Merle Haggard
Merle Ronald Haggard (6 April 1937 – 6 April 2016) was an American singer, songwriter, guitarist, and fiddler. Along with Buck Owens, Haggard and his band the Strangers helped create the Bakersfield sound, which is characterized by the twang of Fender Telecaster and the unique mix with the traditional country steel guitar sound, new vocal harmony styles in which the words are minimal, and a rough edge not heard on the more polished Nashville sound recordings of the same era.
Haggard's childhood was troubled after the death of his father, and he was incarcerated several times in his youth. He managed to turn his life around and launch a successful country music career, gaining popularity with his songs about the working class that occasionally contained themes contrary to the prevailing anti-Vietnam War sentiment of much popular music of the time. Between the 1960s and the 1980s, he had 38 number-one hits on the US country charts, several of which also made the Billboard all-genre singles chart. Haggard continued to release successful albums into the 2000s.
He received many honors and awards for his music, including a Kennedy Center Honor (2010), a Grammy Lifetime Achievement Award (2006), a BMI Icon Award (2006), and induction into the Nashville Songwriters Hall of Fame (1977), Country Music Hall of Fame (1994) and Oklahoma Music Hall of Fame (1997). Haggard's last recording, a song called "Kern River Blues," described his departure from Bakersfield in the late 1970s and his displeasure with politicians. The song was recorded February 9, 2016, and features his son Ben on guitar. This record was released on May 12, 2016, marking the end of Haggard's music career.
He died on April 6, 2016 — his 79th birthday — at his ranch in Northern California, having recently suffered from double pneumonia.
'The Haggard camp knew they were on to something. Everywhere they went, every show, "Okie" did more than prompt enthusiastic applause. There was an unanticipated adulation racing through the crowds now, standing ovations that went on and on and sometimes left the audience and the band members alike teary-eyed. Merle had somehow stumbled upon a song that expressed previously inchoate fears, spoke out loud gripes and anxieties otherwise only whispered, and now people were using his song, were using "him," to connect themselves to these larger concerns and to one another.' This is a worthy legacy for any performer.