(Pictured: Glen Campbell on The Johnny Cash Show, 1969.)
I need to write a little about Glen Campbell, but it’s daunting. My Twitter timeline exploded with goodness in the hours following the announcement of his death yesterday. I couldn’t possibly summarize it, or do as well as other writers. (The image of the Internet as a firehose of information has rarely seemed more appropriate.) But I can cobble together an annotated list. Campbell enjoyed great success on the pop and country charts, but his strongest performance came on Billboard‘s Easy Listening chart, including a run of 14 out of 15 singles making the Top 10 between 1968 and 1971. So according to those numbers, here are the Top 10 Glen Campbell hits:
10. “Dream Baby (How Long Must I Dream)” (#2 EL, #31 pop, #7 country, 1971). A Roy Orbison cover in which Campbell, his backup singers, and an orchestra get their Ray Charles on.
8. “Don’t Pull Your Love”/”Then You Can Tell Me Goodbye” (#1 EL, #27 pop, #4 country, 1976). More than a lot of the other songs on the list, this medley is clearly an artifact of its time. “Then You Can Tell Me Goodbye” fits Campbell’s voice and style better than “Don’t Pull Your Love.”
6. “Country Boy (You Got Your Feet in L. A.)” (#1 EL, #11 pop, #3 country, 1976). One night early in my radio career a kid called the studio to ask for it, except he referred to it as “Country Boy (You Got Your Feet in a Lake).”
5. “Sunflower” (#1 EL, #39 pop, #4 country). Written by Neil Diamond, and maybe a little too country for the Top 40 stations that had propelled “Southern Nights” to #1 a couple of months before.
4. “Rhinestone Cowboy” (#1 EL, #1 pop, #1 country, 1975). The Mrs. tells the story of going on a family vacation during this song’s summertime chart run, and how her four-year-old sister picked it off the radio and sang it, continuously, until it came up in the radio station’s rotation again.
3. “Southern Nights” (#1 EL, #1 pop, #1 country, 1977). The first time you heard this, it burned itself into your brain, and every time you heard it after that, it stayed with you, continuously, until it came up in the radio station’s rotation again.
2. “Galveston” (#1 EL, #4 pop, #1 country, 1969). “Galveston” is perfect; there’s not one thing you can imagine that could make it any better. It did six weeks at #1 Easy Listening and three weeks at #1 country. The week it reached #4 on the Hot 100 (4/12/69), it trailed only the Fifth Dimension’s “Aquarius,” “You’ve Made Me So Very Happy” by Blood Sweat and Tears, and “Dizzy” by Tommy Roe. (“Dizzy” had recently kept CCR’s “Proud Mary” out of the #1 spot, so Tommy Roe will have a lot to answer for on Judgment Day.)
1. “Wichita Lineman” (#1 EL, #3 pop, #1 country, 1968/69). This, too, is what perfection sounds like. “I am a lineman for the county / And I drive the main road / Searching in the sun for another overload.” Dude works for the telephone company, or maybe it’s the power company, neither of which is a profession that often makes its way into song. But Jimmy Webb’s genius is that he took this not-easy-to-relate-to job and mined it for metaphors (“I hear you singin’ in the wires”) that anybody could understand. Like “Galveston,” it did six weeks at #1 Easy Listening, and it was a #2 country hit. The week “Wichita Lineman” hit #3 on the Hot 100 (1/11/69), giants walked the earth: it stood behind only “I Heard It Through the Grapevine” and the Supremes/Temptations collaboration “I’m Gonna Make You Love Me.” Also in the Top 10 that week: Stevie Wonder, the Temps and Supremes as individual acts, and “Crimson and Clover.”
(Back in 2012, I wrote a thing for Popdose about Campbell’s Wichita Lineman album, which you can read here.)
If you expected to find “By the Time I Get to Phoenix” here, so did I. But it made only #12 on the Easy Listening chart and #26 on the Hot 100, although it was a #2 country hit in 1968. “Gentle on My Mind,” Campbell’s famous theme song, was #8 Easy Listening, but reached only #30 on the country chart in 1967, and #39 on the Hot 100 when it was re-released a year later.
People drinking from the firehose today are either being reminded or learning for the first time of Glen Campbell’s towering importance to popular music in the last half of the 20th century. We shall not see his like again.