Don Williams Greatest Hits
On The Acoustic

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Another Place Another Time is from Don Williams' 1988 album "Traces" and was written by Bob McDill and Paul Harrison.

Bob McDill is a renowned songwriter in country music, known for penning numerous hit songs for various artists. Paul Harrison, also known as Paul Kennerley, is a singer-songwriter and musician who has collaborated with several notable artists in the country music genre.

This song reached #5 on the country charts. 

Back in My Younger Days is a song by Don Williams. It was written by Bob McDill and was released as a single in 1977. The song appears on his album "Visions."

"Back in My Younger Days" is a nostalgic track that reflects on the passing of time and the memories of youth. It reminisces about the carefree days of the past and the wisdom gained through the years. With Don Williams' signature smooth vocals, the song captures a sense of longing for the innocence and simplicity of youth.

While "Back in My Younger Days" didn't reach the top of the charts, it became a fan favorite and is often remembered as one of Don Williams' heartfelt and reflective songs.

Beautiful Woman is a track off of Don's 1984 album Cafe Carolina.

The song is a gentle and heartfelt ballad written by Bob McDill. The song expresses admiration and appreciation for a special woman in the narrator's life, describing her inner and outer beauty. With Don Williams' trademark smooth vocals and the song's melodic arrangement, "Beautiful Woman" showcases his ability to deliver heartfelt and sincere performances.

This track was never released as a single.

Better Than Today  is a resilient anthem of optimism that first served as the opening track for Don’s 1986 Capitol Records debut album, New Moves. While the song was not released as a single during the 1980s,

Don clearly held the lyric in high regard, as he chose to re-record it twenty-six years later as the lead single for his 2012 comeback album, And So It Goes. That 2012 version finally saw chart action, reaching the top 50 on the Billboard Hot Country Songs chart. Written by the seasoned team of Jeff Stevens and Leslie Satcher, the song captures a sense of forward-looking hope that was a hallmark of the "Gentle Giant" persona.

It remains a rare example of a song Don felt strongly enough about to revisit and re-promote as a primary single across two different decades of his career.

Catfish Bates is a song by Don Williams. It was written by Bob McDill and Allen Reynolds. The song appears on Don Williams' album titled "Currents," released in 1992.

"Catfish Bates" is an upbeat and lighthearted track that tells the story of a fictional character named Catfish Bates. The song portrays Catfish as a legendary figure who is skilled at fishing and has a reputation for his larger-than-life adventures. With its catchy melody and playful lyrics, "Catfish Bates" showcases Don Williams' storytelling ability and his ability to create enjoyable and memorable songs.

While "Catfish Bates" may not be as well-known as some of Don Williams' biggest hits, it remains a fan favorite and is appreciated for its light-hearted charm.

Come From The Heart is a country song written by Susanna Clark and Richard Leigh. It was first recorded by Kathy Mattea in 1989 and released as a single. The song gained significant attention and became a hit, reaching the top of the Billboard Hot Country Singles chart.

Don Williams later recorded his rendition of "Come from the Heart." His version was included on his album titled "Traces," released in 1998. The album, produced by Don Williams and Garth Fundis, showcased a collection of songs that represented Williams' musical style and sensibilities.

Don Williams' recording of "Come from the Heart" is a heartfelt rendition, characterized by his warm and smooth vocal delivery. The lyrics of the song convey the message of honesty, authenticity, and emotional openness in relationships. It encourages people to speak and act genuinely, emphasizing the importance of sincerity in matters of the heart.

While Don Williams' version of "Come from the Heart" may not have achieved the same chart success as Kathy Mattea's original recording, it remains a noteworthy interpretation within his discography. Don's version was never released as a single.

Crying In The Rain is an old Carole King song that Don covered for his 2011 album Borrowed Tales. It was his second-to-last studio album before his retirement in 2016. "Borrowed Tales" features Williams' interpretations of songs originally recorded by other artists, showcasing his unique take on various classics.

Besides this song the album includes covers of songs such as "Long Black Veil," "I'll Be There," "Sing Me Back Home," and "Lay Down Beside Me," among others.

This version was never released as a single.

Desperately was released as a single in 1988 from the album "Traces"

The song managed to hit #7 in the US and #5 in Canada.

Diamonds To Dust is a stand-out track from the 1990 RCA release True Love, an album that saw Don leaning into a polished but soulful production style.

This specific song was written by the late Dan Fogelberg, and Don’s version is highly regarded for the way he translated Fogelberg’s melodic folk sensibilities into his own "Gentle Giant" delivery.

While it was never released as a commercial radio single, the song became a staple on adult contemporary and country radio in Europe, where Don's international following was particularly strong.

The production features the crisp, dry vocal mix that became a hallmark of his 90s work, allowing the lyrics about the fragility of time to take center stage. It remains a definitive example of Don’s skill at selecting high-quality outside material that fit perfectly into his established musical world.

Falling Again is a song recorded by Don Williams for his album "I Believe in You," released in 1980.

"I Believe in You" was Don Williams' 11th studio album and was highly successful, reaching the top of the Billboard Top Country Albums chart. The title track, "I Believe in You," became a major hit and is one of Don Williams' signature songs.

"Falling Again" is a beautiful ballad featured on the album, showcasing Don Williams' soothing vocals and heartfelt delivery. The song explores the feelings of falling in love again and captures the emotions associated with a new romance.

The song peaked at #3 in Canada and #6 in the US.

Games People Play is a rhythmic, bluesy interpretation of the Joe South classic, appearing on the 1995 album Borrowed Tales. This collection was a deliberate shift for Don, focusing entirely on his favorite covers from the rock and folk genres.

Originally a massive hit for Joe South in 1969, Don’s version strips away the psychedelic sitar of the original and replaces it with his signature "bounce" and steady acoustic timing.

While it was not released as a single, it serves as a centerpiece for the album, showcasing how well his baritone could handle a social commentary track. The song has been covered by everyone from Jerry Lee Lewis to Inner Circle, but Don’s version is uniquely unhurried, emphasizing the timeless nature of the lyrics over the trendy production of earlier eras

Good Old Boys Like Me was written by Bob McDill, a highly acclaimed country songwriter known for penning numerous hits.

The song was released as a single in 1980 and became a significant success for Don Williams, reaching the top of the Billboard Hot Country Singles chart.

The track is a reflective and nostalgic ballad that celebrates the experiences, values, and memories of growing up in the American South.

The lyrics of the song capture a sense of Southern pride, shared memories, and the simple pleasures of life, often referencing specific cultural aspects and traditions.

Don Williams' smooth and warm vocal delivery, combined with the heartfelt lyrics and melodic arrangement, contribute to the song's enduring popularity.

"Good Old Boys Like Me" has become one of Don Williams' signature songs and is often regarded as one of his most beloved and iconic recordings.

Harry And Joe is a masterclass in character-driven storytelling, found on the 1998 album I Turn The Page. Written by A.J. Gundell and Len Handler, this song serves as a prime example of the narrative "short stories" that Don championed throughout his career.

While the track was not released as a single and did not see chart action, it is frequently cited by fans as a high point of his later recordings with the Giant label.

The song tells the story of two friends navigating life's changes, delivered with a warmth that makes the listener feel as though they are sitting in the same room as the narrator. It perfectly captures the mature, grounded perspective that Don maintained as he transitioned into the new millennium, proving his eye for a compelling story remained as sharp as ever.

If You Could Read My Mind is a beautifully faithful cover of the Gordon Lightfoot masterpiece, featured on the 1995 release Borrowed Tales. Don’s version of this legendary folk song is often cited as one of the most honest interpretations ever recorded, as his understated delivery matches the weary, introspective tone of Lightfoot’s original 1970 lyric.

While Don did not release his version as a single, the track has enjoyed significant longevity on streaming platforms and classic country radio. Interestingly, Don and Gordon Lightfoot shared a mutual respect for each other’s work, with both artists emphasizing "less is more" in their arrangements.

By stripping the song down to its core acoustic elements, Don allowed the poetic imagery of the lyrics to shine in a way that feels both intimate and universal.

I'll Be There is a spirited, up-tempo track that appears on the 1995 album Borrowed Tales. Written by Ray Price and Rusty Gabbard, the song was originally a number-one hit for Price in 1954 and has since become a country standard.

Don’s version is notable for its infectious, percussive rhythm, which demonstrates the "Don Williams Bounce" in its most energetic form. While it was not a charting single for Don, his recording helped introduce the song to a new generation of listeners who followed his mid-90s work.

The track is often highlighted by musicians for its clean chord transitions and rhythmic discipline, proving that Don could breathe fresh life into a decades-old classic while keeping its traditional spirit fully intact.

Jamaica Farewell is a breezy, Caribbean-influenced track that appears on the 1990 album True Love. Originally made famous by Harry Belafonte in the 1950s, this Irving Burgie composition was a natural fit for Don’s unhurried vocal style.

While it was not released as a commercial single, the song perfectly complemented the "visionary" and travel-focused themes that populated his discography.

The production on this version is clean and open, allowing the imagery of the West Indies to feel vivid and personal. It stands as a testament to Don’s global appeal; he was one of the few country artists who could record a folk ballad from another culture and make it sound like it had originated in Nashville, further solidifying his reputation as an international superstar.

Learn To Let It Go   is an insightful masterclass in emotional resilience featured on the 1989 RCA album One Good Well.

While the song was never released as a commercial radio single, it is highly regarded by collectors for its lyrical maturity and its position as the lead track on the album. Co-written by Mike Reid and Rory Bourke, the song deals with the difficult but necessary process of moving on from the past—a subject Don handled with his signature understated baritone.

It reflects the steady, grounded approach to healing that became a trademark of his late-80s work. Although major cover versions of this specific track are rare, its placement on one of his most successful late-career albums ensures it remains a staple for fans who value the more reflective and philosophical side of his storytelling.

Leaving For The Flatlands is the evocative title track (listed as "Leaving For The Flatlands") of Don’s 1996 album Flatlands. This late-career entry highlights the more atmospheric and narrative side of his production, created during his time with the American Harvest label.

While it was not a charting radio single, the song serves as a thematic anchor for the album, exploring the quiet landscapes and emotional shifts that come with a life of movement. It was written during a period where Don was moving away from the "stadium-ready" sound of modern Nashville and returning to the acoustic-heavy roots that first made him famous.

For fans of his mature work, this track is a rewarding discovery that showcases his enduring vocal strength and his impeccable taste in selecting sophisticated, narrative-driven material.

Leaving Louisiana In The Broad Daylight remained a hidden treasure for over forty years. Originally written by Rodney Crowell and Donivan Cowart, the song became a No. 1 hit for the Oak Ridge Boys in 1980 and a signature track for Emmylou Harris. However, Don recorded his own soulful, stripped-back version during his "Cellar" sessions between 1979 and 1982.

Lost to time until its official release on March 25, 2026, this version captures Don at his absolute vocal peak. While other versions rely on a driving, uptempo beat, Don’s rendition leans into his signature "heartbeat" rhythm and masterful acoustic phrasing. Fun Fact: Don famously passed on releasing this track during the 1980s, preferring to keep it in his private archive until it was finally unearthed for the 2026 Epilogue project.

Listen To The Radio is one of the most recognizable anthems of Don’s early 80s period, serving as the lead single and title track for his 1982 album Listen To The Radio. Written by Fred Knipe, the song was a massive commercial success, peaking at number three on the Billboard Hot Country Singles chart and hitting number one in Canada.

The song’s nostalgic look at the power of music resonated far beyond the country charts, eventually being covered by the influential folk icon Nanci Griffith. Interestingly, the track features a slightly more polished, contemporary production that signaled Don’s transition into the 1980s while keeping his signature acoustic "bounce" intact.

It remains a staple of classic country radio and stands as one of the most beloved and internationally recognized songs in his entire catalog.

Lonestar State Of Mind is a rhythmic celebration of Texas roots found on the 1992 album Currents. Though many fans associate this title with the 1987 Nanci Griffith hit,

Don’s version is a distinct interpretation that showcases the songwriting talents of Fred Koller, Gene Levine, and Patrick Alger. While it was never released as a commercial single, the track is highly regarded for its breezy, melodic quality and the way it showcased Don's ability to pick material that suited his relaxed persona into his third decade of recording.

The song creates a vivid sense of place and longing that fit perfectly alongside the more modern Nashville production of the Currents sessions. It remains a favorite for fans who follow his transition from the MCA years into his final major-label outings with RCA.

Love Me Over Again  holds a special place in history as the only number-one hit of Don Williams’ career that he wrote entirely by himself.

Released in December 1979 as the first single from the album Portrait, the song reached the top of the Billboard country charts in early 1980 and spent twelve weeks on the chart.

This intimate, stripped-back ballad is the ultimate example of his "less is more" philosophy, focused entirely on a sincere plea for lasting romantic commitment. Because Don was the sole writer, the song is often cited by critics as the purest reflection of his personal musical values.

It has since become a standard for wedding ceremonies and remains a testament to the fact that his own songwriting was as commercially potent as the material he sourced from Nashville's elite.

Loving You's Like Coming Home is a warm, celebratory ballad written by the legendary Bob McDill. While Don famously recorded many McDill hits in the 70s, this specific version appears on the 1990 album True Love.

It is important to note that while the song has a classic mid-70s feel, it served as a key track for his early 90s era, showcasing that his ability to deliver a heartfelt, domestic-themed lyric remained unchanged over the decades.

The song uses the metaphor of "coming home" to describe the peace found in a stable partnership, a recurring theme in his work.

Although it was not a charting single for Don, the track is highly regarded by fans for its gentle, rolling rhythm and the effortless way his baritone carries the sentimental message without ever becoming over-sentimental.

Miracles served as the lead single and opening track for the 1981 album Especially For You, marking a successful start to Don’s career in the new decade.

Released in July 1981, the song climbed to number four on the Billboard Hot Country Singles chart and performed exceptionally well on the Adult Contemporary charts as well.

Written by Roger Cook, the track explores the quiet, everyday wonders found in human connection rather than the supernatural, fitting perfectly into Don’s humble and grounded worldview. Interestingly, the single’s B-side was the fan favorite "I Don't Want to Love You," which also received significant airplay.

The song’s success helped propel the album into the top five, maintaining Don’s incredible streak of hits during a major transitional period for the Nashville sound.

Not A Chance is a soulful, rhythmic entry from the 1978 album Expressions, an album famous for hosting iconic crossover hits like "Tulsa Time."

While Don is the primary performer, he also served as the producer alongside Garth Fundis, and the song was actually penned by the prolific songwriter Bob McDill. While it was never selected for life as a radio single, the song is a definitive "deep cut" that features a bluesy acoustic pocket often studied by guitarists for its rhythmic precision.

Because it was the B-side to the 1979 number-one hit "It Must Be Love," it reached a massive audience and became an essential piece of his late-70s repertoire. It stands as a prime example of the high-quality material that ensured his albums stayed on the charts for months at a time.

Now And Then  is an introspective album track that first appeared on the 1981 release Especially For You.

Written by Wayland Holyfield, a frequent collaborator who understood Don's vocal range perfectly, the song deals with the cyclical nature of time and how old memories often inform the present.

Although it was never released as a single, the song is recognized by collectors as a crucial atmospheric piece that grounded the early 80s album in a more philosophical and reflective tone.

The track features the classic "Don Williams Bounce," but with a slightly more melancholic edge that showcased his maturity as a storyteller. It represents the high standard of material Don required for his sessions, ensuring that even the non-singles possessed a timeless, resonant quality that aged well.

Old Coyote Town is a haunting, cinematic narrative that highlights Don’s incredible ability to paint a vivid picture with his voice alone.

Released in January 1989 as a single from the album Traces, the song reached the top five on the Billboard Hot Country Singles chart. Interestingly, the song was originally recorded by its co-writer Larry Boone just a year earlier, appearing on his album Swingin' Doors, Sawdust Floors, but it was Don’s weary and atmospheric delivery that turned it into a major hit.

Written by Boone, Paul Nelson, and Gene Nelson, the song tells the story of a man returning to a town that time and progress have forgotten. Its success in the late 80s showed that even as country music became more "stadium-ready," there was still a massive audience for quiet, evocative tales.

Peace Train is a soulful and rhythmically driven cover of the Cat Stevens classic, featured on the 1995 album Borrowed Tales. Don’s version of this 1971 anthem is a fascinating bridge between his country roots and the folk-rock world he admired.

While the song was not released as a single, it became a standout of his live shows during the mid-90s, where its message of unity and hope resonated deeply with his global audience.

By applying his signature "dry" vocal production and a steady acoustic pocket, Don transformed the song into something that felt entirely at home in a country setting. It remains a fan favorite for the way it captures a certain "visionary" spirit, proving that his "Gentle Giant" persona was a perfect vessel for a song focused on peace and progress.

Pretend is a unique track found on the 1990 album Borrowed Time, marking a period where Don reunited with the songwriter and producer Allen Reynolds.

Written by Reynolds along with the legendary Bob McDill, this track should not be confused with the 1950s pop standard of the same name. While it was never released as a charting single, the song is highly regarded for its clean, "dry" production and the way it showcased Don's signature acoustic timing.

The lyric deals with the theme of putting on a brave face to mask inner heartbreak, a classic country trope that Don handled with more nuance and restraint than most. For fans who explore his late-80s and early-90s RCA output, this song is considered a masterclass in understated country-folk accompaniment.

Reason To Believe  is a legendary folk-rock standard written by Tim Hardin and made world-famous by Rod Stewart.

Don recorded his interpretation for the 1990 album Borrowed Tales, bringing a uniquely country perspective to the song’s themes of betrayal and persistent hope. While his version was not released as a commercial single, it has become one of his most highly-regarded covers, often cited for its clarity and for stripping the song back to its weary, humble roots.

His baritone delivery adds a layer of quiet perseverance that was often lost in more bombastic pop versions. The track remains a beautiful example of Don’s skill at selecting external material that fit seamlessly into his own repertoire, proving his deep connection to the broader singer-songwriter tradition.

Restless is a driving, mid-tempo track written by Bob McDill for the 1996 gold-certified album Flatlands. While it was never pushed as a radio single, the song became a staple of Don’s live performances throughout the mid-80s due to its infectious, traveling rhythm and percussive acoustic feel.

The lyrics deal with the itch to travel and the difficulty of staying in one place, a theme that the "Gentle Giant" understood intimately from his decades on the road. Though it wasn't a chart-topper itself, the song's presence on a high-selling album helped it reach a massive audience.

It is often highlighted by musicians for its rhythmic discipline, showcasing the "Don Williams Bounce" in an up-tempo context that provided a perfect counterpoint to his more famous romantic ballads.

Shadowland is an evocative and atmospheric track from the 1996 album Flatlands. 

Written by the powerhouse team of Dickey Lee and Bob McDill, this song was not released as a single and remains one of the more obscure "hidden gems" from his later RCA years. The production features a more layered, moody soundscape than his 70s work, creating a vivid emotional landscape that feels more like a short film than a standard country song.

Critics have pointed to this track as evidence that Don was still willing to push the boundaries of his sound well into his third decade. For fans who explore his 90s output, the song is a rewarding discovery that highlights his enduring vocal strength and his impeccable taste in selecting sophisticated, narrative-driven material.

The Long Black Veil is a haunting interpretation of the classic country murder ballad, appearing on the 1995 release Borrowed Tales. Written by Danny Dill and Marijohn Wilkin, the song has been famously covered by everyone from Lefty Frizzell to Johnny Cash and The Band.

Don’s version is notable for its incredible restraint; he avoids the melodrama found in many interpretations, opting instead for a quiet, weary delivery that makes the ghostly narrator feel all the more real. While it was not a radio single, the track is highly regarded by critics as one of the best recordings on the Borrowed Tales sessions.

It demonstrates Don’s mastery of the "short story" songwriting style, proving that he didn't need a massive arrangement to convey a heavy, cinematic emotional landscape.

Tulsa Time is perhaps the most iconic up-tempo hit of Don’s career, serving as the opening track for the 1978 album Expressions. Written by Danny Flowers, who was a member of Don's touring band at the time, the song was released as a single in October 1978 and became a massive number-one hit on the Billboard Hot Country Singles chart.

The track is famous for its infectious "shuffle" beat, which became a blueprint for the "Don Williams Bounce." Interestingly, Eric Clapton heard Don’s version and recorded his own cover shortly after, which also became a major hit.

The song remains a staple of classic country radio and is the ultimate example of Don’s ability to take a simple, rhythmic hook and turn it into a global anthem that bridged the gap between country and rock audiences.

Wonderful Tonight is a tender and intimate cover of the Eric Clapton standard, featured on the 1995 album Borrowed Tales. While Clapton’s original was a global pop hit, Don’s version strips away the electric blues influence and replaces it with a gentle, acoustic-driven arrangement that emphasizes the song's sincere romantic message.

Although it was not a charting single, it has become one of Don’s most popular "later-career" recordings on digital platforms, often cited by fans as the definitive country interpretation of the track. Interestingly, this recording served as a "thank you" of sorts to Clapton, who had famously covered Don’s "Tulsa Time" years earlier.

By bringing the song into his quiet, resonant world, Don proved that a great melody could cross genres as long as the delivery was honest.