Tompall Glaser: Another Log On The Fire, Hillbilly Central #2 (CD)
1-CD with 40-page booklet, 24 tracks, Playing time 76:59 mns.
Tompall Glaser is the forgotten outlaw. Everyone remembers Willie and Waylon, but Tompall Glaser made records every bit as good as theirs, and helped developed the classic 'Outlaw' sound in his famous...and infamous... Hillbilly Central studio, where the window shutters were always closed and the door was always open.
Bear Family has already released Tompall Glaser's ABC recordings 'The Outlaw' and the previously unissued 'The Rogue' and now we've reissued his four MGM/Polydor LPs on two CDs. All of his biggest hits are on these CDs, including Charlie, T For Texas, and of course Put Another Log On The Fire, which was one of the highlights of the classic 'Wanted: The Outlaws' LP.
Tompall Glaser didn't score as many hits as Waylon 'n' Willie, but the dry insolence in his voice and the understated backings made up the sound that Waylon, Willie, David Allan Coe, and the others adopted. It was the classic 1970s outlaw sound. Tompall Glaser not only composed some great songs, but had an unfailing ear for other great songwriters. He and his brothers gave a break to Kinky Friedman, who in turn also produced a couple of songs on this CD. There are great songs from Billy Joe Shaver, and, of course, Shel Silverstein. There's a complete LP of Silverstein's songs included within 'Another Log On The Fire,' and several other Silverstein classics on both CDs.
These two CDs also include an LP, 'Take The Singer With The Song,' released only in England, as well as bonus
tracks and definitive liner notes based on recent interviews with the TRACK LISTING
Article properties: Tompall Glaser: Another Log On The Fire, Hillbilly Central #2 (CD)
with Thomas Paul (Tompall) Glaser, Charles 'Chuck' Glaser, Jim Glaser: vocal; other details unknown
MGM K 14169 - master 70N 51 142
Marty Robbins had found the Glaser brothers in Nebraska and brought them to Nashville because he loved close harmony singing. Tompall, Chuck, and Jim Glaser had been recording since 1957 with very little success. Their first contract was with Robbins Records before Owen Bradley picked them up as Decca's answer to the Kingston Trio. The Glasers didn't help themselves in that they wrote or published Streets Of Baltimore, Gentle On My Mind, Sittin' In An All-Night Café, and Woman, Woman without keeping even one of those hits for themselves. Jack Clement signed them to MGM, for whom he was already producing the Stonemans. On their recordings, Clement could add all the elements that were off-limits on his Charley Pride productions: marimbas, Latin percussion, and mock-mariachi horns. In writing Gone Girl, Clement set himself the near-impossible task of finding seven lines to rhyme with gone girl. The fact that the rhymes only share assonance (ie. rhyming vowels) doesn't seem to matter greatly because the song is so engaging. Swirling and romantic, it hints at Clement's background in ballroom dancing. The Glasers' success with Clement at the helm earned them some belated recognition, including the CMA's Vocal Group of the Year award in 1970. True, it was a low competition category (in 1969, Johnny Cash and June Carter somehow qualified and won). Clement repurposed Gone Girl on his 1978 Elektra album 'All I Want To Do In Life,' and it became the title track of a 1982 Cash LP.