S_V_H Waymore’s Blues Final image

waymoreblues_FinalWaylon Jennings Waymore’s  Blues is finished. It took a crazy long three months to complete.  I started it in early May, but after working on the background I  halted work on it to switch my efforts to the commissioned Japan Bach painting, followed by another commissioned, We Belong, and then Cherish this years Birthday painting.  Waymore’s Blues is even a longer overdue painting considering that it has been over nine years since I last painted a Country Music artwork,  Crazy by Patsy Cline.

The biggest unique look,  that is also the obvious hook for this artwork,  comes from the design of Waylon’s leather embossed guitar.  I stylized the look of his guitar into a cool design that is the music in this painting.  Since the music  has such a dramatic look that than allowed me to go with a straight forward  background with clean straight lines, and  pure colors applied right out of their jars.  This kept the desigin of the background deceptively simple,  in contrast to the music,  and visually offers another side of Waylon Jennings.  As for my choice of the colors, white, black, blue and brown, they all became obvious after watching a few Waylon Jennings videos.   Black and white show in his guitar and strap, the blues come from his blue jeans look, and the browns comes from his abundance of head and facial hair.

Waylon sings, “I ain’t no ordinary dude. I don’t have to work.”  Every time words appear in these artworks  I pick them so that they offer alternate meanings from the music. In Waymore’s Blues ” I don’t have to,” challenge the viewer, especially if the music is familiar to them.

Here is Waymore’s Blues from a live performance of Waymore’s Blues at the Grand Ol Opry in 1978, with his guitar that is where the black and white designs you see in the artwork come from.

Scott Von Holzen


I have always like Waylon Jennings, but I am not sure why.  My guess may have something to do with my earliest child recollection of music which would the songs of Hank Williams. To this day I still like many of Hank’s hits such as, Your Cheatin’ Heart, Cold Cold Heart, I’m So Lonesome I Could Cry, Jambalaya, Hey Good Lookin’ and Kaw-Liga.  I cannot recall where or how I heard him sing, but probably it was my Mother’s love of music that I probably listened to Hank on the radio.  Another possibility is that  I may have heard Hank Williams being played on a jukebox. There is a good chance that my parents, in their twenties,  brought me along with them to one of the local taverns.  I would have heard the sounds of music like never before, and would have been apart of many memorable times my parents had in the early 50s with friends and family. Sadly, neither of them are around to confirm any of my short frames of memories of so long ago.

I know it is still a long stretch from Hank Williams to Waylon Jennings, especially after Hank Williams I have no other memories of Country music. In fact,  the next song I recall from my youth,  came about when I was taking accordion lenses.  I wanted to learn to play the music for Bye Bye Blackbird, but my teacher never found the sheet music ( Instead I painted Bye Bye Blackbird in 2012).  My next remembrance of music was the song High Hopes, probably song by Frank Sinatra (Painted and sold).  A few years later I do recall a pop hit, Speedy Gonzales  by Pat Boone. Then as a high school Sophomore in 1964, the music of the Beatles changed every teenager,  including starting me on this path to now.

I guess my appeal for Waylon Jennings, and his song Waymore’s Blue, could have come from it being more of a traditional Country song, without the twang, that was greatly influenced by the Blues.  Or maybe,  Waylon Jennings one of the original County Outlaws, involved from one of the most original, influential, and controversial singer, songwriters of his time,  which was also my time as a youth.   And now, much older, and in this time,  I have a moments opportunity,  to keep going down that musical path beyond just Hank to Waylon.

Here is Hank Williams singing his 1947 classic Move It on Over in this 1949 recording.  This early Rockabilly song greatly influenced  Bill Haley and the Comets classic hit, Rock Around the Clock, that became the anthem for the youth of the 50s, and brought Rock ‘en Roll into the musical mainstream (reference Wikipedia):