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George Jones Through The Years 1968-80

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catalog number: DVDCCGJ001

weight in Kg 0,100

$15.28 *
 
 

George Jones: Through The Years 1968-80

(CLASSIC COUNTRY) NTSC, Code 0, 144 Mins., Color, TV clips feat. Dolly Parton, Tammy Wynette a.o.
This special DVD looks back at the career of the legendary George Jones. It features seven programs that George Jones was the star guest. From 1968 through 1980, George sings his way through many of his hits. Three of the shows feature duets with Tammy Wynette. 

George Jones- Through The Years

Chapter 1 – Porter Wagoner Show – Recorded June 3, 1968

Porter Wagoner – 'Rocky Top'
George Jones – 'Walk Through This World With Me'
Dolly Parton & Porter Wagoner – 'Holdin' On To Nothin''
Speck Rhodes – (comedy)
Speck Rhodes – 'I'm Goin' Back To Where I Come From'
George Jones – 'The Race is On'
Chapter 2 – Wilburn Brother – Recorded on January 14, 1969

Wilburn Brothers - 'It's a Big Ole Heartache'
Harold Morrison - 'Free Little Bird'
George Jones - 'When the Grass Grows Over Me'
George Jones & Tammy Wynette - 'Milwaukee Here We come'
Loretta Lynn - 'I Still Miss Someone'
Buddy Spiker - 'Raisin' the Dickens' (instrumental/fiddle)
Wilburn Brothers - 'I'll Never Leave My God Alone' (gospel)
George Jones - 'Walk Through This World With Me'
Chapter 3 – Pop Goes the Country Show # 115 – Recorded on September 25, 1974

George Jones – 'The Race Is On'
Tammy Wynette – 'Stand By Your Man'
Patsy Sledd – 'Chip, Chip'
George Jones & Tammy Wynette – 'We Loved It Away' (duet)
Harold Morrison – 'Bicycle Song'
Tammy Wynette – 'Woman To Woman'
George Jones – 'The Door'
George Jones & Tammy Wynette – 'We’re Gonna Hold On' (duet)
Chapter 4 – Pop Goes the Country Show #403 – Recorded on January 11, 1977

George Jones – 'White Lightning'
Dottie West – 'Every Word I Write'
George Jones – 'You Always Look Your Best Here In My Arms'
Jacky Ward – 'Texas Angel'
Dottie West – 'Makes Me Wonder If I Ever Said Goodbye'
George Jones – 'Her Name Is'
The Jones Boys – 'Rollin’ In My Sweet Baby’s Arms'
Chapter 5 – Pop Goes the Country Show #404 – Recorded on January 11, 1977

Tammy Wynette – 'Your Good Girl’s Gonna Go Bad'
Larry Gatlin – 'Statues Without Hearts'
George Jones & Tammy Wynette – 'Golden Rings' (duet)
Tammy Wynette – 'You And Me'
George Jones – 'Near You'
Larry Gatlin – 'Broken Lady'
Entire Group – 'I’ll Fly Away' (gospel)
Chapter 6 – Pop Goes the Country Show 601 – Recorded on February 20, 1979

George Jones – 'You Gotta Be My Baby'
Charly McClain – 'Take Me Back'
T.G. Sheppard – 'Happy Together'
George Jones – 'Some Day My Day Will Come'
Charly McClain – 'That’s What You Do To Me'
T.G. Sheppard – 'Solitary Man'
Chapter 7 – Pop Goes the Country Show #712 – Recorded May 28, 1980

Tom T. Hall – 'Shoeshine Man'
George Jones – 'Someday My Day Will Come'
Jan Howard – 'You Don’t Know Me'
George Jones – 'The Race Is On'
Tom T. Hall – 'Me And Jesus' (gospel)
George Jones – 'He Stopped Loving Her Today'

 

Songs

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Artikeleigenschaften von George Jones: Through The Years 1968-80

  • Interpret: George Jones

  • Albumtitel: Through The Years 1968-80

  • Format DVD
  • Genre Country

  • DVD-Genre Musik & Konzerte
  • DVD-SubGenre Country
  • Title Through The Years
  • Label CLASSIC COUNTRY DVD

  • DVD-Regionalcode
  • SubGenre Country - General

  • EAN: 4000127758538

  • weight in Kg 0.100
 
 

Artist description "Jones, George"

George Jones

12.9. 1931  Saratoga - Texas / 26. 04. 2013

Record Labels: Starday, Mercury, Longhorn, Power Pak, Hillside, United Artists, Musicor, RCA, Intercord, Ace, Rounder, Epic.
First Top Ten Hit: Why Baby, Why (1955)
First No. 1 Hit: White Lightning (1959)

In November, 1953, he was fresh out of the Marines, having joined two years earlier in the wake of an unraveling marriage. Before taking the oath, he'd been a denizen of honky tonk stages in and around Beaumont, Texas. Born in a rough-cut log house near Saratoga in East Texas' mysterious, often violent Big Thicket region on September 12, 1931, hillbilly music surrounded him as a kid; his singing voice turned heads even when he was an adolescent.

Jones wasn't back long when he heard about Starday, a new record company. Lefty Frizzell's ex-manager Jack Starnes and hard-bitten Houston area railroader-turned-juke box and slot machine impresario-turned record label owner, distributor and retailer Harold 'Pappy' Daily co-founded it in 1952. George's buddy, aspiring local singer Sonny Burns, had dealings with them, so Jones returned to playing the dives around the area, expanding his profile in 1954 as a disc jockey over KTRM. He soon found Starday interested in auditioning him.

His audition and first session took place in Jack Starnes' living room-turned-improvised recording studio. With an amateur's passion for the era's great singers, he tried to emulate the best of all of them as he sang--until Daily asked with great sincerity, "George, you've sung like Roy Acuff, Lefty Frizzell, Hank Williams and Bill Monroe. Can you sing like George Jones?"

No Money In This Deal, the first single, came from that session. It didn't take. Neither did the next five singles.

It was single number seven, the Hankish Why Baby Why that landed in the Top Ten in 1955. More Starday hits followed. After a brief, abortive alliance between Starday and Mercury Records, Daily, who still co-owned Starday with his partner Don Pierce, (Jack Starnes had departed earlier) fell out with Pierce in 1958. When the smoke cleared, Pierce took Starday; George wound up contracted to Pappy and remained a Mercury artist. Pappy kept his hand in the regional market. He'd formed Houston-based D and Dart Records as a regional operation aimed at finding new talent, Gabe Tucker helping him run things. Glad Music, Daily's new publishing company, would handle that end of things.

Jones came up with some landmark hits on Mercury, among them Color Of The Blues and the Chuck Berry-influenced White Lightning, from the pen of Daily discovery and Jones buddy, KTRM disc jockey-singer-composer J. P. 'The Big Bopper' Richardson. He originally recorded his hard-driving rocker Chantilly Lace for D, until Mercury, who'd initially passed on it, re-released it nationally. That put it over the top and made the Bopper and fulltime rock star from later '58 until February 3, 1959, when the small private plane carrying him, Buddy Holly and Ritchie Valens crashed killing everyone on board.

At Mercury, Jones's vocal style began evolving, his keening, edgy nasality morphed into a more distinctive type of phrasing. Overtones of Hank and Acuff remained, but Jones's voice moved into a lower register. He could wrench emotion out of a phrase or lyric by bearing down on it as he sang. The new maturity manifested itself in his final Mercury hits: The Window Up Above and especially the #1 single Tender Years, where the formerly twangy accompaniment replaced by muted Nashville Sound backing.

 

The new Jones style quickly began influencing others, Buck Owens among them. Interviewed in 1988, Buck confirmed that point. "I thought that George was the greatest thing since sliced bread. I could not help it and later on in the last years I've tried to make a concerted effort to not get into that, but if you listen on (my records in the) early years, you're sure gonna hear George because he was a big influence on me as far as the singers go," he said. As time passed, George began singing in lower registers that combined with his distinctive phrasing his singular sound brought more admiration among fans and his peers.

Pappy came to know Mercury executive Art Talmadge, who'd left to join United Artists Records. Daily and Jones followed him there. The label was only four years old. Originally created to distribute soundtracks from UA-produced films, it branched out, becoming a hip jazz label and then broadened into other areas. Their newly-created country division consisted mainly of Daily acts with Jones as the flagship, Pappy serving as UA's de facto country producer.

Jones's relationship with Daily was business only, and fostered deep resentment that hadn't abated in his 1996 autobiography 'I Lived To Tell It All,' where he wrote bitterly, "I made a lot of money for Pappy Daily, Starday and Mercury. Basically, I was a naïve guy who was overly trusting of some people who proved to be untrustworthy. I was never paid royalties on a regular basis. It became very frustrating to hear my songs on the radio, see them listed high on the charts and not have enough money to hire a band."

 

His two-year UA contract yielded exactly 151 recordings. Some singles and albums from that period stand among his most memorable. Every album was 'produced by Pappy Daily.' Or so it seemed. In 2001, Jones clarified their 16 year studio relationship, which continued through his 1965-1970 stint with Talmadge's Musicor Records. "A lot of people think (Pappy) was the producer, but he really wasn't. He timed the songs in the studio and he wrote out the paperwork. That was about all he did. I worked with the musicians myself and we worked out the arrangements. I basically left it up to the musicians after we run through the songs. I wanted them to be more a part of the production."

 

Jones created many great moments in the studio during his UA phase. Some were captured on tape, some not. His legendary reputation as a drinker and hellraiser already established, his stature continued to rise. Many Nashville insiders began hanging at George's sessions, both to marvel at the voice and to see what whiskey-fueled mischief he'd make this time. One frequent sideman explained that while Jones was usually well-lubed throughout a recording session, a certain sweet spot existed. Too few drinks didn't loosen him up sufficiently; too many washed out a session. An amount of alcohol in between those extremes unleashed every bit of his unrestrained, uninhibited power.

Excerpt from the book BCD16818 - George Jones - She Thinks I Sttill Care - Read more at:https://www.bear-family.com/jones-george-she-thinks-i-still-care-62-64-5-cd.html Copyright © Bear Family Records

Read more at: https://www.bear-family.com/jones-george/
Copyright © Bear Family Records

 
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