Various - Country & Western Hit Parade 1956 - Dim Lights, Thick Smoke And Hillbilly Music

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1956 - Dim Lights, Thick Smoke And Hillbilly Music

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1-CD-Album deluxe album with 72-page booklet, 30 tracks. Playing time: 78:14 minutes. It was... more

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Various - Country & Western Hit Parade: 1956 - Dim Lights, Thick Smoke And Hillbilly Music

1-CD-Album deluxe album with 72-page booklet, 30 tracks. Playing time: 78:14 minutes.

It was the year that the floodgates opened. Inside and outside the music business, rock 'n' roll was on everyone's mind. The trade papers didn't know what to make of this "mongrel music," as they called it. The industry liked pigeonholes, and rock 'n' roll wasn't easily pigeonholed until it became its own pigeonhole. But sales were booming. Really, really booming. There were more million-sellers than ever before. In late 1955 and the early months of 1956 Capitol Records alone sold 5.75 million copies combined of Tennessee Ernie's Sixteen Tons, Dean Martin's countryish Memories Are Made Of This, and Les Baxter's Lisbon, Antigua. The labels decided that if everyone wanted their product, they should charge more for it. Singles went up from 89 cents to 98 cents, and 78s went up even more in an attempt to persuade consumers to buy 45s.

Rock 'n' roll had almost been invented on independent labels, and by early 1956, indies accounted for twenty-five percent of all pop singles sold. That never was (and never would be) the case in country music, although the pendulum swung slightly in 1956 when Sun, Starday, and a few other independents came to the fore.

Underscoring Nashville's position as the hub of the country music business, Charlie Lamb launched the first country music trade journal, 'Country Music Reporter,' from Nashville in September 1956. ABC-Paramount had only been in business a few months when it set up a country division in Nashville headed by Dub Albritten, who later managed Brenda Lee and Red Foley. In 1955, Chet Atkins became RCA's local representative, and began overseeing RCA's plans to become the first major label with its own custom built Nashville studio. Even so, the labels' country music divisions were still headquartered in New York and Los Angeles. Atkins' boss, Steve Sholes, operated out of New York. Columbia's Don Law and Decca's Paul Cohen still commuted between Nashville, New York, and regional centers. Capitol's Ken Nelson was HQ'd in Los Angeles. Sholes, as noted, had Atkins in Nashville, while Cohen had Owen Bradley as his local eyes and ears. Don Law had Troy Martin looking out for him in Nashville. As a matter of preference, Law would have recorded in Dallas at Jim Beck's studio, but Nashville's position was further enhanced when Beck died in 1956. So there was no question that country music and Nashville were becoming synonymous, but the industry was on the verge of profound change.

Because Elvis Presley had been signed by RCA's country division, the head offices of the other major labels (Decca, Columbia, and Capitol), brought pressure upon their country A&R men to find the 'next Elvis.' Hundreds of young hopefuls were sucked in and spat out of Nashville. A few, such as Buddy Holly, Johnny Burnette, and Conway Twitty, would resurface another place another time, but they... along with most of the others... were cut loose after one or two sessions in 1956. There's a cult for the rockabilly records made in Nashville circa 1956, but at the time they sold no better than attempts by older artists to cut rockabillly. The generational divide that saw the musical tastes of adults and teenagers diverge was felt as keenly in country music as in pop. RCA's Steve Sholes wrote, "Your older listeners who want old country music sounds are wonderful people. They're the backbone of this country, loyal radio listeners (when the kids aren't around), but they don't buy records. Not enough to keep us in business. Not enough to keep the old fashioned country artist in guitar strings. It's the kids who want and buy the newer sounds." Sholes had identified the problem and found the answer: Elvis Presley. Now the rest of the business had to play catch-up, and come to terms with the tumult that was Elvis '56.

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Article properties: Various - Country & Western Hit Parade: 1956 - Dim Lights, Thick Smoke And Hillbilly Music

Interpret: Various - Country & Western Hit Parade
Album titlle: 1956 - Dim Lights, Thick Smoke And Hillbilly Music
Genre Country
Label Bear Family Records
Preiscode AR
Edition 2 Deluxe Edition
Artikelart CD
EAN: 4000127169617
weight in Kg 0.2

Various - Country & Western Hit Parade - 1956 - Dim Lights, Thick Smoke And Hillbilly Music CD 1
01	Singing The Blues	Robbins, Marty
02	You Don't Know Me	Arnold , Eddy
03	Crazy Arms	Price, Ray
04	Lonely Street	Belew, Carl
05	Folsom Prison Blues	Cash, Johnny û Tennessee Two
06	Sweet Dreams	Young, Faron
07	Honky Tonk Man	Horton, Johnny
08	Conscience I'm Guilty	Snow, Hank
09	What Am I Worth	Jones, George
10	A Poor Man's Riches	Barnes, Benny
11	I Take The Chance	Edward, Jim and Maxine Brown a
12	I Don't Believe You've Met My Baby	Brothers, Louvin
13	Ruby, Are You Mad	Osborne Brothers, The and Red
14	I Know You're Married	Reno, Don & Red Smiley
15	Eat, Drink And Be Merry	Wagoner, Porter
16	Yes I Know Why	Pierce, Webb
17	I Walk The Line	Cash, Johnny û Tennessee Two
18	I'm A One Woman Man	Horton, Johnny
19	Silver Threads And Golden Needles	Jackson , Wanda
20	The Blackboard Of My Heart	Thompson, Hank
21	I've Got A New Heartache	Price, Ray
22	Just One More	Jones, George
23	Cash On The Barrelhead	Brothers, Louvin
24	Waltz Of The Angels	Stewart, Wynn
25	According To My Heart	Reeves, Jim
26	Searching (For Someone Else)	Wells, Kitty
27	I Can't Quit (I've Gone Too Far)	Robbins, Marty
28	These Hands	Snow, Hank
29	Who Will Buy The Wine	Mize, Billy
30	Dixie Fried	Perkins, Carl

Dim Lights, Thick Smoke And Hillbilly Music Country & Western Hit Parade Diese... more

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"Various - Country & Western Hit Parade"

Dim Lights, Thick Smoke And Hillbilly Music

Country & Western Hit Parade

Diese Serie ist das Nonplus ultra, großartig aufgemacht und mit perfektem Mastering

Jack Clement, der Johnny Cash, Roy Orbison, Waylon Jennings, Don Williams und viele andere produziert hat, sagte: "Dies ist fraglos die beste Country-Serie der Musikgeschichte, kein Zweifel!" Und Robert Hilburn schrieb in der 'Los Angeles Times': "Dieses unschätzbar wertvolle Album-Projekt... ermöglicht es den Fans so zuzuhö ren, wie es schon Elvis Presley, Ray Charles und Bob Dylan taten."

Die Hits sind ergänzt um Raritäten, die die Country Music – und die Musik generell – in den Folgejahren be- einflußt haben: zum Beispiel Wanda Jacksons Originalversion von Silver Threads And Golden Needles, Carl Belews Original von Lonely Street und Chet Atkins' wegweisendes Walk, Don't Run.

Diese Serie ist konzipiert, um neue Hörer für das Beste zu gewinnen, das die Country Music je anzubieten hatte, aber auch um alte Fans bestens zu unterhalten. Jede einzelne CD steht für eine wunderbare Zeitreise.

Neben den Hits präsentiert die Serie viele Raritäten, die die Country Music – und die Musik generell – in der Folgezeit beeinflußt haben.

Wie alles begann:

Seit vielen Jahren erhielten wir immer wieder Anfragen nach einer definitiven Country-Serie. Und nachdem unsere chronologisch sortierten R&B-/Soul-Reihen 'Blowin' The Fuse' und zuletzt 'Sweet Soul Music' (denen sich demnächst ein Projekt zur Funk Music anschließen wird) zu Riesenerfolgen wurden, haben wir entschieden: Das machen wir in vergleichbarer Form auch für die Country Music! Die ersten Folgen von 'Dim Lights, Thick Smoke And Hillbilly Music' befaßten sich mit den Jah- ren 1945 bis 1955 – jetzt setzen wir die Reise fort und bewegen uns dabei Richtung Nashville Sound.

Die Serie wurde auf Fans von heute zugeschnitten. Natürlich enthält sie die großen Hits; aber ebenso gibt es klassische Aufnah- men, die es damals nicht nach ganz oben geschafft haben und dennoch später einflußreich wurden. Jede CD glänzt mit bei- spielhaft detaillierten Erläuterungen aus erster Hand sowie mit sensationell seltenen Fotos. Und es wird aufgezeigt, wie sich die Country Music kontinuierlich weiterentwickelte, während es in anderen Bereichen des amerikanischen Musikgeschäftes deutli- che Verwerfungen gab. Jedes einzelne Booklet ist unglaubliche 72 Seiten stark! Also alles wie gewünscht: die definitive Serie!

Superlative werden zwar manchmal überstrapaziert – aber wir sind sicher: Die Serie ist Teil unserer Idee, diese Musik auch nach- gewachsenen Fans näherzubringen – und zugleich die Kenner gut zu unterhalten. Los geht es im Jahr 1956 – als die Country Music sich mit dem Rock'n'Roll arrangieren musste, der für Aufruhr sorgte....

Dim Lights, Thick Smoke And Hillbilly Music - Country & Western Hitparade

Read more at: https://www.bear-family.de/bear-family/country-serien/dim-light-thick-smoke-and-hillbillly-music/
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