Various - Country & Western Hit Parade 1962 - Dim Lights, Thick Smoke And Hillbilly Music

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Various - Country & Western Hit Parade: 1962 - Dim Lights, Thick Smoke And Hillbilly Music
Nineteen-sixty-two was the year of Don Law. The forgotten pioneer of the Nashville Sound, Law was—statistically at least—more successful than Chet Atkins or Owen Bradley, and quite possibly more successful than the two of them combined. In the early 1960s, his roster comprised Marty Robbins, Ray Price, Johnny Cash, Jimmy Dean, Flatt & Scruggs, Lefty Frizzell, Carl Butler, Billy Walker, Charlie Walker, Claude King, Stonewall Jackson, George Morgan, Little Jimmy Dickens, Carl Smith, and although Johnny Horton was dead, the releases kept coming (in fact, Honky Tonk Man recharted in 1962).
Aside from his skill in assembling the finest roster in the history of country music, Law was willing to take chances. He issued Marty Robbins' El Paso when western music wasn't selling and Ray Price's hillbilly shuffles at the height of the rock 'n' roll era. He okayed Johnny Cash's protest song Ballad Of Ira Hayes and Robbins' Don't Worry with fuzztone guitar. His suave exterior notwithstanding, Law was a career adventurer. Born in London, England, in 1902, he went to Poland as a gun-toting cashier for a timber company and then to New York before ending up in Dallas as a bookkeeper for Brunswick (later Columbia) Records in 1926. There he met fellow Englishman Arthur Satherley, and together they signed artists like Bob Wills, Al Dexter, the Chuck Wagon Gang, and blues legend Robert Johnson. After a spell at Columbia's head office overseeing educational records, Law was a salesman before becoming Satherley's assistant in July 1949. He took over country A&R upon Satherley's enforced retirement in May 1952.
In 1962, Law's productions hogged the top of the charts for twenty weeks, and in February that year he made Owen Bradley's Nashville studio the base of his operations. He’d persuaded Columbia to buy it for a reported $300,000, and ran the label's country division from there as an independent fiefdom until his own retirement in 1967. Interviewed in 1966 by Gene Lees, he admitted that his personal taste ran to Scarlatti and Bach, "but," he added, "I've learned to appreciate this music. And I like it. I like the spontaneity and naturalness." There was even talk in 1962 of handing newly-signed Bob Dylan to Law. In his first 'Rolling Stone' interview, Dylan talked of meeting Law in New York. “I was about to record for him, and never did," he said. The pairing wasn’t quite as far-fetched as it seemed. A few years later, Law made a point of signing Sara and Maybelle Carter who were as raw if not as polemical as Dylan. No doubt to his great surprise, Law had just witnessed the re-release of the recordings he'd made with Delta blues legend Robert Johnson in 1936 and '37. The 1970 release of the second volume featured a front cover illustration almost certainly based on Law's recollection of the sessions.
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Article properties:Various - Country & Western Hit Parade: 1962 - Dim Lights, Thick Smoke And Hillbilly Music
Interpret: Various - Country & Western Hit Parade
Album titlle: 1962 - Dim Lights, Thick Smoke And Hillbilly Music
Genre Country
Label Bear Family Records
- Preiscode AR
- Edition 2 Deluxe Edition
Artikelart CD
EAN: 4000127169679
- weight in Kg 0.2
| Various - Country & Western Hit Parade - 1962 - Dim Lights, Thick Smoke And Hillbilly Music CD 1 | ||||
|---|---|---|---|---|
| 01 | IÆve Been Everywhere | Snow, Hank | ||
| 02 | She Thinks I Still Care | Jones, George | ||
| 03 | Wolverton Mountain | King, Claude | ||
| 04 | SheÆs Got You | Cline, Patsy | ||
| 05 | Lonesome Number One | Gibson, Don | ||
| 06 | A Wound Time CanÆt Erase | Jackson, Stonewall | ||
| 07 | Devil Woman | Robbins, Marty | ||
| 08 | Mama Sang A Song | Anderson , Bill | ||
| 09 | The Ballad Of Jed Clampett | Flatt & Scruggs | ||
| 10 | (LoveÆs) Ring Of Fire | Carter, Anita | ||
| 11 | My Name Is Mud | OÆGwynn, James | ||
| 12 | Another Day, Another Dollar | Stewart, Wynn | ||
| 13 | So Wrong | Cline, Patsy | ||
| 14 | Pride | Price, Ray | ||
| 15 | Misery Loves Company | Wagoner, Porter | ||
| 16 | DonÆt Go Near The Indians | Allen, Rex | ||
| 17 | Charlie's Shoes | Walker , Billy | ||
| 18 | DonÆt Let Me Cross Over | Butler , Carl | ||
| 19 | Success | Lynn, Loretta | ||
| 20 | From A Jack To A King | Miller, Ned | ||
| 21 | Touch Me | Nelson, Willie | ||
| 22 | Sally Was A Good Old Girl | Cochran, Hank | ||
| 23 | A Girl I Used To Know | Jones, George | ||
| 24 | KickinÆ Our Hearts Around | Owens, Buck | ||
| 25 | Crazy Wild Desire | Pierce, Webb | ||
| 26 | Adios Amigo | Reeves, Jim | ||
| 27 | Ruby Ann | Robbins, Marty | ||
| 28 | That's My Pa | Wooley, Sheb | ||
| 29 | PT 109 | Dean, Jimmy | ||
| 30 | Release Me | Phillips, Little Esther | ||
| 31 | I've Been Everywhere (original Australian ver | Starr, Lucky | ||
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 Streetund 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/
Copyright © Bear Family Records
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Die nächsten fünf Ausgaben dieser herausragenden Serie liegen nun vor...5 neue in Buchform verpackte Silberlinge, die in jede Sammlung gehören..
R&R Musikmagazin 1/12 H.-G. Hartwig

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