Merle Haggard, "Working in Tennessee"

This is Merle's latest album and those of you who've read my blog before knows I'm a fan of his.

What you get on this is a journey back in time till the late 60's and early 70's, the original, pre-Heartworn Highways-era, outlaw country scene. Musically, as well as lyrically, Merle Haggard delivers a record which is totally in style with what you'd expect from him.

This means that, for some, the record will probably be a disapointment. Haggard doesn't deliver any modern stuff. Neither the pop-country faithfuls nor the country purists will like this, it's simply not new enough, not groundbreaking enough.

To me, the music is ok, but nothing more. It's classic Bakersfield stuff merged with Johnny Cash, the sound which made Merle famous in the start. I miss a bit of his guitar handling, though. I miss that raw Bakersfield guitar.

The big thing is the lyrics, though. Merle is still one of the best lyricists in country ever and writes on matter what matter to the little guy. Work, drugs, drinks, love, crime, politics. It's all there. Sure, he's sung about it before, but he still finds new ways to express himself.

If you find no other reason for buying this record, then buy it for the duet with Willie Nelson. Merle and Willie made a fine job at Townes van Zandt's Pancho & Lefty. This time, they take on Merle's classic Working man's blues, together with Ben Haggard and they sure make a fine work at it.

It's impossible to pick the faves, cos this record is all about quality, cept for the last tune, Jackson, which I think Merle and Theresa Haggard butcher. If I must pick one fave though, it'd be Too much boogie woogie, a timely and totally valid attack on today's country scene.

Next year, mr Haggard will be 75 years old and he's still making quality music. You gotta love him!

I did write that Eilen Jewell's release earlier this year was the best album of the year. Merle's is neither better nor worse, so this album also gets 72% in rate of satisfaction.

Earl Scruggs, "Classic bluegrass live 1959-1966"

I like this record. I like it a lot, I can't stop listening to it no matter what it does to my image as a former skinhead with tattoos and stuff.

Still, I think I like bluegrass for the same reason I like ska music, it makes you happy listening to it.

As someone raised in the oi! scene, lyrics mean a lot to me, but strangely, I don't care if the lyrics to this album are a bit naive. Take, as for an example, the lyrics to Jimmy Brown the newsboy, not something Kris Kristofferson or even Zac Brown would have penned, but who cares? This music is made for dancing, not for changing the world.

This album is, as the title gives away, a live album, collecting appearances by Earl Scruggs from three folk festivals in Newport, 1959, 1960 and 1966. Scruggs had then become a legend, not just among the traditional bluegrass punters, a scene he had changed with his groundbreaking way of picking his banjo, but also among the trendy middle class students who had discovered American folk music, a scene spearheaded by Bob Dylan.

There's a lot of stuff coming out from the 60's and most of it hasn't aged well. This album, however, has aged surprisingly well. Scruggs music is timeless.

Another thing which strikes you is how well it sounds live. Today, you get a lot of artists recording as their first priority and using computers to enhance their music and though it might sound the business on disc, they come out sounding poor live. You don't get that with Earl Scruggs, listening to him, you listen to someone who simply loves playing live.

I am going to look for more records by him, definitely!

A near perfect record get a near perfect level of satisfaction, 96,1%