In the 1960s, sales of single records were far more important to the music industry than album sales. Albums consisted of one or two hit singles, and 8 to 10 “filler” songs, which were often cover versions of the current hits of other artists or less commercially viable songs written by the artist and/or producer. Country artists typically released an average of three albums a year. Waylon Jennings’ 1967 collection Love of the Common People was his fifth album for RCA, released a year after his debut collection for the label.
Produced by Chet Atkins, Love of the Common People is a little unusual in that none of its tracks were released as singles. It consists of the usual cover songs and original artist/producer compositions as well as a few contributions from well known songwriters of the day, such as Sonny James and Harlan Howard. Despite its lack of radio hits, the album’s material is stronger and less uneven than many albums of the day, and it sold reasonably well, peaking at #3 on the Billboard country albums chart. And although this is a slightly more polished Waylon than we would hear a few years later, the album largely avoids some of the excesses of the Nashville Sound era.
My favorite track is “Young Widow Brown”, a light-hearted tune written by Waylon and Sky Corbin, concerning a fun-loving young woman who drives her husband to an early grave and doing her best to send her many suitors to a similar fate. While not as edgy as Waylon’s later work, it’s not as far removed from his Outlaw music as one might expect.
The title track is a folk-rock tune that had been a pop hit earlier in the year for The Four Preps. It sounds like something that might have fit on Waylon’s earlier effort Folk-Country. “Taos, New Mexico”, written by RCA in-house producer Bob Ferguson, is a very nice Tex-Mex tune that’s a little ahead of its time. It sounds like something that Freddy Fender or Marty Robbins would have success with a few years later. “I Tremble For You” is a little known Johnny Cash song written by the man in black and Lew DeWitt, who was part of the original Statler Brothers lineup. It’s not the usual boom-chicka-boom style usually associated with Cash, and it shows Waylon’s strength as a ballad singer. Shoulda been a single. “If The Shoe Fits” by Harlan Howard and Freddie Hart, “Destiny’s Child” by Sonny James, and “The Road” by Ted Harris are all worth a listen.
The album does contain a couple of missteps: a cover of the John Lennon/Paul McCartney tune “You’ve Got To Hide Your Love Away”, and Mel Tillis’ “Ruby, Don’t Take Your Love to Town”. The latter about a wounded warrior suffering from physical injuries and PTSD, long before those terms were coined. His wife callously prepares to leave him on his own while she seeks her pleasures elsewhere, making no attempts to hide her intentions. The song had been a Top 10 hit earlier in the year for Johnny Darrell and two years later would become a huge pop smash for Kenny Rogers and The First Edition. It’s a good song, but Jennings’ delivery is surprisingly stiff and devoid of emotion.
Waylon Jennings, of course, had a long and distinguished career in country music and left behind a catalog so huge that it’s easy to overlook some of the entries that weren’t big hits. Love of the Common People is a gem well worth exploring.