Burl Ives Sweet Sad & Salty
- Released: April 17, 2012
- Originally Released: 2012
- Label: Omni
- 1.The Almighty Dollar Bill
- 2.Forty Hour Week
- 3.Bury The Bottle With Me
- 4.Mama Don't Want No Peas, No Rice
- 5.Lynching Party
- 6.Who Done It?
- 7.Lower Forty
- 8.Time To Bum Again
- 9.Born For Trouble
- 10.I'm The Boss
- 11.Wishin' She Was Here (Instead Of Me)
- 12.Hard Luck And Misery
- 13.Unemployment Check
- 14.Hobo Jungle
- 15.The Atlantic Coastal Line
- 16.Poor Boy In A Rich Man's Town
- 17.A Hundred And Twenty Miles From Nowhere
- 18.That's All I Can Remember
- 19.Ninety Nine
- 20.What You Gonna Do, Leroy?
- 21.A Little Bitty Tear
- 22.Lenora, Let Your Hair Hang Down
- 23.The Long Black Veil
- 25.Oh, My Side
- 26.Girlie Magazine
- 27.Back To Nashville, Tennessee
- 28.Mean, Mean Man
- 29.All Aboard
- 30.The Sixties
- 31.Mrs. Johnson's Happiness Emporium
Audio Remasterer: Warren Barnett.
Liner Note Author: Alvin Lucia.
Recording information: Bradley's Barn Recording Studio, Nashville, TN (1961-1972).
Omni Recording Corporation specializes in digging out the oddities in an established veteran's catalog, and their 2012 Burl Ives compilation Sweet Sad & Salty is no exception. Concentrating on his Owen Bradley-produced Nashville sessions of the '60s, this 31-track collection samples from eight different LPs released between 1961 and 1973, adding four previously unreleased tracks -- "Time to Bum Again," "Born for Trouble," "Unemployment Check," and "Hobo Jungle," none given specific copyrights in the liner notes -- to the mix. Many of these songs were written by Nashville heavyweights -- there's a ton of songs credited to Harlan Howard, and many more to Hank Cochran, Jack Clement, Boudleaux Bryant, Hank Cochran, and Mel Tillis -- which, combined with the role of Bradley and the omnipresent Anita Kerr Singers, goes a long way in explaining how firmly entrenched this music is within Music City, no matter what the candy-colored psychedelic artwork suggests. Only a handful of these cuts date from the back half of the '60s, and if the songs sometimes address the shifting tides (granddad Burl reads a "Girlie Magazine" in his easy chair; he sings a ditty about the "longhair boys and screaming females" on "The Sixties"), the bulk of the record consists of amiable country-pop performed with panache and a sly wink. Bradley's productions are a little more adorned than Ives' early folkier work, but this is still in that vein -- it's just that the songs are a little more varied musically and thematically, the productions a bit fuller. It's enjoyable and sometimes curious, but not revelatory. ~ Stephen Thomas Erlewine
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