"I know I need a small vacation," sings Glen Campbell on one of his early monster hits, composed by Jimmy Webb, "but it don't look like rain. / And if it snows, that stretch down south / will never stand the strain." It's a man on the job, worried about his work. Without any transition, the lyric and music take us to another level: "And I need you more than want you/ And I want you for all time." At seven years old, this didn't mean much to me; at 40, hearing jazz vocalist Cassandra Wilson cover the song, I had to pull over to the side of the road, weeping. Where the heck did that come from? "And the Wichita Lineman," sings our working man, "is still on the line."
Fifty years after Campbell recorded that number -- alongside hits "Galveston," "By the Time I Get to Phoenix," and "Gentle on My Mind," I appreciate the mastery of this song by Jimmy Webb, but also the arrangement by its singer that includes violins in an appropriate lineman's Morse - code tattoo, the dissonance in the broad lines for strings that suggest both the spaciousness and the loneliness of that Kansas landscape. Glen Campbell, that pop icon, that country boy in a California / LA world, arranged the song and sold that lyric. I get it now; I took the voice and the personality for granted.
Only now do I appreciate the odyssey of a country boy, one of twelve children, ingratiating himself to musicians as varied as Frank Sinatra and the Beach Boys, then becoming a star parodied in his own hit song "Rhinestone Cowboy."
Only a few months before his death, I heard how his dementia overtook him, and I bought my first Glen Campbell recordings: "Adios," a set of covers from his last tour and his conscious good-bye; and "Ghost on a Canvas," a set of songs co-written with buddies who helped him to express his fears, regrets, and gratitude for career, family life, addiction, recovery, and faith.
In 1967, Glen Campbell was my ideal of the handsome man, the friendly guy, the great singer. Now I appreciate what I've been missing for 50 years.
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