About The Song

“Waymore’s Blues” is a song closely associated with Waylon Jennings and his onstage persona. The title itself references Jennings’s nickname “Waymore,” and the piece functions as a compact statement of the weary, road-tested viewpoint that recurs throughout his catalog. Rather than being a glossy single aimed at pop crossover, the song reads like a first-person vignette—direct, conversational and grounded in everyday detail.

Musically the track sits at the intersection of country and blues: a relaxed groove, spare band backing and an emphasis on atmosphere over ornate arrangement. Guitar figures and steady rhythm create a low, rolling pulse that supports Jennings’s vocal rather than competing with it. The production choices underscore intimacy and credibility, leaving room for phrasing and small instrumental touches to carry emotional weight.

Lyrically, “Waymore’s Blues” sketches the narrator’s fatigue and small renunciations rather than telling a long, linear story. The lines employ short, concrete images—late trains, empty rooms, the routines of life on the road—to convey a sense of persistent longing and the costs of independence. The refrain functions less as a rhetorical flourish than as a quiet admission: the blues here are practical, lived and specific rather than romanticized.

Waylon Jennings’s delivery on the song is restrained and authoritative. He favors plainspoken timing and a tone that suggests lived experience, so the lyric reads as testimony rather than performance. That interpretive approach makes the song feel immediate in concert and suitable for both full-band arrangements and pared-back renditions where the vocal and lyric are the primary focus.

In live settings the piece often extended into a mood-setting number that allowed Jennings and his band to breathe between more driving songs. Its compact structure made it adaptable—usable as a reflective interlude or as part of a longer, narrative sequence—so it figured naturally into setlists that mixed rowdy honky-tonk numbers with quieter, character-driven moments.

Over time “Waymore’s Blues” has remained a resonant deep cut in Jennings’s recorded legacy. It is appreciated by listeners who favor the introspective, literate side of his work and appears on retrospective collections and setlist reconstructions as an example of how Jennings could turn small, personal details into durable, emotionally credible country songs.

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Lyric

Well, I woke up this mornin’ it was drizzlin’ rain
Around the curve come a passenger train
Heard somebody yodel and a hobo moan
Jimmy he’s dead, he’s been a long time gone
Been a long time gone, a long time gone
If you want to get to heaven, gotta D-I-E
You gotta put on your coat and T-I-E
Want to get the rabbit out of the L-O-G
You gotta make a commotion like D-O-G
Like D-O-G, like D-O-G, yeah
Well, I got a good woman, what’s the matter with me?
What makes me want to love every woman I see?
I was trifling when I met her now I’m trifling again
And every woman she sees looks like the place I came in
Looks like the place I came in, yeah, woo place I came in
I got my name painted on my shirt
I ain’t no ordinary dude
I don’t have to work
I don’t have to work