#484 Merle Haggard and the Strangers- Branded Man (1967)

Back from the SOPA inspired internet blackout.  I think it's important to bring it up in this blog, because the act could have the effect of limiting our exposure to music, art and information.  I wouldn't be listening to Merle Haggard on a cold January morning without internet freedom; let's find out if that's a blessing or a curse.

Without going back and counting, I'll bet I've been wrong more times than I was right on this blog, about my preconceived notions of an artist or genre of music that I wasn't familiar with.  I've said in the past, I'm neither a fan nor a hater of country music.  I've jokingly said over the years that I like country music, but only 15 minutes at a time.  Branded Man is one of the shortest albums I've encountered yet at just under 30 minutes.

Branded Man-  The title track of the album, seems autobiographical.  Merle had multiple run-ins with the law since the age of 13 that concluded with a 3 year stay in San Quentin for attempting to rob a tavern.  In today's world, this might be called "street-cred".  The single hit #1 on country charts.  Decent three part harmonies, but nothing else about the song impresses me; no payoff.  That last major 7th note ends the song is very Debbie Downerish.

Loneliness is Eating Me Alive-  I immediately like this, and no it's not just the piano.  This sounds an awful lot like Willie Nelson.  It's a slow shuffle and bluesy, and while it has absolutely nothing to do with Christmas, I can't get that image out of my mind as it plays.  Weird.

Don't Get Married-  Another autobiography prison song, with a Latin feel.  Ha, sucker, he tried stealing a diamond ring for the girl he wanted to marry.  Now he's asking her to wait for him.  Nice harmonies, nice book and nice feel... but it seems cut short.  Someone get these poor fellas a bridge and maybe a story twist?

Somewhere Between-  Again, loving the harmonies, but I'm realizing what's been the rock in my shoe with each of the songs thus far.  It's the constant soloing guitar.  It just doesn't seem to fit: sound, playing, and note choices.  Replace each of the solos and phrase-work with a fiddle, and it would be much improved.

You Don't Have Very Far to Go-  The awkward intro chord changes remind me of Roy Orbison's "You Got It". The whole song actually does come to think of it.  Damnit!  If that guitarists throws in that weird major 7th note resolution one more time..he's fired!  If that's his signature note, then I want him to print from now on.

Gone Crazy-  Steel-guitar.  A little too much of it, almost seems to compete with Merle's singing.

I Threw Away the Rose-  A song about losing love and control to the bottle.

My Hands are Tied-  Another Latin inspired song in 3/4 time.  A song about prison but maybe not the iron bars type?  No, it is about the iron bars type... not a lot of symbolism on this album.

Some of Us Never Learn-  OK THAT GUITARIST IS FIRED.  Another song about alcohol.  Oh wait, is that Merle's playing?  That sour-note must be his idea, why else would it be almost featured on each song?  Maybe he never learned.

Long Black Limousine-  Somebody died.  His old lover.  Ah, there's that spoken middle part that always remind me of Boys to Men.  At least this song has a little ironic twist.  Finally something literary.

Go Home-  More Latin 3/4 time.  A tale of love and Texas racism.  Well, maybe a half-tale, a story with no point.  Maybe Del Griffith co-wrote these ditties.

Well this time I'm putting the W down in my column.  I thought this album wasn't going to appeal to me, and it didn't.  I'm giving every album the same fair objective shake.  Are these songs without merit?  Well, the title song hit #1, and a bunch of qualified people voted it on this list, so perhaps the merit is just lost on me.  Merle's got a solid country voice, but if that's his guitar style, it just plain old sucks on this album.  The harmonies and backup singing is a joy to listen to, but hardly groundbreaking or relevant in some way.

A half an hour poorly spent?  Even a bad day of listening to music is better than a good day in prison.

Next up #483  The Notorious B.I.G. - Life After Death (1997)

#499 Albert King- Born Under a Bad Sign (1967)

Albert King doesn't waste a full measure of time before announcing the name of his title song, Born Under a Bad Sign. That's because he's got something that's going to convert the blues from a history lesson, to a blueprint to the great rock guitarists of the future.  The thick horns wide in the stereo, the backing of Stax Records' house band (Booker T & the MG's), I imagine it scared the shit out of people, blaring through their speakers all ballsy and bad-ass.  Scared em, or made em come alive, or probably both.

I went through a period in my late teens where I thought it was cool to be into the blues.  A feeble attempt to escape my youth, my whiteness, to borrow the wisdom and life experience these men had, if only musically.  I appreciated the music, the playing, but it would be many years later before I could appreciate where in the soul music like this came from.

Guitar players generations older than I, they got it.  They carried the torch until our generation was ready to receive.  Musicians I know inside out--like Stevie Ray Vaughn--I hear so much of Albert King's influence in his playing, his singing, his sound.  Clapton, Jimmy Page, even Hendrix all walked across the bridge that King built. The bridge that connected blues-past and rock-future.

Crosscut Saw: at 2 minutes 36 seconds... it just fades to quickly leaving you wanting more... like having to leave a party at midnight that you know is going roar until 4am.
Kansas City: a Leiber-Stoller staple that's been covered by everyone and their brother, but this version is just lush with smooth blowing horns.
Oh, Pretty Woman:  No, not the Roy Orbison kind.  Blues pretty straight forward.
Down Don't Bother Me:  I'm embarrassed to say the first version of this song I heard, was Sting.  Albert's version teaches you a lesson in 2 minutes, and quickly moves on to the next subject.  There's too much to learn here, and no time to dwell.
The Hunter:  There's an abruptness in his singing, reminds me alot of Jimi Hendrix.  He's bending guitar strings and squeezing phrases, full sentences, out of notes that some players barely get a syllable out of.  It's the difference between saying "shit", and "sheeeeeeeeeyyyiiiiiit".
I Almost Lost my Mind: Ok, so they aren't all winners.  This is a slow snoozer. Except for this way out of place flute solo in my left ear.  Who let Ron Burgundy in on this track?
Personal Manager: Great interplay between solo riffs, and horn stabs.
Laundromat Blues:  Yeah, there are blues songs written about "All Temperature Cheer"... well not really.  I hear links to (rather from) Jimmy Page's playing on Led Zeppelin's first album.  Just another reminder of who lit the flame of my torch carriers.
As the Years go Passing By:  Just about when I checked out of this album, I get sucked back in.  I know this song's melancholy, this nostalgia, I've been this guy.  And the interplay of piano, horns, guitar, singing... mmm.
The Very Thought of You:  Yes, that one.  See, why couldn't more of the album be like this.  This is just a great in-the-pocket version of this song, this way overplayed song. It's like meeting someone for the first time, but having the feeling you've been friends your whole life.  Dig the hush-talking at 2:32 that reminds me of every Boys To Men song ever recorded.  The big man shows his tenderness... and I can't wait to use this version for a slow dance somewhere.

Albert King, you came in hard, scared the crap out of the neighbors, changed the landscaping, taught the kids some tough lessons, but then finished the day by delivering flowers all around.

-CTK

Next up #498 ZZ Top- Tres Hombres (1973)