Your childhood favourites never leave you, and thanks to albums like this, Glen Campbell was one of mine:
This cheapo Music for Pleasure compilation from the early eighties began with Galveston and ended with Rhinestone Cowboy*. Thirty years later, both songs, and especially the former, remain incredibly important and precious to me, and I genuinely can’t hear Galveston without tearing up. Next time I listen to it, it’ll have to be in private.
Glen Campbell was not a young man, and he had been unwell for some years, so we shouldn’t get maudlin here. But we should take a moment to remember the absolutely towering contribution he made to popular music.
I’m sure I can’t tell you anything you don’t already know about Glen Campbell. After years of playing guitar on sessions and cutting singles trying to get a break, Gentle on My Mind made his name in 1967. His interpretations of Jimmy Webb’s songs (Wichita Lineman, By the Time I Get to Phoenix, Galveston – Campbell had an instinct for choosing the best songs) in the years that followed cemented his reputation as one of the foremost interpretative singers not just in country, but in any kind of music. No one who took on Wichita Lineman or By the Time I Get to Phoenix improved them (not even Isaac Hayes – sorry, James, if you’re reading this). You can’t improve perfection.
He had a TV show and tried his hand at acting with some success. He cut gorgeous duets with Bobbie Gentry and Anne Murray. In his session days, he played guitar and bass on Beach Boys and Frank Sinatra records as part of the Wrecking Crew – and toured with the Beach Boys, too. Even now he’s still underappreciated as a guitarist.
If there was one positive to come out of his Alzheimer’s-stricken final years, it was the sight of Campbell performing in front of adoring audiences, old and young, some of whom had only heard of him through his 2008 covers album, Meet Glen Campbell, on which he covered the likes of the Foo Fighters, Green Day and Paul Westerberg. Their appreciation of him was sharpened by the knowledge that he was slipping away. No artist deserved a victory lap more.
*It also took in Anne Murrary’s Snowbird, Crystal Gayle’s Don’t It Make My Brown Eyes Blue and Talking in Your Sleep, Don Schlitz’s own recording of The Gambler, Billie Jo Spears’ Blanket on the Ground and Bobbie Gentry’s Ode to Billie Joe. It’s amazing how much lasting happiness can be derived from something that only existed because someone at MfP saw a quick, cheap way to make an easy profit.