Hear a Lost Live Version of Merle Haggard's 'I Take a Lot of Pride'

About the Song

Merle Haggard, a legend in the annals of country music, wasn’t known for shying away from the struggles of everyday life. In his 1969 hit, “Workin’ Man Blues,” he delivers a powerful anthem that resonates deeply with anyone who’s ever punched a clock or swung a hammer.

The song paints a vivid picture of the blue-collar experience. Haggard, with his gruff yet relatable voice, sings of a man burdened by the weight of responsibility – a wife, a gaggle of kids, bills piling up. He chronicles the daily grind, the relentless nature of work that defines his life: “Been a workin’ man dang near all my life / I’ll be workin’ long as my two hands are fit to use.”

But “Workin’ Man Blues” isn’t all hardship and drudgery. There’s a quiet pride woven into the lyrics. Haggard’s protagonist may be weary, but he’s also fiercely independent. He finds solace in his work ethic, the satisfaction of a job well done. The line, “Hey hey, the working man, the working man like me / I ain’t never been on welfare, that’s one place I won’t be,” is a declaration of self-reliance, a celebration of the dignity that comes from honest labor.

The song’s simplicity is part of its brilliance. Haggard’s signature Bakersfield sound, with its twangy guitars and driving rhythm section, perfectly complements the lyrics. But the heart of the song lies in its raw honesty. It captures the universal yearning for a little escape after a long week – the shared ritual of unwinding with a beer and singing the blues, even if those blues are born from hard work.

“Workin’ Man Blues” isn’t just a country song; it’s a timeless ode to the working class. It’s a song for the farmer calloused from years in the fields, the factory worker covered in grease, the construction hand with aching muscles. It’s a song that acknowledges the challenges of a working life but also celebrates the quiet dignity and resilience of those who keep the wheels turning.An Appreciation: Merle Haggard, a voice of the people - Los Angeles Times

Video 

Lyrics: Workin’ Man Blues

It’s a big job just gettin’ by with nine kids and a wife
I been a workin’ man dang near all my life
I’ll be working long as my two hands are fit to use
I’ll drink my beer in a tavern,
Sing a little bit of these working man bluesI keep my nose on the grindstone, I work hard every day
Might get a little tired on the weekend, after I draw my pay
But I’ll go back workin, come Monday morning I’m right back with the crew
I’ll drink a little beer that evening,
Sing a little bit of these working man bluesHey hey, the working man, the working man like me
I ain’t never been on welfare, that’s one place I won’t be
Cause I’ll be working long as my two hands are fit to use
I drink a little beer in a tavern
Sing a little bit of these working man blues

Sometimes I think about leaving, do a little bummin around
I wanna throw my bills out the window catch a train to another town
But I go back working I gotta buy my kids a brand new pair of shoes
Yeah drink a little beer in a tavern,
Cry a little bit of these working man blues

Hey hey, the working man, the working man like me
I ain’t never been on welfare, that’s one place I won’t be
Cause I’ll be working long as my two hands are fit to use
I drink a little beer in a tavern
Sing a little bit of these working man blues
Yeah drink a little beer in a tavern,
Cry a little bit of these working man blues

 

You Missed

SOME FRIENDSHIPS ARE WRITTEN IN SONGS… BUT ONLY A FEW BECOME FOREVER. There was something truly magical about the friendship between Kenny Rogers and Dolly Parton — a bond that went far beyond the stage, the spotlight, and the music. In country music history, few duos ever captured the beauty of genuine connection the way they did. Their voices blended perfectly, but it was their friendship, respect, and love for each other that made every performance unforgettable. In 2013, they gave the world one final reminder of that special bond with “You Can’t Make Old Friends.” Nearly three decades after “Islands in the Stream” became a timeless classic, Kenny and Dolly returned together to create a song that felt less like a performance and more like a heartfelt conversation between two lifelong friends. Now, that song carries an even deeper meaning. Kenny Rogers left us in 2020… and today, the world says goodbye to Dolly Parton — two extraordinary souls who brought warmth, comfort, and joy to millions through their music. They were more than country music legends. They were storytellers, dreamers, and reminders that the greatest treasures in life are the friendships we build along the way. You can create many songs. You can create many memories. But **you can’t make old friends.** Some friendships are too special to disappear. They live forever in the melodies, the memories, and the hearts of everyone who was lucky enough to witness them. Rest peacefully, Kenny. Rest peacefully, Dolly. Thank you for giving us a lifetime of music, love, and unforgettable moments. The harmony you created together will continue to play forever.

Before he ever stepped up to center stage under his own name, Cal Smith spent years standing quietly in the shadows as a sideman, playing guitar behind country legend Ernest Tubb. Born Calvin Shofner in Oklahoma and raised in California, he paid his dues in clubs and on radio before joining the Texas Troubadours in the early 1960s, watching other stars soak up the applause while his own solo ambitions moved at a crawl. By 1972, Smith was well into his late thirties with little more than modest chart placings to show for his efforts. Everything flipped when fellow songwriter Bill Anderson handed him “The Lord Knows I’m Drinking,” a sharp track about a man taking heat from a churchgoer whose own hands weren’t exactly clean. The single struck a nerve, shooting straight to No. 1. The true lightning strike arrived soon after. In December 1973, Smith walked into Bradley’s Barn to lay down Don Wayne’s “Country Bumpkin.” Tracing an ordinary man’s journey through marriage, children, and the devastating loss of his wife, the song packed an entire lifetime into a few poignant verses and climbed to the top of the charts in 1974. The accolades poured in, sweeping Single Record and Song of the Year at the ACM Awards, alongside a CMA Song of the Year honor for the writing. Smith quickly proved he wasn’t a one-hit wonder by following up with another chart-topper, “It’s Time to Pay the Fiddler.” After more than a decade of holding down the rhythm section for everyone else, Cal Smith’s long-delayed moment in the sun finally arrived—forever stamping his voice onto one of the defining country anthems of the 1970s.