Lost Don Williams' Recordings Set For Release
(The GreenRoom) A new chapter in the legacy of country music's "Gentle Giant," Don Williams, begins today with the announcement of EPILOGUE: THE CELLAR TAPES, a collection of previously unheard tracks arriving May 29 via Craft Recordings.
"Fans from Abilene to Zimbabwe (really) will delight in discovering these never-before-released gems from the incomparable Don Williams," writes Ed Morris in the album's liner notes. The multi-track tapes were discovered in the cellar of the Williams family's rural Tennessee home and later brought to Don's longtime co-producer, Garth Fundis, who collaborated with him for more than four decades. The recordings date from 1979 to 1984, a defining period in Williams' career that produced enduring classics including "Good Ole Boys Like Me," "It Must Be Love," "I Believe in You," "Lord, I Hope This Day Is Good," and "Love Is on a Roll."
EPILOGUE: THE CELLAR TAPES arrives on vinyl, CD, and digital formats and is available to pre-order and pre-save now. The album's first single, "Leaving Louisiana in the Broad Daylight," is out today, accompanied by a newly released official music video directed by West Webb.
In addition to standard black vinyl, the album will also be available in several exclusive color variants, including a "Red Velvet" pressing available exclusively at Barnes & Noble, a "Parchment Smoke" pressing exclusive to Cracker Barrel, and a "Mahogany Smoke" edition available via CraftRecordings.com.
Tim Williams, son of Don Williams and a talented musician in his own right, is Executive Producer on the album. "These songs Dad recorded are-as music can be-a time machine," he observes. "Obviously, I grew up always hearing what he was doing. He'd bring home three to four songs at a time from the album he was working on at different stages. In working on this project, we tried above all to stay true to how Dad approached production, made much easier for me with Garth's involvement, and then just to stay out of the way of the music."
"Don liked every one of these songs," Fundis said. "I remember recording all of them... He was very particular about the songs he recorded and the sound we created for each of them. But, if a song didn't make in to an album, it wasn't necessarily because he didn't like it. Moreover, it was because of how songs fit together to create an album. I think he'd be thrilled to know that people could hear him sing these new songs they didn't know existed. I'm certain Don would be proud of this album."
Remarkably, after more than 30 years in storage, the tapes were found to be in workable condition, though they required extensive restoration. Many of the original multi-track elements had deteriorated, requiring musical parts to be carefully reconstructed. Crucially, however, Williams' original vocal performances remained intact across the recordings, anchoring the project in his original performances. As Fundis and Tim dove in, they were able to recruit many of the musicians who toured with Don to help reassemble the missing parts of Williams' signature sound, helping to restore and complete the project.
At its core is the understated groove of Joe Allen on bass and Kenny Malone on drums and congas-longtime collaborators whose feel became essential to Williams' recordings. Subtle string arrangements by Charles Cochran, who also contributes piano and organ, add depth and texture. Additional players would include Lloyd Green on steel, alongside guitarists Jimmy Colvard, Dave Kirby, Billy Sanford, and now contributions from Tim Williams.
EPILOGUE: THE CELLAR TAPES captures the warm, soothing baritone and understated charm that fans have long loved in Don Williams' music. "Recorded and held in reserve during his 1979-1984 era of hits, these songs present Williams in his artistic prime," Morris notes in the liner essay. "Try Me Again" carries his gentle, pleading tone as it asks for a second chance at love, while "You Came True" showcases the tender intimacy in his delivery, making every lyric feel personal. In "I'm The One," his calm, reflective phrasing deepens the sense of regret, and "I Wish I Was Crazy Again" embodies wistful, homespun storytelling, highlighting the unhurried, comforting quality that made his voice a constant solace to listeners.
"Leaving Louisiana In The Broad Daylight," a standout track, premiered today exclusively with Billboard, which celebrated Williams as "one of the most revered country singers from the '70s and '80s" and praised the uncovered recording for how "Williams brings his classic, unpretentious, graceful vocals to the cinematic tale." Written by acclaimed songwriter Rodney Crowell with co-writer Donivan Cowart, the song was previously recorded by The Oak Ridge Boys and became a staple in the repertoire of Emmylou Harris. While those versions may have influenced Williams' decision not to release his take at the time, his interpretation brings a distinct sense of ease and precision to the song's rapid-fire lyrics and rhythm.
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