Liz Anderson – Like a Merry-Go-Round (1968/2018) [Official Digital Download 24bit/192kHz]

Liz Anderson – Like a Merry-Go-Round (1968/2018)
FLAC (tracks) 24 bit/192 kHz | Time – 29:36 minutes | 1,05 GB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © RCA – Legacy

Elizabeth Jane Haaby, 13 March 1930, Pine Creek, near Roseau, Minnesota, USA. Anderson married country songwriter Casey Anderson in 1946, but worked as a secretary before turning to songwriting herself. She wrote ‘Pick Of The Week’ (Roy Drusky, 1964), ‘(My Friends Are Gonna Be) Strangers’ (Merle Haggard, 1965), ‘Guess My Eyes Were Bigger Than My Heart’ (Conway Twitty, 1966), ‘Just Between The Two Of Us’ (Merle Haggard and Bonnie Owens, 1966) and ‘I’m A Lonesome Fugitive’ (Merle Haggard, 1967), which was written with her husband and established Haggard’s rebellious image. She recorded on RCA Records from 1964-70, and had country hits with ‘Mama Spank’, ‘Tiny Tears’, ‘Husband Hunting’ and, in 1972, she recorded a country version of ‘I’ll Never Fall In Love Again’ for Epic. ‘The Game Of Triangles’ was sung with Bobby Bare and Norma Jean. She wrote Lynn Anderson’s (her daughter) first country hit, ‘Ride, Ride, Ride’ in 1966, and they later made the US country charts with a duet, ‘Mother May I’. Lynn recorded Songs My Mother Wrote and is still placing her mother’s songs with contemporary artists. Liz and Casey remain in the music business and hosted a country show on cable television in Nashville. Anderson returned to recording in the late 90s.

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Liz Anderson – Country Style (1969/2019) [Official Digital Download 24bit/96kHz]

Liz Anderson – Country Style (1969/2019)
FLAC (tracks) 24 bit/96 kHz | Time – 31:59 minutes | 737 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © RCA – Legacy

Elizabeth Jane Anderson was an American country music singer-songwriter who was one in a wave of new-generation female vocalists in the genre during the 1960s to write and record her own songs on a regular basis. Writing in The New York Times Bill Friskics-Warren noted, “Like her contemporary Loretta Lynn, Ms. Anderson gave voice to female survivors; inhabiting their struggles in a soprano at times alluring, at times sassy.”

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