| | Merle Haggard: Greatest Hits, Vol. 1 CD Merle Haggard Discography of CDs
This intriguing best-of combines original recordings of some of Merle Haggard's best-known songs, like the semi-autobiographical "Mama Tried," the love-it-or-leave-it anthem "The Fighting Side of Me," and the workingman's lament "If We Make It Through December," with four impeccable 1990s re-recordings, including his classic prison songs "Sing Me Back Home" and "Branded Man."
During his ten years at Capitol Records, Merle Haggard recorded 24 number one country hits and a dozen other Top Ten hits. Those recordings, made between 1966 and 1976, established Haggard not only as one of country's most successful artists, but also as one of its most eloquent spokesmen for the hopes and fears of middle America. Curb's GREATEST HITS VOLUME 1 includes 10 of these hits, released during his first three years at Capitol. A companion disc, GREATEST HITS VOLUME 2, covers the rest of his Capitol tenure.
VOLUME 1 demonstrates the deftness with which Haggard mined his past to write beautiful and evocative songs: his childhood in migrant camps ("Hungry Eyes"), his wayward adolescence ("Mama Tried") and his years in prison ("Branded Man," "Sing Me Back Home"). Less often noted, but equally important, are Haggard's impressive skills as a singer and bandleader; all of these tracks feature stellar vocals and playing. As a result, VOLUME 1 is a solid introduction to the early career of one of country's all-time great artists. Merle Haggard: Greatest Hits, Vol. 1 Music Merle Haggard: Greatest Hits, Vol. 1 Songs Merle Haggard: Greatest Hits, Vol. 1 Review
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$14.49 There is a big difference in the approach taken by rock-oriented independent record labels and their counterparts in the country genre. While all indies function to some extent as farm teams for the major labels, the rock imprints often are havens for marginal performers who are hard to imagine ever going platinum, artists on the extreme. On the other hand, in country, the indies often house acts that sound little different from those on the severely restricted rosters of the Music Row majors, and in some cases are former major-label signees. A good example is Robin English, who knocked around Nashville playing clubs and taking songwriting sessions for years until she found a berth on Columbia Records in 2000. Extensive grooming and recording resulted in only one single, however, 2001's "Girl in Love," which country radio ignored despite healthy sales. After Columbia went through five downsizings by her count, resulting in a complete "regime change," such that she no longer really knew anybody at the company, and with no prospect of an album coming out any time soon, English ...
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