Forgotten Artists: Wynn Stewart (1934-1985)

Mention Bakersfield to a country music fan and the names Buck Owens and Merle Haggard immediately come to mind. That’s to be expected considering Buck and the Hag were the two most successful practitioners of the “Bakersfield Sound,” but there are several other artists just as important to the evolution of the sound. Chief among these is Wynn Stewart, a hard-core honky-tonk singer who arrived at a time when Nashville was distancing itself from the hard-core sounds.
Country music rapidly lost its audience after the arrival of Elvis Presley in 1956. In order to retain viability in the marketplace, Nashville producers attempted to broaden the appeal of the music by adding strings and background voices. As time went by, the background voices became choruses, the strings became entire string sections and (worst of all) fiddle and steel guitar became noticeably absent in the recordings of the likes of Jim Reeves and Eddy Arnold. Plus, the vocals themselves often became bland.
Wynn Stewart arrived in 1954 with his hard-core sound and distinctive tenor and phrasing, recording for a minor label out in California. He signed to major label Capitol in 1956 and had one hit, “Waltz of the Angels,” which reached #14, but he was unable to duplicate that success and was soon released.
He then signed to Jackpot / Challenge Records in 1958 where, after dabbling with a few rock and roll songs on the Jackpot label, he recorded a number of classic country songs, including “Wishful Thinking,” which hit #5 (Ralph Mooney on steel and Gordon Terry on fiddle), and several duets with Jan Howard, including “Wrong Company” and “Big, Big Love.” These records featured fiddle and steel guitar in a way that Nashville recordings of that era wouldn’t touch. My personal favorite of Stewart’s songs, “Playboy,” was recorded during this period. As was often the case for Stewart, some of his strongest material did not chart–this song being one of those cases.
While Stewart was signed to Challenge, one of his songs, “Above and Beyond,” was recorded by Buck Owens who took it to #3 in early 1960 (Buck’s second big hit). Years later Rodney Crowell finally got the song to #1. Before Buck formed the Buckaroos, you could clearly hear the Wynn Stewart influence in his vocals and sound.
In late 1963, Stewart’s bass player, a young ex-con named Merle Haggard, asked for his permission to record “Sing A Sad Song.” Always willing to help a fellow artist, Wynn gave the song to Merle who had his first chart record with the song (it reached #19).
Stewart re-signed with Capitol Records in 1964 but had little success until 1967 when his fifth single for the label, “It’s Such A Pretty World Today,” topped the charts. The recording found the classic Wynn Stewart sound softened with vocal choruses and string accompaniment. Three more top tens (”‘Cause I Have You,” “Love’s Gonna Happen To Me” and “Something Pretty”) followed, but the hits became smaller and smaller and after 1971 Stewart was dropped by Capitol. A stint with RCA produced no hits, although he did score one more top ten with “After The Storm” in 1976 on the Playboy label where he returned to his hard-core sound. Stewart’s last top 20 hit came in 1977 with “Sing A Sad Song,” which, ironically, was the song that launched Merle Haggard’s career; it too, got to #19.
Stewart formed his own label, Pretty World Records, named for his biggest hit, and seemed to be ready to get his career back into high gear when he was felled by a heart attack on July 17, 1985.
Both Buck Owens and Merle Haggard have cited Wynn Stewart as a major influence on their careers, yet somehow, he was never able to translate his enormous talent into extended and consistent success for himself. Possible reasons are several:
- Poor timing. He was a hard country artist at a time when Nashville was going soft and attempting to co-opt the easy listening market.
- A lack of self-discipline and some bouts with the bottle.
- Lack of visual appeal. Like Haggard, Wynn Stewart was short in stature, probably shorter than Haggard. Unlike Haggard, who was very handsome and photogenic in his younger days, Wynn Stewart was just another guy, a bit below average in appearance (his daughters are all quite pretty, however.)
Wynn Stewart inspired tremendous loyalty among his fellow musicians and artists. For years after his death, legendary steel guitar player Ralph Mooney would identify himself as “Wynn Stewart’s steel player.” Roy Nichols, Haggard’s long-time guitar player, played for Wynn Stewart, and before that, for Lefty Frizzell. Roy regarded Stewart as a giant of the music.
Unfortunately not much of Stewart’s material has made it onto CD. Several of his Capitol hits are on multi-artist anthologies, but otherwise none of his Capitol material is available except for a ten CD box set of all 279 of his Capitol Recordings, available, of course, from German label Bear Family and selling for $150+.
There is a Best of Wynn Stewart 1958-1962 CD available covering his years with Challenge Records. While this set misses his big hits on Capitol, it does include what I feel to be his best recordings: hard-core honky-tonk classics.
Stewart’s daughter, Wren Stewart Tidwell, runs a very informative website and has some of Stewart’s vinyl LPs for sale. While I have hopes that someday Capitol / EMI comes to its senses and releases some of the songs on CD, I’m not holding my breath waiting for it to happen. The LPs are all worth owning and I’ve been buying them whenever I can find them. The official Wynn Stewart website is at www.wynnstewart.com.
He recorded at least 58 of the 45 rpm singles–of which 31 charted. Used record stores may carry some of these records. Happy hunting!
There is also a tribute album available, recorded by Billy Keeble. This CD features 15 of Billy’s favorite Wynn Stewart songs, including a duet with Wren Stewart Tidwell on one of the selections. Billy isn’t Wynn Stewart, but his CD shows the breadth of the Wynn Stewart repertoire. This disc is available from CD Baby or from www.billykeeble.com.
Listen: Wynn Stewart on MySpace
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[...] “After The Storm” – Wynn Stewart (1976) The last top 10 record for a Bakersfield legend. (See the Forgotten Artist article for more on Wynn Stewart) [...]
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August 11, 2008 at 11:10 am Permalink
WOW, that was a wonderful write-up Paul. I love reading about all of the early Bakersfield artists from the Maddox Brothers and Rose and Jean Shepherd to Ferlin Husky and the lesser known artists like Wynn. Thank goodness that scene was going strong back then while Nashville headed into the mellow pop direction in order to keep hard core honky tonk music kicking. Today the Texas music scene continues that rebel tradition and Dwight Yoakam’s emergence in the 1980’s had a bit of the same effect. Thanks for that wonderful article and I’ll definitely keep my eyes open for some of Wynn’s records.
August 11, 2008 at 11:33 am Permalink
I am with Rick. Great job Paul!
I also continue to be amazed that the question of “what is & isn’t country?” has raged for generations, and there still isnt a clear answer…except for Chris N. and Dale Watson, of course, they are inarguably country.
August 11, 2008 at 11:43 am Permalink
i can’t bring anything substantial to the table about most of those forgotten artists that you are reintroducing in this great feature, because i simply was born too late. however, it’s most enjoyable to come across them now, especially, since youtube and myspace often allow a glimpse on them and on their work that wouldn’t have been possible until recently.
August 11, 2008 at 12:24 pm Permalink
Wasn’t he also a fairly significant writer for others?
August 11, 2008 at 3:58 pm Permalink
Amazing. I remember when I was little and “After the Storm” hit on the charts. The DJs called Stewart an “oldie but goodie” on the comeback trail. It’s strange to realize Stewart was just 42 at the time!
August 11, 2008 at 4:00 pm Permalink
The Best of Wynn Stewart cd is awesome. Really a must-have for serious country music fans, imo.
I’m a huge Wynn Stewart fan and really enjoyed this piece. His performance on tunes like “Long Black Limousine”, “Playboy”, “Big, Big, Love” are really extraordinary and listening to a country singer perform at that level highlites how one dimensional most of the male country vocal performances are these days.
kudos on spreading the word about Wynn!
August 11, 2008 at 11:42 pm Permalink
Paul, does your “forgotten artist” net include catches like yodeler extraordinaire Elton Britt or one of the more obscure “Forgotten Hanks” Hank Penny? Your bios help bring these talented but forgotten artists back to life in our imaginations. Hopefully this fantastic series will be open ended! (wink)
August 12, 2008 at 4:01 pm Permalink
I’m not sure an artist with a 10-CD Bear Family box set can be characterized as forgotten.
August 12, 2008 at 4:12 pm Permalink
Maybe not by the Germans.
September 29, 2008 at 7:48 pm Permalink
Always wondered what happened to Wynn loved his singing he was special couldn’t figure out why those record people couldn’t see it I will never forget him
October 1, 2008 at 4:28 pm Permalink
I understand Mr. Noe was a co-writer w/Wynn on “It’s Such a Pretty World”? Off hand, can’t think of his first name. Have heard an danced to his music yrs ago in AZ; but understand he is now deceased.
October 1, 2008 at 4:34 pm Permalink
Another note: The name is Dale Noe that co-wrote w/Mr. Wynn; right? Or am I mislead? Thanks.
December 23, 2008 at 2:36 pm Permalink
Don Deal and I were good friends of Wynn Stewart back in 1955 in Southern California. Wynn use to play music at George’s Roundup on PCHwy in Long Beach,California where I use to Guest Star under the show name of Jerry Cash. Hank Cochran,Don Deal, Tommy Coe and Bobby Bare all use to come in where we played music back in those years.Ralph Mooney and Roy Nichols and Helen “Peaches” Price and Pete Ash all played music in Wynndy’s band.Any one wanting to hear Don Deal sing Wynn Stewart songs can order a CD at http://www.DonDeal.org. Merle Haggard is a long time friend of mine also and so is Billy Keeble.
January 12, 2009 at 1:36 pm Permalink
Just commenting per Brady’s advice to say how much I enjoy reading these pieces. Most of the time, I find I don’t know anything (or very little) about the artists you’re writing about, so your articles are a great starting point to the works of every artist you’ve profiled.
Your wealth of knowledge constantly amazes me, Paul.
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