CD reissue. Too Late to Worry - Too Blue to Cry is the second album by singer-guitarist Glen Campbell, released in 1963 by Capitol Records. This album coincided with Glen Campbell's transition out of instrumental/novelty country recording and into country-pop - Side One ends with the title track, a song that Al Dexter had a hit with in the 1940s and which Campbell grew up with, which was also Campbell's first single on Capitol Records. And the long-player opens with his rendition of the Ernest Tubb classic "Walking the Floor Over You," retooled by arranger/conductor Jimmy Haskell in terms that better play up Campbell's vocalizing. There are a couple of Campbell copyrights with Jerry Capehart represented - including the soaring "How Do I Tell My Heart Not to Break," one of Campbell's best vocal performances of this period - but much of the album focuses on his interpretations of songs associated with Johnny Bond, Gene Autry, et. Al. It's all thoroughly easy to absorb country-pop, exquisitely played and featuring lush backing choruses in the best Nashville sound tradition of the time. This was still a long way from the sound with which Campbell would dominate the pop charts in the later '60s, but it began the process of turning him into a popular singer, while retaining some of his prodigious virtuosity.

CD reissue. Too Late to Worry - Too Blue to Cry is the second album by singer-guitarist Glen Campbell, released in 1963 by Capitol Records. This album coincided with Glen Campbell's transition out of instrumental/novelty country recording and into country-pop - Side One ends with the title track, a song that Al Dexter had a hit with in the 1940s and which Campbell grew up with, which was also Campbell's first single on Capitol Records. And the long-player opens with his rendition of the Ernest Tubb classic "Walking the Floor Over You," retooled by arranger/conductor Jimmy Haskell in terms that better play up Campbell's vocalizing. There are a couple of Campbell copyrights with Jerry Capehart represented - including the soaring "How Do I Tell My Heart Not to Break," one of Campbell's best vocal performances of this period - but much of the album focuses on his interpretations of songs associated with Johnny Bond, Gene Autry, et. Al. It's all thoroughly easy to absorb country-pop, exquisitely played and featuring lush backing choruses in the best Nashville sound tradition of the time. This was still a long way from the sound with which Campbell would dominate the pop charts in the later '60s, but it began the process of turning him into a popular singer, while retaining some of his prodigious virtuosity.

5056083201532
Too Late To Worry - Too Blue To Cry

Details

Format: CD
Label: GREYSCALE
Rel. Date: 06/22/2018
UPC: 5056083201532

Too Late To Worry - Too Blue To Cry
Artist: Glen Campbell
Format: CD
New: Available to Order $18.98
Wish

Available Formats and Editions

DISC: 1

1. Walking the Floor Over You
2. I'll Hold You in My Heart
3. Be Honest with Me
4. Oh My Darlin'
5. Tomorrow Never Comes
6. Too Late to Worry - Too Blue to Cry
7. Here I Am
8. I Hang My Head and Cry
9. When You Cry, You Cry Alone
10. How Do I Tell My Heart Not to Break
11. It's Been So Long Darlin'
12. Long Black Limousine

More Info:

CD reissue. Too Late to Worry - Too Blue to Cry is the second album by singer-guitarist Glen Campbell, released in 1963 by Capitol Records. This album coincided with Glen Campbell's transition out of instrumental/novelty country recording and into country-pop - Side One ends with the title track, a song that Al Dexter had a hit with in the 1940s and which Campbell grew up with, which was also Campbell's first single on Capitol Records. And the long-player opens with his rendition of the Ernest Tubb classic "Walking the Floor Over You," retooled by arranger/conductor Jimmy Haskell in terms that better play up Campbell's vocalizing. There are a couple of Campbell copyrights with Jerry Capehart represented - including the soaring "How Do I Tell My Heart Not to Break," one of Campbell's best vocal performances of this period - but much of the album focuses on his interpretations of songs associated with Johnny Bond, Gene Autry, et. Al. It's all thoroughly easy to absorb country-pop, exquisitely played and featuring lush backing choruses in the best Nashville sound tradition of the time. This was still a long way from the sound with which Campbell would dominate the pop charts in the later '60s, but it began the process of turning him into a popular singer, while retaining some of his prodigious virtuosity.

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