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Dolly Parton & Porter Wagoner Dolly Parton & Porter Wagoner - Just Between You And Me - Complete Recordings 1967-76 (6-CD)

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catalog number: BCD16889

weight in Kg 1,000

 

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Dolly Parton & Porter Wagoner: Dolly Parton & Porter Wagoner - Just Between You And Me - Complete Recordings 1967-76 (6-CD)

Video von Dolly Parton & Porter Wagoner - Dolly Parton & Porter Wagoner - Just Between You And Me - Complete Recordings 1967-76 (6-CD)

6-CD box-set (LP-size) with 80-page hardcover book, 160 tracks. Total playing time approx. 408 mns.

  • The greatest male-female duet in country music!
  • "They made all other duet teams sound like footnotes" (critic John Morthland).
  • Includes 21 timeless hits: Holding On To Nothin', Just Someone I Used To Know, Daddy Was An Old Time Preacher Man, and Making Plans, as well as the #1 smash Please Don't Stop Loving Me!
  • Also includes many rarities including their 1973 release of Here Comes The Freedom Train and live recordings.
  • In all, 160 recordings!
  • Features an in-depth biography by noted journalist and Dolly Parton biographer, Alanna Nash.

“…I was truly humbled by the high art and soul of duet singing and its power to tell the story of the human heart, broken and otherwise, but Porter and Dolly became the gold standard for me and remain so to this day. At a time when the airwaves and ipods spew out bloodless and over-calculated offerings of a once venerable genre, this is the real deal, my friends – country music the way God intended. And if there is a radio station in heaven, Porter and Dolly will always be in heavy rotation.” Emmylou Harris, Nashville, January 2014

Porter and Dolly had even more than the playfulness and sexual chemistry of Conway Twitty-Loretta Lynn and the high psychodrama of Tammy Wynette-George Jones. Because they were both great songwriters, they wrote songs that mirrored their lives and brought an uncommon variety to their music. Both of them dressed in high hillbilly glamor - like no one else before or since. Neither of them was afraid to make a splash.

When Porter and Dolly began recording in 1967, Porter was the bigger star and Dolly watched his TV show every week as a fan. By the time of their last duets in 1976, Dolly was one of the biggest stars that country music had ever seen, and Porter's biggest hits were his duets with Dolly. Their work was sometimes playful, sometimes romantic, sometimes tortured, and sometimes unbearably sad, much like their personal and professional relationship. For the first time, it's all in one place!

Nashville, Tenn. (December 6, 2013) – Iconic singer, songwriter, musician, actress and philanthropist Dolly Parton will kick-off her 'Blue Smoke World Tour' starting in January 2014, making a few concert appearances in the United States before heading down under for shows in New Zealand and Australia, then onto the UK and mainland Europe.

"It's always great to perform at home in the good ol' USA. We're kicking off our Blue Smoke World Tour right here at home. I love traveling all over the world; but it's true, there's nothing like home," says Dolly Parton.

After a widely successful tour of Australia in 2012, Parton will head down under for her first visit to New Zealand in over three decades as well as a return visit to Australia. "Australia, here I come again. We have a lot of new and exciting things for the show and can't wait to share it with you. I love my fans in that part of the world. You've been so very good to me for so many years, I'm really, really excited to be coming back to New Zealand again after 30 years or so. And I know that we're gonna have a wonderful time. It's a long way from home in your part of the world, but I always feel like I'm right at home. So Australia, New Zealand, I'm coming home. Wait up!"

After returning home from Australia and New Zealand, there is no slowing down for Dolly.
In May, Dolly will, once again, hit a few more markets in America before heading across the pond for June concerts in Europe as well as a return to the O2 Arena in London, the venue where Dolly recorded and filmed 'An Evening With…Dolly' (Dolly Records), her widely praised DVD/CD set that was certified Gold by the RIAA.

"Every time I come to Europe I'm just as excited as I was my very first time, which was many, many years ago. I love that part of the world and I especially love the fans," adds Parton. "We always have such a good time and I've put together a lot of things for this show that I think the fans will love. We had not planned to come back so soon, but we got so much fan mail and such a great reaction that I thought 'Well, why not. If they're having a good time and we always do, let’s just do it'."

In 2011, Dolly continued to receive accolades for what was her most successful European and Australian tour of her 45-plus year career - The Better Day Tour! During the 2011 tour, Dolly performed for record-breaking attendances in both Europe and Australia, surpassing her previous attendance records. In 2008, Dolly performed 17 European shows to over 170,000 fans, surpassing her then-best 2007 European tour, where she played 21 shows for over 140,000 people. Each of these treks grossed in the tens of millions of dollars and established Dolly as Europe's favorite and most successful country artist.

Tour dates and venues are below, for ticket and on-sale information please check with your local market.

NEW ZEALAND/AUSTRALIA Dates

February
7 New Zealand, Auckland - Vector Arena
8 New Zealand, Auckland - Vector Arena **2nd Show
11 Australia, Melbourne - Rod Laver Arena
11 Australia, Melbourne - Rod Laver Arena **2nd Show
15 Australia, NSW, Hunter Valley - Hope Estate
18 Australia, Sydney - Entertainment Centre
21 Australia, Brisbane - Entertainment Centre
22 Australia, Brisbane - Entertainment Centre **2nd Show
25 Australia, Adelaide - Entertainment Centre
27 Australia, Perth - Perth Arena

UK & EUROPE Dates:

June
8 England, Liverpool - Echo Arena
10 Northern Ireland, Belfast - Odyssey Arena
11 Ireland, Dublin - O2 Arena
12 Ireland, Cork - Live At The Marquee
14 England, Newcastle - Metro Radio Arena
15 Scotland, Aberdeen - GE Arena
17 Scotland, Glasgow - Hydro Arena
18 Scotland, Glasgow - Hydro Arena
20 England, Leeds - First Direct Arena
21 England, Manchester - Phones 4U Arena
22 England, Birmingham - LG Arena
24 Wales, Cardiff - Motorpoint Arena
25 Wales, Cardiff - Motorpoint Arena
27 England, London - O2 Arena
28 England, London - O2 Arena

July
2 England, Nottingham - Capital FM Arena
5 Germany, Cologne - Lanxess Arena
6 Germany, Berlin - O2 World
8 Denmark, Copenhagen - Forum
9 Norway, Oslo - Spektrum
11 Sweden, Stockholm - The Globe

Bear Family can not be made responsible for correctness of the touring info

6-CD box-set (LP-size) with 80-page hardcover book, 160 tracks. Total playing time approx. 408 mns.


 

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Artikeleigenschaften von Dolly Parton & Porter Wagoner: Dolly Parton & Porter Wagoner - Just Between You And Me - Complete Recordings 1967-76 (6-CD)

  • Interpret: Dolly Parton & Porter Wagoner

  • Albumtitel: Dolly Parton & Porter Wagoner - Just Between You And Me - Complete Recordings 1967-76 (6-CD)

  • Format Box set
  • Genre Country

  • Edition 2 Deluxe Edition
  • Title Just Between You And Me
  • Label Bear Family Productions

  • Price code FK
  • SubGenre Country - General

  • EAN: 5397102168895

  • weight in Kg 1.000
 
 

Artist description "Parton, Dolly"

Dolly Parton & Porter Wagoner

Just between you and me

In the pantheon of great male-female country duet teams, three acts proudly stand center stage: George Jones and Tammy Wynette, Conway Twitty and Loretta Lynn, and Porter Wagoner and Dolly Parton, the latter rising in 1967 (predating their rivals by roughly four years) and lasting through seven years and thirteen albums, some released even after the pair no longer performed together.

Each of the above pairings had its own distinctive characteristics. If George and Tammy communicated drama and passion, and Conway and Loretta old-fashioned sass and fun, Porter and Dolly focused on a mix of playfulness and poignancy. Though RCA staff member Bob Ferguson is listed as their producer (with Jerry Bradley handling overdubs years later), Ferguson's credit was only a formality. (RCA insisted on using only 'in-house' employees.) Porter was the real producer and mastermind of the sessions--Ferguson was generally not even in the building—and the duets point up Porter's width of musical scope and greatness as a producer.

From the beginning of their professional relationship, Porter and Dolly concentrated on smart song choices, recording music that flirted outside the strict country lines (their first release, The Last Thing On My Mind, from folksinger Tom Paxton, worked a folk-acoustic vibe with a lyric that referenced a subway rumbling underground, and earned them a top-ten hit), even as they were always quick to mix in non-commercial songs of real tragedies, family estrangements, gospel fervor, and Dolly's gothic, Appalachian-soaked ballads of sick or dying children (Jeannie's Afraid Of The Dark, Silver Sandals, Malena, which Porter laced with mournful recitation). By the second year of recording, they were recording such wide-ranging material as Dan Penn's The Dark End Of The Street, which oozed Memphis Soul, and the social commentary of Tom T. Hall's I Washed My Face In The Morning Dew.

However, they wrote much of their material themselves, with Porter immediately showcasing Dolly's songs on the first sessions. (Her magnificent heartbreak ballad, Put It Off Until Tomorrow which she co-wrote with her uncle, Bill Owens, and which Bill Phillips had already taken to number six on the charts, was on the schedule for their third day of recording in the fall of 1967.) They instinctively knew just how far to push their subject matter, how vulnerable to take their delivery, and what that worked well for their two voices. In short, when they stood before a microphone, they created magic.

Where so many duet singers follow a predictable pattern, Porter and Dolly mixed things up. If Porter was content to let Dolly handle lead, he would often trade lead melodic lines with her to keep the sound fresh. Then he supported her with harmony on the chorus to give the song an extra lift. As a solo singer, Porter's earnest baritone could soar to a sustained mid-to-low tenor, and then plunge to its lowest depths, just as Dolly's gossamer soprano could laser in on a straight-ahead melody for storytelling, then leap to ethereal trills and frothy curlicues. But as a team, their hand-in-glove, close-fitting harmonies became their trademark. Listeners ate it up.

By the time they ended the duets in the 1970s, they'd scored twenty-one hit collaborations, including We'll Get Ahead Someday (1968), Just Someone I Used to Know (1969), Better Move It On Home (1971), The Right Combination (1972), Please Don't Stop Loving Me (1974), and Making Plans (1980).

  With the release of their first album, 'Just Between You And Me'in 1968, it was the tightness of their sound that impressed almost everyone who heard it. The naturalness of their vocal blend--what Dolly called "family" and Porter referred to as "blood harmony"--was equally matched by their personal chemistry and the glitter and glitz (Dolly called it "gaude") of their stage costumes. However over-the-top Porter's rhinestone Nudie (and Manuel) suits seemed to some, to country people of their generations, Porter and Dolly's onstage finery represented a symbolic act of shaking the farm dirt off their boots and stepping into the modern world. And beneath Dolly's flash and "trash," as she called her look, beat the heart of a hillbilly savant.

"The quality of their sugar-and-vinegar duet work is often underestimated," the late Martha Hume observed, "because their rhinestone-encrusted appearance was so spectacular. But their success made 'Porter 'n' Dolly' a household phrase."

Duet teams were nothing new in country music when Porter and Dolly first met at RCA's Studio B on October 10-12, 1967 to lay down twelve songs. The 1930s produced a plethora of harmony duos, from the prominent sibling acts of Bill and Charlie Monroe and the Carlisle Brothers (both of which later parted to pursue separate careers), to the married couple of Lulu Belle and Scotty Wiseman, who logged a quarter century on the National Barn Dance, the popular radio show over Chicago's powerful WLS. Other influential duos followed in the 1940s and 1950s, including the Louvin Brothers and the bluegrass teams of Flatt and Scruggs and the Stanley Brothers.

However, the male-female combination allowed not only for novelties and folk songs, but in the late 1960s, modern songs of love conquered and divided. In January 1968, when Porter and Dolly recorded Jerry Chesnut's pathos-ridden Holding On To Nothin', Porter suggesting they draw out some of the syllables to amp up the pain of the lyric, the two singers established that they had come to stay. Critic John Morthland wrote that the performance was the most dramatic, urgent, and sorrowful of their collaborations to date. From this one recording alone, Morthland declared, "They made all the other duet teams sound like footnotes."

Today, writer-musician Jon D. Weisberger, reflecting on the George-Tammy, Conway-Loretta, Porter-Dolly triad, points out that the bluegrass music training Porter received with one of his first bands, the Blue Ridge Boys, helped him wring the utmost emotion from a vocal. "He might not have been the only one in those duets to use the low tenor," Weisberger says, "but he used it more consistently and more smartly than just about anyone else in a male-female country duo until Royce Kendall [of The Kendalls] came along. 'Holding On To Nothin'' is about as good a duet record as you'll ever hear."

The Country Music Association agreed that the two had The Right Combination, as Porter titled a song and album from 1972, voting them the Vocal Group of the Year in 1968, 1970, and 1971. But after that, Conway and Loretta (After The Fire Is Gone) and George and Tammy (We're Gonna Hold On) were hot on their trail, singing songs that suggested a true-life romantic entanglement, which was certainly true in the case of Jones and Wynette, who had become husband and wife.

From a purely vocal standpoint, however, Porter and Dolly's challengers couldn't touch them. As Duane Gordon, editor and publisher at 'Dollymania.net: The Online Dolly Parton Newsmagazine,' puts it, "Those duos sounded good together, but they didn't sound as tight vocally when they sang together. When Conway and Loretta sang, you heard Conway Twitty sing and Loretta Lynn sing. When George and Tammy sang, you heard George Jones sing and Tammy Wynette sing. When Porter and Dolly sang, you heard Porter and Dolly."

Though they were nearly twenty years apart in age, enough to make them more like father and daughter than contemporaries, they initially had an easy understanding that made them seem, as they wrote in a duet they recorded in late 1970, Two Of A Kind. Both Porter and Dolly had come up hard, with primary knowledge of small-town life informed by the poverty of mountain and rural isolation—Porter in West Plains, Missouri, in the Ozarks region, and Dolly in the coves and hollers around Sevierville, Tennessee, in the Great Smokies. They'd also been steeped in hardcore country and old time music. "Dolly," wrote Porter's biography Steve Eng, "was a throwback to centuries-old mountain singing, with a strange voice that her mother attributed to a case of burst tonsils."

By now, Dolly's biography is well known. Born in Locust Ridge, Tennessee on January 19, 1946, she grew up in an impoverished, but loving East Tennessee family, headed by a wise mother, Avie Lee Parton, who drew on Biblical stories and the fantasy of "stone soup" to help get her children by. The "magic of believing," as Dolly calls it, seems to have been a convenient escape from the stark drabness of it all, and at age five, she wrote her first song, Little Tiny Tassletop, about a corn cob doll. By seven, she was writing what she called "serious" songs.

"Mama was just always fascinated that I could rhyme stuff being so little," she remembers, "but my mother wrote, and all of her people used to write and sing, so I was around it all of my life. I loved it and kept on doing it."

 
Customer evaluation "Dolly Parton & Porter Wagoner - Just Between You And Me - Complete Recordings 1967-76 (6-CD)"
Average customer evaluation
Star Rating
(from 6 customer evaluations)
 
 
From: Petersen 2014-07-12 09:12:42

Absolute awesome Box Set!

Now make one with Loretta & Conway AND Tammy & George!

 
From: Stoeckel 2014-06-15 16:26:55

Endlich eine lang ersehnte Zusammenstellung aller Duette von Porter und Dolly.
Das hat auf dem Markt bisher gefehlt. Und die Qualität der Aufnahmen ist absolut Top.
Zusammen mit dem gebundenen Buch mit Hintergrundinformationen und tollen Fotos ist der Preis mehr als gerechtfertigt.

 
From: Brueser 2014-06-02 10:40:02

Alles ganz hervorragend - eben Bear Family-Qualität!

 
From: Faessel 2014-05-30 06:31:10

Einfach nur genial. Klasse CDs und ein wunderschönes Buch. Bear Family at its best.

 
From: Schweder 2014-05-22 10:50:41

This is Country-History at it's best!

 
From: Ohlhoff 2014-05-02 14:19:34

a must have

 
 
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