16 Songs, 58 Minutes

EDITORS’ NOTES

Obviously a collection as abbreviated as 16 Biggest Hits can’t contain the breadth of Jackson’s career — the man has had over fifty Top 40 hits, and more than half of them were Number Ones. But sometimes you don’t need every song, you just need a collection that will succinctly demonstrate what an artist is all about, and that’s exactly what is offered in this package. “Chattahoochee” and “Don’t Rock the Jukebox” are anthems that uphold the pride Jackson takes in tradition. “It Must Be Love” and “Gone Country” show Jackson’s knack for writing catchy pop tunes, while “Midnight In Montgomery” and “Gone Crazy” represent his taste in adult- contemporary ballads. Perhaps most important of all are the songs that show Jackson’s true-blue country roots. After all, it’s his love for country tradition that has kept him grounded through countless changes and trends. Covers of “Pop a Top” and “Summertime Blues” translate roadhouse atmosphere without bowing to revivalism, but it's the slow-burning “Here In the Real World” that puts Jackson in the exalted company of Merle Haggard and George Jones.

EDITORS’ NOTES

Obviously a collection as abbreviated as 16 Biggest Hits can’t contain the breadth of Jackson’s career — the man has had over fifty Top 40 hits, and more than half of them were Number Ones. But sometimes you don’t need every song, you just need a collection that will succinctly demonstrate what an artist is all about, and that’s exactly what is offered in this package. “Chattahoochee” and “Don’t Rock the Jukebox” are anthems that uphold the pride Jackson takes in tradition. “It Must Be Love” and “Gone Country” show Jackson’s knack for writing catchy pop tunes, while “Midnight In Montgomery” and “Gone Crazy” represent his taste in adult- contemporary ballads. Perhaps most important of all are the songs that show Jackson’s true-blue country roots. After all, it’s his love for country tradition that has kept him grounded through countless changes and trends. Covers of “Pop a Top” and “Summertime Blues” translate roadhouse atmosphere without bowing to revivalism, but it's the slow-burning “Here In the Real World” that puts Jackson in the exalted company of Merle Haggard and George Jones.

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