Going Where The Lonely Go Merle Haggard

Album Info

Album Veröffentlichung:
1982

HRA-Veröffentlichung:
29.06.2015

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  • 1Going Where the Lonely Go04:50
  • 2Why Am I Drinkin'02:40
  • 3If I Left It Up To You02:35
  • 4I Won't Give Up My Train04:33
  • 5Someday You're Gonna Need Your Friends04:02
  • 6Shopping for Dresses02:37
  • 7You Take Me For Granted02:41
  • 8Half A Man04:12
  • 9For All I Know03:56
  • 10Nobody's Darling But Mine03:37
  • Total Runtime35:43

Info zu Going Where The Lonely Go

Living Legends collects songs from Conway Twitty, George Jones, and Merle Haggard. Haggard's 'Yesterday's Wine,' Jones' 'He Stopped Loving Her Today,' and Twitty's 'Hello Darlin'' are among the album's highlights; while this collection is far from definitive, it's also an entertaining, concise reminder of why these three artists are considered living legends.“

„Recorded after his Columbia hit Big City, Going Where the Lonely Go is one of Merle Haggard's most criminally overlooked recordings. Recorded in 1982, the vibe is one of Haggard's most laid-back albums, co-produced with Lewis Talley, one of Nashville's kings of understatement (not that there are many). Haggard wrote over half the album, the rest comprised of two songs by his then-wife, Leona Williams; a co-write with Little Jimmy Dickens; Willie Nelson's 'Half a Man'; and Jimmy Davis' 'Nobody's Darlin' but Mine.' But it is Haggard's songs that make this a stellar outing. The title track is a piece of pure country poetry. A painfully slow 4/4 time signature fronted by a bassline, adorned by a three-chord pattern, and filled by slippery piano lines, Haggard sings, 'Rollin' with the flow/Goin' where the lonely go/Anywhere the lights are low/Goin' where the lonely go/Makin' up things to do/Not runnin' in all directions tryin' to find you/I'm just rollin' with the flow/Goin' where the lonely go/And I've got to keep goin'/I can't lay down/Sleep won't hardly come/Where there's loneliness all around/I've got to keep goin'/Travellin' down this lonesome road/I'll be rollin' with the flow/Goin' where the lonely go.' As Haggard gets to the bridge, a steel guitar and lead guitar trade lines as strings fall in from the edges and cascade around his gorgeous, bluesy voice. The next track, 'Why Am I Drinkin'?,' is pure honky tonk blues, full of heartbreak and resignation when he asks the question, 'Is love just another word for memory?/And is love just another word for pain?/The question is love really the answer/And if so why is love so much to blame/If love is what we're really after, then why am I runnin' away?/And why am I drinkin'/Why am I hurtin' this way?' The guitars and fiddles wend their way around Norm Hamlett's gorgeous pedal steel and drive home the desolate edge in the song. 'I Won't Give up My Train,' another country ballad, is particularly poignant, as Haggard addresses the metaphor of his life in music via a brakeman who is married and probably won't be for long, because his wife is tired of always waiting for him. Hargus 'Pig' Robbins' piano is unmistakable as it ushers in the a narrative of paradox, contradiction, and loss. When Hag sings, 'The baby came in April in Chicago in the pourin' rain/With 12 black cars and empty tank/With three box cars and an empty sack of mail,' we can hear Jimmy Rogers in the grain of his voice, calling from out in the freight yards of history. Other notables are the truly moving 'Shopping for Dresses (With No One to Wear Them),' written with Dickens, and 'For All I Know,' another broken-love song from the other side of love's great divide. Haggard and the Strangers were one of the tightest and most sophisticated bands in country music, inspired by the elaborate arrangements of Bob Wills' band, to the point where Haggard's music from this period transcends country music in its appeal and elegance. It's a pity this one didn't get the notice it deserved -- it's a masterpiece.“ (Thom Jurek, AMG)

Merle Haggard, vocals
George Jones, vocals
Conway Twitty, vocals


Merle Haggard
Though for the last decade his new recordings have received almost no airplay—in the innocently cruel Nashville taxonomy, he is classified as a living legend—Merle Ronald Haggard remains, with the arguable exception of Hank Williams, the single most influential singer-songwriter in country music history.

Haggard is certainly one of the genre’s most versatile artists. His repertory ranges wide: aching ballads (“Today I Started Loving You Again,” “Silver Wings”); sly, frisky narratives (“Old Man from the Mountain,” “It’s Been a Great Afternoon”); semi-autobiographical reflections (“Mama Tried,” “Hungry Eyes”), political commentaries (“Under the Bridge,” “Rainbow Stew”), proletarian homages (“Workin’ Man Blues,” “White Line Fever”), as well as drinking songs that are jukebox, cover-band, and closing-time standards (“Swinging Doors,” “The Bottle Let Me Down,” “I Think I’ll Just Sit Here and Drink”).

His acolytes are legion and include many of country music’s brightest and lesser lights, as well as thousands of nightclub musicians. As fiddler Jimmy Belken, a longtime member of the Strangers, Haggard’s exemplary touring band, once told The New Yorker, “If someone out there workin’ music doesn’t bow deep to Merle, don’t trust him about much anything else.”

Haggard was born poor, though not desperately so, in Depression-era Bakersfield to Jim and Flossie Haggard, migrants from Oklahoma. Jim, a railroad carpenter, died of a stroke in 1946, forcing Flossie to find work as a bookkeeper.

Flossie was a fundamentalist Christian and a stern, somewhat overprotective mother. Not surprisingly, Merle grew quickly from rambunctious to rake-hell. By his twenty-first birthday he had run away regularly from home, been placed in two separate reform schools (from which he in turn escaped a half-dozen times), worked as a laborer, played guitar and sung informally, begun a family, and performed sporadically at southern California clubs and, for three weeks, on the Smilin’ Jack Tyree Radio Show in Springfield, Missouri. He also spent time in local jails for theft and bad checks.

His woebegone criminal career culminated in 1957 when, drunk and confused, he was caught burglarizing a Bakersfield roadhouse. After an attempted escape from county jail, he was sent to San Quentin. There, in a final burst of antisocial activity, he got drunk on prison home brew, landing himself briefly in solitary confinement. He was paroled in 1960 and, after a fitful series of odd jobs, got a regular gig playing bass for Wynn Stewart in Las Vegas.

Another Bakersfield mainstay, Fuzzy Owen, signed Haggard to his tiny Tally Records in 1962. After recording five singles there—the first release, “Skid Row” b/w “Singin’ My Heart Out,” sold few copies; the fourth, “(My Friends Are Gonna Be) Strangers,” entered Billboard’s Top Ten (1965)—Haggard signed with Capitol. He moved to MCA in 1976, to Epic in 1981, and in 1990 to Curb.

He released his first album, Strangers, in 1965. Roughly seventy feature albums have followed. Counting repackagings, reissues, compilations, promotional and movie-soundtrack albums, as well as albums in which Haggard has participated—with the likes of Willie Nelson, Porter Wagoner, Johnny Paycheck, Bob Wills, Dean Martin, Ray Charles, and Clint Eastwood—the number of albums is likely more in the vicinity of the 150 mark.

Haggard has recorded more than 600 songs, about 250 of them his own compositions. (He often shares writing credits as gestures of financial and personal largess.) He has had thirty-eight #1 songs, and his “Today I Started Loving You Again” (Capitol, 1968) has been recorded by nearly 400 other artists.

In addition, Haggard is an accomplished instrumentalist, playing a commendable fiddle and a to-be-reckoned-with lead guitar. He and the Strangers played for Richard Nixon at the White House in 1973, at a barbecue on the Reagan ranch in 1982, at Washington’s Kennedy Center, and 60,000 miles from earth—courtesy of astronaut Charles Duke, who brought a tape aboard Apollo 16 in 1972. Haggard has won numerous CMA and ACM Awards including both organizations’ 1970 Entertainer of the Year awards, been nominated for scores of others, was elected to the Songwriters’ Hall of Fame in 1977, and won Country Music Hall of Fame membership in 1994. In 1984 he won a Grammy in the Best Country Vocal Performance, Male category for “That’s the Way Love Goes.”

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