The air in the studio must have hung heavy, thick with the smell of old tweed amps and a quiet, almost reverent humidity. It wasn’t the kind of sterile, high-sheen room that major labels were starting to favor in the early seventies. This was a session steeped in a different kind of history, a deliberate step back from the controversies of “Okie from Muskogee” and “The Fightin’ Side of Me.” Merle Haggard, the towering figure of the Bakersfield sound, had retreated not to the past of his own life, but to the deep, resonant past of his musical hero, Bob Wills.
The album, A Tribute to the Best Damn Fiddle Player in the World (or, My Salute to Bob Wills), released in 1970 on Capitol Records, was more than just a cover project. It was a pilgrimage. It was Haggard, the son of a railroad man, seeking to honor the sound that defined the Southwestern dance halls of his youth. The intent was to capture the authentic spirit of Western swing—a complex, joyous amalgam of country fiddle, blues, pop jazz, and big band dynamics.
Haggard and his band, The Strangers, essentially became surrogate Texas Playboys, recording alongside surviving members of the original group like Eldon Shamblin, Tiny Moore, and Johnnie Lee Wills. This context elevates the entire project. It’s not a modern reinterpretation; it is an act of sonic preservation, with the original DNA of the sound flowing through the session musicians’ veins. The album was co-produced by Merle Haggard himself and Earl Ball, ensuring the fidelity to the original arrangements was meticulous. This dedication to craft is what makes it a timeless piece of music, not just an artifact.
The Sound of an Era
In an era where many country records leaned into either the lush, string-laden wash of the Nashville Sound or the raw, distorted edge of the burgeoning outlaw movement, this album chose a different path. The instrumentation is classic Western swing: multiple fiddles, the crucial steel guitar, an upright piano for that rolling, barrelhouse foundation, and often a clarinet or horns adding texture. The sound is remarkably clean, but with a palpable depth that suggests a well-miked room rather than isolated tracks. You can almost feel the air moving between the instruments.
Take, for example, the arrangements on tracks like “Right or Wrong” or “Brain Cloudy Blues.” The rhythm section—bass and drums—swings with a relaxed, almost effortless gait, maintaining a steady pulse without ever sounding rushed. Over this foundation, the fiddles, often two or three parts layered, weave a tapestry of sorrow and cheer, sliding effortlessly between mournful blue notes and bright, syncopated runs. Eldon Shamblin’s guitar work is particularly vital, offering those clean, jazz-inflected chord voicings and single-note solos that provide the sophisticated harmonic flavor unique to Western swing. It’s the kind of complex, yet fluid, playing that still inspires people to sign up for guitar lessons decades later.
Haggard’s vocal approach here is a study in restrained passion. He doesn’t try to imitate Wills’s longtime vocalist, Tommy Duncan; instead, he filters the material through his own natural, understated vibrato and perfect phrasing. His voice sits slightly forward in the mix, conversational and intimate, drawing the listener in to the micro-stories of the songs—tales of hard-luck romance, dusty dance floors, and the enduring resilience of the common man.
The Piano and the Pulse
The role of the piano is particularly noteworthy, acting as the bedrock that keeps the entire ensemble grounded. It provides the rhythmic drive alongside the bass, often laying down boogie-woogie-tinged vamps that hint at the music’s deep blues and ragtime roots. The keys sound percussive and slightly muted, not bright and showy, perfectly serving the arrangement’s overall texture. This is a band that understands the concept of collective improvisation, where every instrument serves the groove, only stepping out for brief, sparkling solos.
One of the most charming elements is the way the Playboys’ classic ‘hot’ solos are honored. They are short, punchy, and utterly melodic. The dynamic shifts are subtle, but present—a quick swell from the ensemble into the chorus, or the sudden, sparkling clarity of Tiny Moore’s electric mandolin cutting through the density. For anyone accustomed to modern, compressed recordings, hearing the natural, expansive soundstage of this premium audio production is a revelation. It feels unhurried and real, preserving the sonic character of the instruments.
“A Tribute to the Best Damn Fiddle Player” was a significant moment in Haggard’s career arc. Coming off the highly commercial and politically divisive hits, it was a moment of deep artistic sincerity. It reached number 2 on the Billboard Country Albums Chart, proving that an artist could be both wildly popular and fiercely dedicated to historical accuracy. It was a conscious rejection of the easy commercial path, cementing his reputation not just as a hitmaker, but as a custodian of country music history.
“Merle Haggard wasn’t just recording Bob Wills songs; he was opening a time capsule of American dance music, and letting the old masters teach the new generation how to swing.”
Echoes on the Dance Floor
This record is a blueprint for understanding the swing tradition’s lasting power. It’s the soundtrack to a thousand imagined evenings: the roadhouse outside Tulsa, the dim lights on a Saturday night, the smell of beer and cheap perfume. It’s the moment the whole room starts moving together, losing themselves in the complex simplicity of the rhythm.
I remember once putting this record on late at night, in a kitchen after a long day of driving. The way the rhythm section on “Stay a Little Longer” locked in instantly brought the room to life. My friend, who had only ever listened to classic rock, stopped dead in his tracks and asked, “Wait, what is this? It sounds like jazz but… happier.” That’s the magic of Western swing—it’s music that demands participation, physical or emotional.
For the young listener today, trained on genre rigidity, this album is a stunning reminder of music’s fluidity. It teaches you that country, blues, and jazz are not distinct, walled-off kingdoms, but rather three sides of the same glorious, sprawling American musical triangle.
The tribute’s success went beyond sales, however. It played a crucial role in sparking a renewed interest in Western Swing, directly influencing younger acts like Asleep at the Wheel and Commander Cody and His Lost Planet Airmen, essentially pulling a vital American art form back from the brink of obscurity. This record didn’t just pay tribute to Bob Wills; it ensured his music would continue to inspire.
The final impression the album leaves is one of profound respect. Merle Haggard never tries to outshine the originals; he simply provides his flawless voice and peerless band in service to them. It is an act of humility from a superstar, and for a music critic, that is the most engaging narrative of all. Listen close, and you hear the unbroken chain of American musical genius.
🎧 Listening Recommendations
- Bob Wills & His Texas Playboys – “San Antonio Rose” (1940): The definitive original, showing the pop sophistication and melodic charm that Haggard sought to recreate.
- Asleep at the Wheel – “Take Me Back to Tulsa”: A modern, energized take on the Western swing revival, directly inspired by Haggard’s tribute album.
- The Louvin Brothers – “When I Stop Dreaming”: Shares a similar sense of pristine, emotionally resonant instrumentation and vocal restraint from a different country sub-genre.
- Willie Nelson – Red Headed Stranger (1975): An example of another country legend finding commercial success by stripping down and reconnecting with acoustic, traditional roots.
- Marty Stuart – “Tear Drops In My Eyes”: Showcases modern country musicianship devoted to honoring vintage arrangements and the swing sensibility.