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Country - Verschenen op 23 juli 2021 | Big Machine Records

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Country - Verschenen op 1 januari 1968 | Capitol Nashville

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Country - Verschenen op 9 februari 2009 | Capitol Nashville

Booklet
Sometimes it seems like not a year passes without a new Glen Campbell hits collection, and the simply titled Greatest Hits -- a title that has been used in some iteration at least ten times since 1971, probably more -- is the 2009 installment in this plan. The impetus for this Greatest Hits is the growth in digital releases (the collection issued both on CD and digitally), as well as the desire to capitalize on his fine 2008 comeback, Meet Glen Campbell, represented here by readings of the Foo Fighters' "Times Like These" and Jackson Browne's "These Days," which nicely cap a collection of basics, 14 songs that appear on pretty much any other Campbell collection released in the past four decades or so. As an introduction, it's clean and lean, offering all of the big hits ("Rhinestone Cowboy," "Wichita Lineman," "By the Time I Get to Phoenix," etc.), which will appeal to new listeners perhaps hooked by Meet Glen Campbell -- and conversely, old fans may be enticed by the two new cuts. However, this is nothing more than basics: there are compilations that are more comprehensive and interesting out there for those who are interested -- but for those who just want the hits, this has them. [Greatest Hits was included as a bonus disc in the two-CD edition of Campbell's final album, Adiós, released in 2017.] © Stephen Thomas Erlewine /TiVo
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Country - Verschenen op 1 januari 2001 | Capitol Nashville

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Country - Verschenen op 1 juli 1975 | CMCapNash (N91)

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Glen Campbell, who spent his life building a sturdy bridge between country and pop, was above all a voice. A voice as iconic as those of Frank Sinatra, Elvis or Ella Fitzgerald. In 1975 when Rhinestone Cowboy was released, the well-coiffed Arkansas-born singer who also hosted a weekly talk show on CBS was showered with golden records and Grammy Awards. This 13th album, which begins with the single of the same name, was one of his most popular records. Rhinestones Cowboy launched Campbell right back up to the top of the charts, after he deserted them for a while at the beginning of the ‘70s. Thanks to the Dennis Lambert-Brian Potter producing duo, who wrote the first four songs on the album, Glen Campbell tapped into all his know-how and embodied a country boy who had come to town to do the impossible, perfectly crooning down the mic without ever turning his songs into schmaltzy tear-jerkers. Here, he covers hits by the likes of Smokey Robinson (My Girl), Randy Newman (Marie) and Barry Mann (We're Over) while never copying their styles. It was in this slightly kitschy territory, situated somewhere between country, pop, folk and soft rock, that Campbell ruled supreme. © Marc Zisman/Qobuz
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Country - Verschenen op 1 januari 1987 | EMI Trade Marketing

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Country - Verschenen op 1 januari 1977 | Capitol Records

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Country - Verschenen op 21 juli 2019 | CMCapNash (N91)

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Country - Verschenen op 1 januari 2001 | Capitol Nashville

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Country - Verschenen op 1 januari 2011 | Capitol Nashville

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Country - Verschenen op 1 januari 2001 | Capitol Nashville

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Country - Verschenen op 1 januari 2012 | Fantasy Records

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Ambient / New Age / Easy Listening - Verschenen op 1 januari 1968 | CMCapNash (N91)

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Country - Verschenen op 17 februari 2015 | Universal Music

Booklet
The final chapters of Glen Campbell's life have played out like something from an old movie -- just as Campbell was re-launching his career with the albums Meet Glen Campbell and Ghost on the Canvas, he was diagnosed with Alzheimer's Disease, and since then, the great singer and instrumentalist has been saying a long goodbye to his audience, trying to make music as long as he possibly can. And now that story is a movie -- filmmaker James Keach and a camera crew tagged along for Campbell's farewell concert tour, and the footage provides the backdrop for Glen Campbell: I'll Be Me, a documentary about Campbell and his family as he struggles to hold on to himself while Alzheimer's takes its toll. The film's soundtrack album certainly reflects Campbell's condition, as he takes the lead on only six of its ten tracks, two of which are slightly different versions of the same recording. Elsewhere, Campbell's daughter Ashley performs "Home Again" and "Remembering" with skill and poignancy, while the Band Perry contribute two versions of their polished but rootsy cover of "Gentle on my Mind." As for Campbell, his live performances at Nashville Ryman Auditorium and the single "I'm Not Gonna Miss You" are powerful stuff -- his voice isn't as strong as it once was, and one can hear a faint uncertainty in his phrasing, but it's obvious how much this music means to him, and there's an undercurrent of passion and gratitude that's unavoidable. Music was Glen Campbell's life, and the obvious if unstated theme of I'll Be Me Soundtrack is his desire to keep music in his life in spite of his battle with time and illness; the album is something of a patchwork with its various vocalists and multiple versions, but there's something extraordinary in Campbell's performances that will make this a deeply moving experience for his fans. © Mark Deming /TiVo
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Country - Verschenen op 1 januari 2001 | Capitol Nashville

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Country - Verschenen op 1 januari 2001 | Capitol Nashville

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Rock - Verschenen op 15 juni 2018 | Glen Campbell - Demo PS

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Country boy Glen Campbell is often described as a singer who is "famous for his taste for variety". That’s not to say that his country pop from the late ‘70s is meaningless and simple. Quite the contrary! Tracks such as Southern Nights, Rhinestone Cowboy and Wichita Lineman have become classics because they contained all the ingredients needed to make a hit at that time. But Campbell's career is much richer and more complex. It’s full of details that make him a legend of American music. An experienced guitarist, singer, composer, songwriter and even TV host, he balanced his career between the spotlight and the less exposed life in the studio. It must be said that there were plenty of studio teams that revolutionized music in the ‘60s and ‘70s, and Campbell was an integral part of one of the greatest, if not THE greatest: The Wrecking Crew (a.k.a. The Clique or The Phil Spector Wall of Sound). In 1962, thanks to Jimmy Bowen, he joined this ensemble of musicians from the West Coast and met bassist Carol Kaye, guitarist Tommy Tedesco, drummer Hal Blain as well as Frank Sinatra, Rick Nelson and most importantly... The King! Sings For The King is a completely new posthumous record. These 18 recently discovered recordings, which reflect a sort of intimate correspondence between Campbell and Presley, were produced by the country boy for his friend between 1964 and 1968. It was a surprise gift that was never meant for our ears... Glen Campbell had two advantages. The first was that he could match Elvis’ tone and delivery, and the second was that he had been close to the star since 1956. It was an effective way to present Sid Wayne and Ben Weisman's new compositions to The King. It’s a record that couldn’t have opened in any other way than with this legendary duo on We Call On Him, where the harmony between the two men is obvious. It’s ballad on the piano that combines these two crooning voices on a melancholic tune that’s carried by subtle choirs. It’s a very emotional moment. This is followed by 17 tracks performed by Glen, who displays his imitation skills. From Easy Come, Easy Go and Spinout to I'll Be Back and I Got Love, his seventeen performances were all validated by The King. He’s a figure in the shadows who certainly contributed to the career of one of the greatest musicians of all time. However, on this record, it’s Campbell who is in the spotlight and it feels great! © Clara Bismuth/Qobuz
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Country - Verschenen op 30 augustus 2011 | Surfdog Records

Booklet
Few artists get the luxury of crafting their final album as a conscious farewell, but Glen Campbell isn’t just any artist. Campbell is a titan with a legacy that begins before he started to record solo albums, so if anyone deserves to craft a career-capping final record it is he, even if this opportunity is bittersweet, tainted by the knowledge that he was diagnosed with Alzheimer’s sometime during its recording. His disease does hang over Ghost on the Canvas, its sadness surfacing on the instrumental interstitials written by Roger Manning, but this album bears none of the ghoulish fetishization of death that haunts Rick Rubin’s latter-day productions of Johnny Cash. No, producer Julian Raymond has crafted Ghost on the Canvas as a specific sequel to the very good 2008 Meet Glen Campbell, which consciously re-created Campbell’s golden decade of 1967-1977 through newly written songs and covers of modern rockers. Raymond uses the same formula here, finding tunes by Manning, Paul Westerberg (the title track), Jakob Dylan (“Nothing But the Whole Wide World”), Robert Pollard (“Hold on Hope”), and Teddy Thompson (“In My Arms”), then crafting sturdy originals with Campbell, all evoking such luxuriant dramatic classics as “Wichita Lineman” without succumbing under self-conscious weight. It’s a delicate trick that, apart from those too elegiac instrumentals, never once seems forced, a testament to Raymond’s skills as a producer and Campbell’s as a musician and singer. Perhaps Ghost on the Canvas doesn’t revisit every high in Campbell’s history, but it pays honor to his legacy and feels like an appropriate and subtly moving farewell. © Stephen Thomas Erlewine /TiVo
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Country - Verschenen op 1 januari 1977 | Capitol Nashville

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Country - Verschenen op 1 januari 2012 | Capitol Nashville