Back in 2011, I wrote an article 25 GREATEST LIVE COUNTRY ALBUMS. In that article I had this album pegged as the ninth greatest album, an assessment I stand by today. At the time I said the following:
Roy Clark released a number of live albums over the years, but this one, released on Dot Records in 1972, is the one Roy Clark album. This album showcases Roy’s instrumental prowess and his innate sense of comedy – even when he’s not trying to be funny, Roy can be hilarious. The album is worth buying if only for the “Great Pretender medley” but there’s so much more to this album including his then-hit “The Lawrence Welk – Hee Haw Counter-Revolution Polka”, earlier hits such as “I Never Picked Cotton” and “Thank God and Greyhound” as well as some very flashy instrumentals plus his two biggest pop hits “Tips of My Fingers” and “Yesterday When I Was Young”. Parts of this album have been released on CD, but unfortunately, not the “Great Pretender medley”.
Roy Clark is an all-around entertainer who became a superstar without being a big hit-maker on the charts. He had a few top ten hits scattered across a fifteen year period, but he was huge concert draw, a great instrumentalist, a frequent guest on many local and national television shows, and of course Hee Haw which he hosted for over twenty years. It is possible that for three decades Roy Clark was the most familiar face in country music.
This album is so much fun that I find myself pulling it out frequently (I digitized it about fifteen years ago so I could play it in my car – before that I had dubbed it to a cassette). The album was one of Roy’s more successful albums, reaching #4 on Billboard’s Country Albums chart. While there was only one single issued from the album, local radio stations played several of the tracks from the album, especially the “Great Pretender” medley. The album was recorded at the Landmark Hotel in Las Vegas, so Clark is backed by a typical Vegas sage show orchestra. Fortunately, Clark is in the front and center of the sound mix.
The album opens with the introduction of Clark and Clark’s hyperkinetic guitar work (and vocals) on “Alabama Jubilee”. From here Clark moves into funky town with his take on Wilbert Harrison’s “Kansas City”.
“Thank God and Greyhound” was a top ten country single for Roy in 1970 and even crossed over onto the pop charts. The song starts off as a breakup ballad, but the chorus is a spirited up-temp kiss-off:
I’ve made a small fortune and you squandered it all
You shamed me till I feel about one inch tall
But I thought I loved you and I hoped you would change
So I gritted my teeth and didn’t complain
Now you come to me with a simple goodbye
You tell me you’re leaving but you won’t tell me why
Now we’re here at the station and you’re getting on
And all I can think of is thank God and Greyhound you’re gone
Thank God and Greyhound you’re gone
I didn’t know how much longer I could go on
Watching you take the respect out of me
Watching you make a total wreck out of me
That big diesel motor is a-playing my song
Thank God and Greyhound you’re gone
Thank God and Greyhound you’re gone
That load on my mind got lighter when you got on
That shiny old bus is a beautiful sight
With the black smoke a-rolling up around the taillight
It may sound kind-a cruel but I’ve been silent too long
Thank God and Greyhound you’re gone
Thank God and Greyhound you’re gone
Roy closes out side one of the album with three instrumentals: “Under The Double Eagle” (guitar), “Foggy Mountain Breakdown” (banjo) and “Orange Blossom Special” (fiddle). I always felt that Roy could play anything with strings and he proves it here.
Side two opens with Roy’s biggest hit “Yesterday When I Was Young”. Released in 1969 and written by France’s legendary singer-songwriter Charles Aznavour, the song was both a country (#1 Cashbox & Record World, #9 Billboard) and pop hit (#19 USA – #7 Canada) and sold well over a million copies. While not released as a single in England, I heard the song many times on the BBC. For those who have never heard the song, I guess I would describe it as the ultimate self-recrimination ballad, easily one of the saddest and most intense songs I’ve ever heard:
Yesterday when I was young
The taste of life was sweet as rain upon my tongue
I teased at life as if it were a foolish game
The way the evening breeze may tease a candle flame
The thousand dreams I dreamed, the splendid things I planned
I always built, alas, on weak and shifting sand
I lived by night and shunned the naked light of day
And only now I see how the years ran away
Yesterday when I was young
Roy Clark always had a knack for finding humor everywhere so there will be little more seriousness from this point forward. “Green Green Grass of Home was a recent hit for Johnny Darrell and for Tom Jones. Roy gives it almost a straight treatment. After that, he launches into the “Lawrence Welk-Hee Haw Counter-Revolution Polka about the actions of ABC and CBS in canceling the Lawrence Welk Show and Hee Haw despite excellent ratings (‘attracting the wrong demographic’). Both shows went into immediate syndication and were seen on more stations and larger audiences than they ever had been on the networks. This song was the only single released from the album and was a top ten hit As the chorus states “… they still play the polka in Milwaukee, still play the waltz in Tennessee…” – indeed they do!
They’re goin’ through a music revolution
The hippies say they’ll overcome us all
While they’re blowin’ smoke and air pollution
We’re hangin’ in with help from Geritol.
They’re rounding up the squares in California
They’re picking off our heroes in New York
But they’ll never take away our champagne music
As long as Lawrence Welk can pop his cork
And they still do the polka in Milwaukee
Still, do the waltz in Tennessee
Still pickin’ bluegrass in Kentucky
With old-fashioned country harmony
So give me some beer drinkin’ music
And play that double eagle march for me
For they still do the polka in Milwaukee
So let me hear that one ah two ah three
The big wheels at the network started spinnin’
The verdict was that Hee Haw had to go
Cause city slickers don’t believe in grinnin’
And who the hell needs jokes in Kokomo
So they canceled all the singin’ and the pickin’
But the stubborn little donkey wouldn’t leave
And that little fella’s still alive and kickin’
And Hee Haw is laughin’ up its sleeve = hee haw
And they still do the polka in Milwaukee
Still, do the waltz in Tennessee
Still pickin’ bluegrass in Kentucky
With old-fashioned country harmony
So give me some beer drinkin’ music
And let me hear that one or two or three
While we swing to that good old country music
For Hee Haw is good enough for me
Yes, Hee Haw is good enough for me
It is difficult to describe “The Great Pretender” medley. “The Great Pretender” was a huge hit (#1 Pop & R&B in 1955) for legendary 1950s R&B/Pop Vocal group the Platters It starts off conventionally enough (sort of), with Roy doing all the vocal parts of all five of the Platters. As the song moves along, Clark starts kidding about, with most of the jokes being aimed at himself.
A couple of minutes into the track eleven minute track (and while near the end of the final verse) Roy launches into instrumental versions of “High Noon”, “Loch Lomond”, Turkey In The Straw”, “Lara’s Theme” (from the movie DR ZHIVAGO -a/k/a “Somewhere My Love”) and “Honky-Tonk” before returning to “The Great Pretender” – at the same point from which he had departed the song.
Roy had been sending up “The Great Pretender” for several years (without the medley interjections) prior to recording this album and you can check out the shorter version on YouTube
This album is hugely funny, with lots of interesting vocals, good musicianship, and lots of laughs. I wish I’d been there to see it – a definite A+ in my book.