Various - Country & Western Hit Parade 1966 - Dim Lights, Thick Smoke And Hillbilly Music

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Various - Country & Western Hit Parade: 1966 - Dim Lights, Thick Smoke And Hillbilly Music
As far back as the mid-1940s, 'Billboard' magazine had polled dee-jays, including country dee-jays, to tabulate the year's top records, labels, artists, and industry guys. On October 19, 1966 the magazine announced its nineteenth annual country winners in one of the Grand Ole Opry's early homes, Nashville's War Memorial auditorium. Minnie Pearl hosted the event and received the 'Man of the Year' award. The show was filmed for television, and parts were aired on Dick Clark's morning TV show, 'Swingin' Country.'
The 'Billboard' awards were held during Country Music Week, an industry event that began in 1950 when someone in the advertising department at the Opry's parent station, WSM, suggested bringing country dee-jays from around the nation to Nashville for a celebration. Fewer than fifty showed up for the first gathering in 1951, but it became the annual Disc Jockey Convention, and soon morphed into Country Music Week. Artists thanked dee-jays and labels pitched new acts. It was an industry schmooze-fest out of sight of the record buying public, and, by the mid-1960s, it was a big event with lots of drinking, eating and whoring.
Today's televised country awards shows, all of them aimed at the industry and the public, had their roots in the mid-1960s. They were the ACMs (the Academy of Country Music awards), the CMAs (Country Music Association awards), and the CMT (Country Music Television awards).
The Country Music Association was formed in Nashville in 1958. In 1967, the CMA eclipsed 'Billboard' by launching its awards show during October's Country Music Week. There Goes My Everything was Song of the Year, Single of the Year, and Album of the Year, and its performer, Jack Greene, was Male Vocalist of the Year. Meanwhile, the Association's Country Music Hall of Fame was expanding. There had been annual inductions since 1961, and the 1966 inductees were Eddy Arnold, Jim Denny, Opry originator George D. Hay, and recording pioneer Uncle Dave Macon. Aged 48, Arnold was the youngest living inductee. Hay, aged 72, had long since fallen out with the Opry, and was living in Virginia Beach. The awards were displayed at the Tennessee State Museum until the Hall of Fame Museum opened at the apex of Music Row on April 1, 1967.
Faron Young's 'Music City News' magazine launched its own awards in 1967, and the show finally made it to television in 1978. The 1967 Song of the Year was There Goes My Everything. In 1988, the MCN awards were taken over by a cable TV operator, The Nashville Network, and when TNN disappeared, the fan-voted awards became known as the Country Music Television (CMT) awards.
But the winner for first country music award show was the Country & Western Music Academy. Launched in Los Angeles in 1963 to challenge country music's Nashville-centrism, the Academy’s first get-together was held the following year at the Red Barrel nightclub in Los Angeles. The host was Tex Williams, and most of the early members were Hollywood cowboys rather than Bakersfield honky tonkers. The first awards show was held on February 28, 1966 at the Hollywood Palladium, making it, by common assent, the first-ever all-country awards show. By then, most of the top California-based performers were on board and the association soon became known as the Academy of Country Music. The show was televised from 1973 and stayed in Los Angeles until 2003 when it moved to Las Vegas.
Two more country music industry awards began around this time. The Nashville Songwriters Association was launched in 1967 by Eddie Miller (Release Me), Buddy Mize (The Shoe Goes On The Other Foot Tonight), and Bill Brock (I'll Just Have A Cup Of Coffee). The NSA immediately began issuing Songwriter of the Year awards for the previous year's best work. Dallas Frazier won for There Goes My Everything. Not to be outdone, BMI launched its Songwriter of the Year award in 1967 (Don Gibson was the first country winner, ironically so as he had almost stopped writing) together with the Robert J. Burton award for the writer and publisher of the previous year's most performed country song (won by Glenn Sutton and Billy Sherrill for Almost Persuaded).
On October 15, 1966, 'Billboard' acknowledged country music's growing popularity by increasing the number of positions on its Hot Country Singles chart from 50 to 75. There were just five positions in 1945—our starting point for this series. 'Billboard' also began a new method of tabulating radio airplay, and this was at a time when airplay figured into chart positioning. One consequence was that hits came and went more quickly. In 1967, twenty records topped the charts compared with eight in 1947. In 1986, a new record topped the country charts literally every week of the year.
As a postscript, it's worth reiterating that charts and award shows celebrate the most successful records, but we don't. This series gives equal prominence to the year's most influential and groundbreaking records, successful or not.
Article properties:Various - Country & Western Hit Parade: 1966 - Dim Lights, Thick Smoke And Hillbilly Music
Interpret: Various - Country & Western Hit Parade
Album titlle: 1966 - Dim Lights, Thick Smoke And Hillbilly Music
Genre Country
Label Bear Family Records
- Preiscode AR
- Edition 2 Deluxe Edition
Artikelart CD
EAN: 5397102172618
- weight in Kg 0.2
| Various - Country & Western Hit Parade - 1966 - Dim Lights, Thick Smoke And Hillbilly Music CD 1 | ||||
|---|---|---|---|---|
| 01 | Distant Drums | Reeves, Jim | ||
| 02 | The Streets Of Baltimore | Bare, Bobby | ||
| 03 | The Shoe Goes On The Other Foot Tonight | Robbins, Marty | ||
| 04 | Don't Touch Me | Seely, Jeannie | ||
| 05 | Stateside | Tillis, Mel | ||
| 06 | Almost Persuaded | Houston, David | ||
| 07 | I Get The Fever | Anderson, Bill | ||
| 08 | You Ain't Woman Enough | Lynn, Loretta | ||
| 09 | Husbands And Wives | Miller, Roger | ||
| 10 | Swinging Doors | Haggard, Merle | ||
| 11 | Funny, Familiar Forgotten Feelings | Gibson, Don | ||
| 12 | Waitin' In Your Welfare Line | Owens, Buck | ||
| 13 | Sweet Thang | Stuckey, Nat | ||
| 14 | There Goes My Everything | Greene, Jack | ||
| 15 | Elvira | Frazier, Dallas | ||
| 16 | The Bottle Let Me Down | Haggard, Merle | ||
| 17 | I've Been A Long Time Leavin' (But I'll Be A Long Time Gone) | Miller, Roger | ||
| 18 | Misty Blue | Burgess, Wilma | ||
| 19 | Unmitigated Gall | Young, Faron | ||
| 20 | I Want To Go With You | Arnold, Eddy | ||
| 21 | The One On The Right Is On The Left | Cash, Johnny | ||
| 22 | (Pardon Me) I've Got Someone To Kill | Paycheck, Johnny | ||
| 23 | Touch My Heart | Price, Ray | ||
| 24 | I'd Just Be Fool Enough | Browns, The | ||
| 25 | The Fugitive (aka I'm A Lonesome Fugitive) | Haggard, Merle | ||
| 26 | Skid Row Joe | Wagoner, Porter | ||
| 27 | Apartment #9 | Wynette, Tammy | ||
| 28 | Open Up Your Heart | Owens, Buck | ||
| 29 | Anita You're Dreaming | Jennings, Waylon | ||
| 30 | Don't Come Home A Drinkin' (With Lovin' On Your Mind) | Lynn, Loretta | ||
| 31 | Distant Drums (undubbed) | Reeves, Jim | ||
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
An essential collection and well worth investing in the whole series to see and hear how country music progressed from 1945 throught to 1970.
Maverick 1-2/2014 Alan Cackett
Ein passendes Schlusswort einer tollen Serie!
R & R Musikmagazin 6/13 H.-G. Hartwig
Nur Richard Weize und sein Team trauen sich an eine so monumentale Aufgabe heran. Egal ob konservativ oder innovativ: Es ist viel fabelhafte Musik auf diesen CDs.
Rookie 11/13 Jörn Schlüter
Dringende Kaufempfehlung für die gesamte Reine!
Dynamite 1/14
Ohne Übertreibung darf man feststellen: Besser geht’s nicht!
Good Times 6/2013 Ulrich Schwartz
These CDs are both essential and things of beauty. Everybody should own them. All of them.
Country Music People 11/13 Duncan Warwick

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