Same Train, A Different Time (Remastered) Merle Haggard & The Strangers

• 1California Blues (Blue Yodel #4)02:49
• 2Narration #1 (Same Train, A Different Time)01:21
• 3Hobo's Meditation02:43
• 4Waitin' For A Train02:50
• 5Mother, The Queen Of My Heart02:38
• 6My Carolina Sunshine Girl02:50
• 7Narration #2 (Same Train, A Different Time)00:37
• 8Train Whistle Blues03:15
• 9Why Should I Be Lonely?03:18
• 10Jimmie's Texas Blues03:33
• 11Blue Yodel No. 603:11
• 12Narration #3 (Same Train, A Different Time)00:53
• 13Mule Skinner Blues (Blue Yodel No. 8)03:22
• 14Peach Picking Time Down In Georgia02:57
• 15Down The Old Road To Home01:58
• 16Travelin' Blues03:16
• 17Miss The Mississippi And You03:14
• 18Frankie And Johnny03:45
• 19No Hard Times02:47
• 20Narration #4 (Same Train, A Different Time)00:53
• 21Hobo Bill's Last Ride02:47
• 22My Old Pal03:00
• 23Nobody Knows But Me02:44
• 24Narration #5 (Same Train, A Different Time)01:32
• 25Jimmie Rodgers' Last Blue Yodel (The Women Make A Fool Out Of Me)03:06
• Total Runtime01:05:19

Info zu Same Train, A Different Time (Remastered)

Mittlerweile gilt Merle Haggards Doppelalbum aus dem Jahre 1969 als Klassiker! Es spielte eine entscheidende Rolle bei dem Versuch, die Musik von Jimmie Rodgers einem neuen Publikum nahe zu bringen. Merle Haggards Aufnahmen treffen die Stimmung der Musik von Jimmie Rodgers und erfüllten sie gleichzeitig mit neuem Leben.

"So seltsam es auch klingen mag, Merle Haggard hörte die Lieder von Jimmie Rodgers erstmals auf einem Tributalbum von Lefty Frizzell aus dem Jahre 1951. Wie schon Frizzell (und auch Hank Snow und Ernest Tubb), nutzte Haggard seine Position in den höheren Rängen der Country-Charts, um der ersten legendären Figur des Country mit einem eigenen Tributalbum seine Ehrerbietung zu erweisen. Das Doppelalbum Same Train, A Different Time, in sieben Sessions zwischen August 1968 und Februar 1969 aufgenommen, wurde nach seiner ersten Veröffentlichung kaum registriert. Es ist jedoch nach wie vor ein liebevolles Denkmal für eines von Hags Idolen sowie eine von Hags einfühlsamsten und einnehmendsten Gesangsdarbietungen überhaupt. Schließlich hatte Haggard kein Problem, sich mit den ausgestoßenen und desillusionierten Figuren zu identifizieren, über die Rodgers sang. Darüber hinaus zeugen die Tatsache, dass dessen Figuren 40 Jahre später noch immer relevant waren und seine Musik problemlos auf die Strangers übertragen werden konnte, von Rodgers Genie." (Marc Greilsamer)

Merle Haggard, Gitarre, Gesang

Merle Haggard
Though for the last decade his new recordings have received almost no airplay—in the innocently cruel Nashville taxonomy, he is classified as a living legend—Merle Ronald Haggard remains, with the arguable exception of Hank Williams, the single most influential singer-songwriter in country music history.

Haggard is certainly one of the genre’s most versatile artists. His repertory ranges wide: aching ballads (“Today I Started Loving You Again,” “Silver Wings”); sly, frisky narratives (“Old Man from the Mountain,” “It’s Been a Great Afternoon”); semi-autobiographical reflections (“Mama Tried,” “Hungry Eyes”), political commentaries (“Under the Bridge,” “Rainbow Stew”), proletarian homages (“Workin’ Man Blues,” “White Line Fever”), as well as drinking songs that are jukebox, cover-band, and closing-time standards (“Swinging Doors,” “The Bottle Let Me Down,” “I Think I’ll Just Sit Here and Drink”).

His acolytes are legion and include many of country music’s brightest and lesser lights, as well as thousands of nightclub musicians. As fiddler Jimmy Belken, a longtime member of the Strangers, Haggard’s exemplary touring band, once told The New Yorker, “If someone out there workin’ music doesn’t bow deep to Merle, don’t trust him about much anything else.”

Haggard was born poor, though not desperately so, in Depression-era Bakersfield to Jim and Flossie Haggard, migrants from Oklahoma. Jim, a railroad carpenter, died of a stroke in 1946, forcing Flossie to find work as a bookkeeper.

Flossie was a fundamentalist Christian and a stern, somewhat overprotective mother. Not surprisingly, Merle grew quickly from rambunctious to rake-hell. By his twenty-first birthday he had run away regularly from home, been placed in two separate reform schools (from which he in turn escaped a half-dozen times), worked as a laborer, played guitar and sung informally, begun a family, and performed sporadically at southern California clubs and, for three weeks, on the Smilin’ Jack Tyree Radio Show in Springfield, Missouri. He also spent time in local jails for theft and bad checks.

His woebegone criminal career culminated in 1957 when, drunk and confused, he was caught burglarizing a Bakersfield roadhouse. After an attempted escape from county jail, he was sent to San Quentin. There, in a final burst of antisocial activity, he got drunk on prison home brew, landing himself briefly in solitary confinement. He was paroled in 1960 and, after a fitful series of odd jobs, got a regular gig playing bass for Wynn Stewart in Las Vegas.

Another Bakersfield mainstay, Fuzzy Owen, signed Haggard to his tiny Tally Records in 1962. After recording five singles there—the first release, “Skid Row” b/w “Singin’ My Heart Out,” sold few copies; the fourth, “(My Friends Are Gonna Be) Strangers,” entered Billboard’s Top Ten (1965)—Haggard signed with Capitol. He moved to MCA in 1976, to Epic in 1981, and in 1990 to Curb.

He released his first album, Strangers, in 1965. Roughly seventy feature albums have followed. Counting repackagings, reissues, compilations, promotional and movie-soundtrack albums, as well as albums in which Haggard has participated—with the likes of Willie Nelson, Porter Wagoner, Johnny Paycheck, Bob Wills, Dean Martin, Ray Charles, and Clint Eastwood—the number of albums is likely more in the vicinity of the 150 mark.

Haggard has recorded more than 600 songs, about 250 of them his own compositions. (He often shares writing credits as gestures of financial and personal largess.) He has had thirty-eight #1 songs, and his “Today I Started Loving You Again” (Capitol, 1968) has been recorded by nearly 400 other artists.

In addition, Haggard is an accomplished instrumentalist, playing a commendable fiddle and a to-be-reckoned-with lead guitar. He and the Strangers played for Richard Nixon at the White House in 1973, at a barbecue on the Reagan ranch in 1982, at Washington’s Kennedy Center, and 60,000 miles from earth—courtesy of astronaut Charles Duke, who brought a tape aboard Apollo 16 in 1972. Haggard has won numerous CMA and ACM Awards including both organizations’ 1970 Entertainer of the Year awards, been nominated for scores of others, was elected to the Songwriters’ Hall of Fame in 1977, and won Country Music Hall of Fame membership in 1994. In 1984 he won a Grammy in the Best Country Vocal Performance, Male category for “That’s the Way Love Goes.”

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