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Tex Ritter Blood On The Saddle 4-CD-Box & 44-Page Book

Blood On The Saddle 4-CD-Box & 44-Page Book
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catalog number: BCD16260

weight in Kg 1,200


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Tex Ritter: Blood On The Saddle 4-CD-Box & 44-Page Book

TEX RITTER   Have I Stayed Away Too Long

The four CDs that make up this collection contain what many feel is the best work Tex Ritter ever did. In nine recording sessions for Capitol Transcriptions over a period of two and a half years (1945-1947), Ritter mixed Western Swing and contemporary country songs with the traditional Cowboy ballads to which he was so closely identified to produce a wonderful compendium of West Coast country music of the era. 

 Backed by such fine musicians and friends as Merle Travis, Johnny Bond, Wesley Tuttle, Margie Ann 'Fiddlin’ Kate' DeVere and Cliffie Stone, among many others, Ritter achieves a relaxed performance seldom found in the high pressure sessions of commercial recording. As a bonus his 12 songs for World Transcriptions have been added.



Tex Ritter - Blood On The Saddle 4-CD-Box & 44-Page Book Medium 1
1: A Ridin' Old Paint/Git Along Little Doggies  
2: Rye Whiskey (1)  
3: A Ridin' Old Paint (take 1)  
4: A Ridin' Old Paint (take 2)  
5: Goodbye Old Paint (take 1)  
6: Goodbye Old Paint (take 2)  
7: Rye Whiskey (take 1)  
8: Rye Whiskey (take 2)  
9: A Ridin' Old Paint (take 3)  
10: Sam Hall  
11: Get Along Little Doggies  
12: Thirty Three Years In Prison  
13: Lady Killin' Cowboy  
14: I'm A Do-Right Cowboy  
15: Bill The Bar Fly  
16: Nobody's Darling But Mine  
17: My Brown Eyed Texas Rose  
18: Take Me Back To My Boots And Saddle  
19: The Oregon Trail  
20: Answer To 'Nobody's Darling'  
21: A Melody From The Sky  
22: The Hills Of Old Wyoming  
23: We'll Rest At The End Of The Trail  
24: High, Wide And Handsome  
25: Heading For The Big Rio Grande  
26: Out On The Lone Prairie  
Tex Ritter - Blood On The Saddle 4-CD-Box & 44-Page Book Medium 2
1: Arizona Days  
2: Jailhouse Lament  
3: (I'm) Hitting The Trail (For Home)  
4: I'm A Natural Born Cowboy  
5: Ride, Ride, Ride  
6: Ridin' Down The Trail To Albuquerque  
7: Down The Colorado Trail  
8: When It's Lamplighting Time In The Valley  
9: Singin' In The Saddle  
10: Sundown On The Prairie  
11: Viva Tequila  
12: (I Got Spurs) Jingle, Jangle, Jingle  
13: Someone  
14: Goodbye My Little Cherokee  
15: I've Done The Best I Could  
16: There's A New Moon Over My Shoulder  
17: Have I Stayed Away Too Long  
18: I'm Wastin' My Tears On You  
19: There's A Gold Star In Her Window  
20: Jealous Heart  
21: I'm Gonna Leave You Like I Found You  
22: We Live In Two Different Worlds  
23: How Was I To Know  
24: You Will Have To Pay (For Your Yesterday)  
25: Long Time Gone  
26: In Case You Change Your Mind  
27: It's Never Too Late  
28: How Was I To Know  
Tex Ritter - Blood On The Saddle 4-CD-Box & 44-Page Book Medium 3
1: San Antonio Rose  
2: Try Me One More Time  
3: Green Grow The Lilacs  
4: Boll Weevil  
5: Rounded Up In Glory  
6: You Two Timed Me One Time Too Often  
7: Blood On The Saddle  
8: The Chisholm Trail  
9: Bad Brahma Bull  
10: Rye Whiskey  
11: Billy The Kid  
12: The Texas Rangers  
13: I Love My Rooster  
14: The Wreck Of Number Nine  
15: Froggy Went A-Courtin'  
16: Green Grow The Lilacs  
17: Night Herding Song  
18: The Pony Express  
19: The Phantom White Stallion Of Skull Valley  
20: Some Sweet Day  
21: Christmas Carols By The Old Corral  
22: Love Me Now  
23: The Wreck Of Number Nine  
24: The Pony Express  
25: Teach Me To Forget  
26: The Pony Express  
Tex Ritter - Blood On The Saddle 4-CD-Box & 44-Page Book Medium 4
1: Have Told You Lately That I Love You  
2: I Was Out Of My Mind  
3: When You Leave Don't Slam The Door  
4: From Now On  
5: Ninety Nine Years (Is A Long Time)  
6: Poor Unwanted Heart  
7: One Little Tear Drop Too Late  
8: Fort Worth Jail  
9: I Told My Heart  
10: Ninety Nine Years (Is A Long Time)  
11: I Forget If You'll Forgive  
12: I Don't Want You Anymore  
13: Cool Water (& THE DINNING SISTERS)  
14: Trouble In Mind (& THE DINNING SISTERS)  
15: The Roving Gambler  
16: Down In The Valley (& THE DINNING SISTERS)  
17: You Are My Sunshine (& THE DINNING SISTERS)  
18: My Heart's As Cold As An Empty Jug  
19: I Cannot Tell A Lie  
20: Double Dealin' Darlin'  
21: Toodle-Loo My Darlin'  
22: Bats In Your Belfry  
23: The Last Mile  
24: The Prisoner's Song  
25: Don't Make Me Sorry  
26: I Can't Get My Foot Off The Rail  
27: The God's Were Angry With Me (& EDDIE KIRK)  


Artikeleigenschaften von Tex Ritter: Blood On The Saddle 4-CD-Box & 44-Page Book

  • Interpret: Tex Ritter

  • Albumtitel: Blood On The Saddle 4-CD-Box & 44-Page Book

  • Format Box set
  • Genre Country

  • Music Genre Country Music
  • Music Style Classic Country Artists
  • Music Sub-Genre 002 Classic Country Artists
  • Edition 2 Deluxe Edition
  • Title Blood On The Saddle 4-CD-Box & 44-Page Book
  • Release date 1999

  • Price code DI
  • SubGenre Country - General

  • EAN: 4000127162601

  • weight in Kg 1.200

Artist description "Ritter, Tex"

Tex Ritter 

Have I Stayed Away Too Long

 It can be argued that there has never been a medium as important to the development and spread of a genre of music as radio was to country music. Beginning in the earliest stages of radio's development, country music, or 'hillbilly' as it was called in the twenties and thirties, was a staple of programming for most stations away from the large metropolitan areas. In the early days, the music came from local bands and singers performing live. In 1922, a talent manager complained "Everybody wants to get on the air. Everyone who can twang or pick or scrape a string, every person who can touch or pound a keyboard, and anyone at all who is not tongue-tied has become possessed with the idea that he must get on the radio."

As the novelty of radio began to wear off, the listeners became more discerning and programmers more sophisticated. Only the best and most talented of the local entertainers were able to stay on the air because the advertisers listened to their audience and refused to support the less talented. Then in the mid-twenties, a couple of phonograph record companies tried a daring experiment: sending producers into the South to record some of the local 'hillbilly' singers and string bands in hopes of building a market with the hillbilly folks. The immediate result was a series of sectional, or regional, hit records, as well as the emergence of country music's first superstar, Jimmie Rodgers. The long-term effect was to create a demand for the services of the more popular hillbilly performers on the stations in the larger markets causing a shortage of quality talent for local programs on stations in the smaller markets.

The obvious solution for the smaller stations was the least satisfying in the beginning; that was playing recorded music, the commercial 78rpm records. The initial problem was that the surface noise was such that the listener was instantly aware he was listening to a recording. But that was only a problem when the station was actually able to obtain a record to play. In the 1920s and 1930s, the record companies refused to license their records for broadcast. Their fear was if the audience could get it for free, they would not be so interested in buying the record, or, as the jukebox became the biggest outlet for records during the war years, wouldn't spend the money to listen to it. Many record dealers however, quickly realized that just the opposite was true. Airplay was the best method of promotion; in fact, in many towns and cities, local record dealers would give a radio station recent records, and occasionally, even pay the announcers to play them. They believed it was a legitimate form of advertising. As the record companies began to realize that airplay actually boosted sales, they generally ignored the fact that a particular station was programming using their records; but, if asked for permission, the record companies nearly always refused.

Beginning in 1922, Western Electric set out to develop a sound system for motion pictures that would fill a theater with synchronized sound. At its 1869 inception, the company provided parts and models for inventors, and, by 1881, just prior to joining the Bell System (which became AT&T in 1899), Western Electric was the largest electrical manufacturer in the United States. In the early 20th century, when a handful of companies assembled scientific researchers to expand their innovative capacities, Western Electric did so in a big way. The research branch of Western Electric's engineering department became Bell Laboratories, the greatest private research organization in the world. By 1924, Western Electric had developed a large-disc, integrated recording system and was researching sound-on-film technology. They were ready to sell to Hollywood its large-disc system to synchronize sound to film for the early 'talkies.' Western Electric and Warner Bros. formed a joint venture, the Vitaphone Corporation, to experiment in the production and exhibition of sound motion pictures.

When the optical sound-on-film process replaced the transcription disc as the standard for sound films, which it did in a few short months, some entrepreneurs felt there was a future for such transcriptions in radio. The fidelity of the transcription discs was far superior to 78rpm records—much less surface noise. Radio networks were in their infancy, and programs could be sent on these discs to stations in all parts of the country to be played at the optimum time for their individual market. NBC, among the networks, was a long time holdout in allowing its stations to reschedule broadcast times by using discs, feeling that it destroyed the integrity of the network.

The slower speed (33 1/3rpm) technology—developed by Western Electric—was first licensed by the World Broadcasting Service in 1929. By 1935, three other major transcription services were in business using the same technology, supplying programming to 350 radio stations around the country. Standard Radio Library, RCA/NBC Thesaurus, the C.P. MacGregor service, as well as World, were providing a basic library of radio shows complete in themselves (ready for local commercials) and a library of musical selections, along with a license to play them on the air. In addition, periodic issues of new discs and replacements would be provided. Also included was a continuity script written around the musical selections included in the library, and formed into individual shows. Some were three time a week, 15-minutes each; some are 30-minute 'across the board' (called 'strip' today) shows; some were for Sunday only, and some for a particular time slot. One library was all any one station would generally need. With one library, by using the continuity scripts provided, and using more than one staff announcer, as many as twenty to twenty-five different shows a week were available to any station. In the early 1930s, some stations began experimenting with the 'disc jockey' format using the transcriptions, but it would be the late 1940s before it became a common programming format. These libraries did not 'belong' to a radio station; they were leased for as long as the station paid the proper fees. The turntables used were large enough to accommodate the 16-inch discs, and they were dual speed.

Tex Ritter High Noon (4-CD)
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Copyright © Bear Family Records



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