In today's world, Half as Much is a highly relevant topic that has captured the attention of people of all ages and backgrounds. The importance of Half as Much has led to a wide range of studies, debates and analyzes in different fields, from science and technology to politics and culture. Over time, Half as Much has become a central point of interest for society, generating both excitement and concern in equal measure. In this article, we will thoroughly explore the most relevant aspects of Half as Much and analyze its impact on modern society.
According to the 2004 book Hank Williams: The Biography, Williams was not too enamoured with "Half as Much" and only recorded it at producer Fred Rose's insistence.[4] Williams recorded it at a session at Castle Studio in Nashville on August 10, 1951. He was backed by Jerry Rivers (fiddle), Don Helms (steel guitar), Sammy Pruett (lead guitar), Howard Watts (bass), probably Jack Shook (rhythm guitar), and either Owen Bradley or Fred Rose on piano.[5] "Half as Much" is notable for being the only Hank Williams recording to feature a solo barroom piano at its conclusion. Two months after Williams recorded "Half as Much," Curly Williams recorded it for Columbia Records, so Rose held back Hank's release until March 28, 1952, to clear the way for Curley's release on November 2, 1951.[4]
Cover versions
Also in 1952, Rosemary Clooney recorded a number-one, hit version for Top 40 markets in the US, this version also went to number three in the UK.[6]
Alberto Semprini, piano with rhythm accompaniment recorded it as the second song of the medley "Dancing to the piano (No. 18) - Part 1" along with "Here in My Heart" and "Isle of Innisfree" in London on November 11, 1952. It was released by EMI on the His Master's Voice label as catalog number B 10385.