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| Snow, Hank - The Goldrush Is Over - Gonna Shake This Shack Tonight CD 1 | ||||
|---|---|---|---|---|
| 01 | I'm Movin' On | Hank Snow | ||
| 02 | The Rhumba Boogie | Hank Snow | ||
| 03 | Unwanted Sign Upon Your Heart | Hank Snow | ||
| 04 | The Golden Rocket | Hank Snow | ||
| 05 | (Now And Then There's) A Fool Such As I | Hank Snow | ||
| 06 | The Wreck Of The Old 97 | Hank Snow | ||
| 07 | Confused With The Blues | Hank Snow | ||
| 08 | Don't Hang Around Me Anymore | Hank Snow | ||
| 09 | Ben Dewberry's Final Run | Hank Snow | ||
| 10 | Blue Ranger | Hank Snow | ||
| 11 | One More Ride | Hank Snow | ||
| 12 | Music Makin' Mama From Memphis | Hank Snow | ||
| 13 | The Goldrush Is Over | Hank Snow | ||
| 14 | Lady's Man | Hank Snow | ||
| 15 | I Don't Hurt Anymore | Hank Snow | ||
| 16 | The Reindeer Boogie | Hank Snow | ||
| 17 | Honeymoon On A Rocketship | Hank Snow | ||
| 18 | Southern Cannonball | Hank Snow | ||
| 19 | Can't Have You Blues | Hank Snow | ||
| 20 | Conscience I'm Guilty | Hank Snow | ||
| 21 | Dog Bone | Hank Snow | ||
| 22 | Hula Rock | Hank Snow | ||
| 23 | Loose Talk | Hank Snow | ||
| 24 | Squid Jiggin' Ground | Hank Snow | ||
| 25 | The New Blue Velvet Band | Hank Snow | ||
| 26 | Tangled Mind | Hank Snow | ||
| 27 | On A Tennessee Saturday Night | Hank Snow | ||
| 28 | I'm Here To Get My Baby Out Of Jail | Hank Snow | ||
| 29 | Miller's Cave | Hank Snow | ||
| 30 | I've Been Everywhere | Hank Snow | ||
Hank Snow represents the archetypal rise from marginal existence to iconic status—without romantic distortion: his career began with improvisation and calculated risk. At his 1936 audition for RCA Victor in Montreal, he simply claimed to have original songs—and wrote them overnight. Prisoned Cowboy and Lonesome Blue Yodel were technically simple, but sufficient to launch a recording career that would span more than six decades.
His formative years were defined not by comfort, but by hardship: escape from an abusive stepfather, work as a cabin boy in the North Atlantic, and musical socialization through records by Vernon Dalhart and Jimmie Rodgers. From this emerged a clearly identifiable style—most notably the blue yodel as a defining expressive element.
His early RCA Canada recordings achieved regional success but failed to penetrate the U.S. market. Only an external disruption—the 1948 recording ban by the American Federation of Musicians—led to the release of his Canadian masters in the United States. The decisive breakthrough followed in 1950 with I’m Moving On: 44 weeks on the charts, 21 of them at No. 1—a clear indicator of exceptional market impact.
The Bear Family Records® website documents this trajectory with high precision and provides one of the most reliable discographic and historical references available.
The long-term preservation of this cultural legacy is ensured by the Friends Of The Hank Snow Society. Their mandate: to promote traditional country music, operate a museum in Nova Scotia, and organize key events such as the Summer Festival and the Hank Snow Tribute Show—functioning as the institutional backbone of Hank Snow’s legacy.
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