time beat—cuts through like a knife, evoking the loneliness of lost love in a way that feels timeless, proving his interpretive skills could elevate any material. The track, released as the lead single in June 2025, set the tone for an album that dives deep into Jennings’ downtime sessions, captured when he was wresting creative control from RCA and embracing his Texas roots.

From there, the album shifts to Johnny Rodriguez’s “The Cowboy (Small Texas Town),” a gritty narrative of small-town life recorded in 1978 during sessions for “I’ve Always Been Crazy,” capturing the Waylors’ tight interplay with electric guitar riffs and a driving rhythm that screams outlaw authenticity. Shooter Jennings, who digitized tapes starting in 2008 and fully explored them in 2024 at Sunset Sound (once dubbed “Snake Mountain” by Waylon), mixed the material analog-style on a 1976 DeMedio API board, enlisting surviving Waylors like guitarist Gordon Payne and bassist Jerry Bridges for subtle touches. This hands-on approach preserves the era’s warmth, avoiding digital sterility, and results in tracks like JJ Cale’s “I’d Like to Love You Baby,” where Jennings’ duet with wife Jessi Colter adds a jaunty, echoing charm with harmonica flourishes.

The album’s strength lies in its variety of covers, reflecting Jennings’ love for songs he “wanted to record,” not just hits. Jesse Winchester’s “Brand New Tennessee Waltz” and Hank Williams Jr.’s “(I Don’t Have) Any More Love Songs” deliver understated western ballads with acoustic focus, while John Wesley Routh’s “I’m Gonna Lay Back With My Woman” bursts with vibrant lead guitar from Jennings himself alongside a dedicated player. His take on Johnny Cash’s “After the Ball” stomps with piano and a party vibe that “wonderfully falls apart,” showcasing the loose, live feel of the Waylors. Closing with “Dink’s Blues,” a bluesy instrumental, the record ends on a reflective note, emphasizing Jennings’ roots beyond commercial pressures.

Critics have hailed “Songbird” as a “wonderful addition” to Jennings’ discography, praising its “enjoyable tunes” and “pleasure-filled ride” that resurrect his voice with poignant gems. Saving Country Music noted it makes Jennings “feel alive once again,” highlighting the exquisite capture of his voice and the quintessential outlaw sound in tracks like “Wrong Road Again.” Record Collector Magazine called it a “fine covers album” with “earthy and heartfelt vocals,” crediting co-producer Richie Albright’s consistency. Glide Magazine emphasized the “smooth grooving” and “great electric guitar work,” while Holler described it as stopping the “petty whirlwind” of country debates, affirming peak Waylon. Even in an AI-skeptical era, the album’s authenticity shines, countering doubts about posthumous releases.

Jennings’ legacy as an outlaw pioneer—challenging Nashville with long hair, beards, and creative freedom—looms large. Born in 1937 in Littlefield, Texas, he backed Buddy Holly, wrote hits like “Crazy” for Patsy Cline, and formed the Highwaymen with Johnny Cash, Willie Nelson, and Kris Kristofferson. His battles with RCA for control birthed albums like “Honky Tonk Heroes” and “Wanted! The Outlaws,” the first platinum country record. “Songbird” fits this narrative, recorded during his prime when he quit cocaine and joined the Highwaymen, offering a softer side amid the grit.

Shooter, a Grammy winner himself, digitized tapes in 2008 and 2014, but fully delved in 2024 at Sunset Sound, uncovering hundreds of full-band tracks—not demos—from downtime sessions. He mixed analog, adding minimal elements like Cook and Monroe’s vocals, preserving the original intent. Shooter calls it “the first of three gifts” to fans, promising more “exciting musical moments.” The album’s release coincides with Jennings’ enduring influence on modern country, from Sturgill Simpson to Tyler Childers, who cite his rebellion.

While not Jennings’ songwriting showcase—he wasn’t prolific—the covers reveal his passion, from McVie’s “Songbird” to Cash’s “After the Ball.” Critics note the absence of originals but praise the vitality, with Waylon’s voice “fresh and vital.” In a genre debating “real country,” “Songbird” reaffirms Jennings’ authenticity, a timely reminder amid AI fakes.

As the first in a trilogy, “Songbird” extends Jennings’ catalog, potentially charting posthumously. Shooter’s labor honors a father whose voice defined outlaw country, offering fans a bridge to the past while proving timeless appeal. In an industry chasing trends, “Songbird” stands as a testament to enduring grit and heart.