Audio CDSerien-Freunde aufgepasst. Am 26. Februar 2013, um 21:50 Uhr, startet auf dem Pay-TV-Sender FOX die neue US-TV-Serie ´´Nashville´´ in Deutschland. Der fantastische Soundtrack zu ´´Nashville´´ wurde co-produziert vom legendären T-Bone Burnett. Im
Nashville - Winkler Film 6413943 - (DVD Video / Musikfilm / Musical)
(2017/Ace) 24 Tracks - 20 page booklet - In the 60s and 70s, Nashville was a hothouse of R&B, Soul and Jazz. Bob Holmes was a central character! In the 60s and 70s, Nashville was a hothouse of R&B, soul and jazz. Bob Holmes was a central character. With the publication of E Mark Windle’s book House Of Broken Hearts, the city of Nashville’s black music scene is being studied in detail for the first time since Kent issued the CDs ´´Uptown Down South” and ´´Music City Soul” in the late 90s. To coordinate with the book we are releasing another compilation of Nashville soul, this time concentrating on the work of multi-talented songwriter, producer and arranger Bob Holmes. Those earlier CDs featured Excello/A-Bet and Poncello/Ref-O-Ree recordings respectively. This new collection also draws from those sources, plus Bob Holmes’ personal tapes and other third-party licenses. The time span is 1965 to 1980. The Hytones are the most-featured act, albeit in various guises. The superb mid-tempo ‘Runaway Girl’ was previously available only on a 100 Club promo 45, and their rare deep soul A-Bet release ‘I’ve Got My Baby’ gets its first release on CD. The guys also team up with the Avons for the previously unheard ‘Oo Gilly Baby’, dedicated to local DJ Clarence Kilcrease aka ´´Gilly Baby”. Hytones members Freddie Waters and Eddie Frierson sing solo on captivating Holmes songs and appear as a duo on ‘Steady’, an atmospheric late 70s groove. The Avons’ own scarce A-Bet 45 ‘Got To Get Used To You’ also makes its CD debut. Sandra King’s ‘Leave It Up To The Boys’ is an expensive record to find and shows how Holmes was stylistically influenced more by New York and Detroit than Memphis. Freddie North’s beautiful big beat ballad ‘Don’t Make Me Look So Bad’ and the Paramount Four’s stunning ‘You Must Leave Her Because You Love Her’ are similarly polished. Holmes worked extensively with R&B producer Ted Jarrett on superb late 60s recordings by great Nashville singers such as Gene Allison, Roscoe Shelton and Peggy Gaines, and even wrote and produced ‘Tip On In’, a hit for blues veteran Slim Harpo. By the 1970s his expertise was being appreciated by other companies. He arranged Joe Tex’s hit dance track ‘Under Your Powerful Love’ for Dial and Bill Brandon’s modern soul classic ‘The Streets Got My Lady’ for Piedmont. He could also deliver authentic southern soul, as heard on Jimmy Church’s ‘Right In The Palm Of Your Hand’ and a beautiful, although unfinished, version of Clyde McPhatter’s ‘Crying Won’t Help You Now’ by Johnny Truitt. The Golden Bond’s superb harmony single ‘I Know (It’s All Over)’ is featured in its previously unheard full 4-minutes-plus version, while Roger Hatcher’s Volt 45 ‘I Dedicate My Life To You’ demonstrates great musical sensitivity and Ruthie’s smooth ‘Let’s Try Love Again’ from 1980 is evidence that Holmes could move with the times. A man of many talents, Holmes studied and lectured at several colleges in Nashville. His musicality is apparent on studio group Little Rock Brotherhood’s instrumental ‘Girl Watching On Broadway’. He wrote for and performed in jazz groups throughout his life, adapted to disco and even electro funk in the late 70s, and went on to write film music and classical works. He also pioneered music production on television with the local Night Train show which ran from1964 to 1967 and featured many of his associated acts. Ady Croasdell
This book explores the formation and continuance of Nashville, Tennessee as a music place, the importance of the fans (tourists) in creating Nashvilles multifaceted musical identity, and the music and citys influence on the formation and performance of the individual and collective identities of the country-music fan. More importantly, the author discusses the larger issue of country music as a signifier of tradition suggesting that for many visitors, the music serves as a soundtrack, while Nashville serves as a performative space that permits the creation, performance, and remembrance of not only the country-music tradition, but also various individual and collective traditions and an idealized American identity. Through the theatrics of tourism, Nashville and its connection to country music are performed daily, reinforced through the sound and landscape of country music. Performing Nashville will be of interest to students and scholars across a range of disciplines, including tourism studies, leisure studies, ethnomusicology, sociology, folklore and anthropology. Robert W. Fry is Senior Lecturer in Music History and Literature at Vanderbilt Universitys Blair School of Music in Nashville, USA where he teaches courses in global music, jazz, blues, music in the American South, and music tourism. His current research focuses on music tourism and the role of fan culture in the production of a musical place.
Taschenbuch - 256 - Hillsboro Pr - Englisch ´Nashville was beginning to be felt as a presence in the record industry, not just for its country product, but for R&B as well. I did everything I could to catch the brass ring. I worked at it night and day.´ Ted Jarrett Ted Jarrett has been a central figure in Music City´s rhythm & blues scene since the 1950s, working as a hit songwriter, musician, producer, label chief, artist manager, talent scout, and disc jockey. You Can Make It If You Try provides a fascinating and instructive look at one man´s drive to succeed in the world of music. In rich and frank detail, Jarrett and co-writer Ruth White describe the circumstances under which Jarrett discovered and nurtured top R&B talent. They introduce the numerous musicians, nightclubs, record labels, and radio stations on the scene; and they explain the inspirations behind Jarrett´s best-known songs. Jarrett´s autobiography also offers insightful look into the interaction of white and ´black musical cultures in Nashville, and shares the personal challenges he faced in pursuing a life of music. TED JARRETT is a graduate of Fisk University. His compositions were first recorded by Nashville R&B stars such as Gene Allison, Earl Gaines, and Christine Kittrell, and soon were covered by a wide variety of acts including the Rolling Stones, Webb Pierce, Ruth Brown, and Hank Ballard. Still active at age eighty, Jarrett continues to work as a songwriter, producer, artist manager, and label executive. He is at the heart of the Country Music Hall of Fame® and Museum´s 2004-05 exhibition and Grammy-winning companion CD, Night Train to Nashville: Music City Rhythm & Blues, 1945-1970. RUTH WHITE, a fifty-year veteran of the music business, has worked in all phases of Nashville´s music industry. A native of Nashville, she majored in music at Ward Belmont College and became a song plugger in 1947. She worked as a copyright administrator for a number of music publishing companies and managed Porter Wagoner Enterprises. After retiring as manager of Reed Music Incorporated´s recording, publishing, booking, and management operations, she began a writing career. She is the author of Every Highway Out of Nashville; Mecklenburg: The Life and Times of a Proud People; and The Original Goober. She is married to country musician and publisher Howard White
Waylon Jennings. Willie Nelson. Kris Kristofferson. Three renegade musicians. Three unexpected stars. Three men who changed Nashville and country music forever. By the late 1960s, Nashville, Tennessee, was firmly established as the center of the booming country music industry and home to what was known as the Nashville Sound, characterized by slick production and adherence to an increasingly overused formula. But the city was changing. Young people from all over the country were streaming into the bohemian West End and colliding with three trailblazing artists who would soon rock the foundations of Nashville´s music business. Surrounded by the street vibes of the West End´s burgeoning underground scene and the outlaw protest tradition of Nashville´s unlikely civil rights leaders and antiwar protestors, Waylon, Willie, and Kris began resisting the unspoken rules of Nashville´s music-making machine and instead forged their own creative paths. Their music, personal and not easily categorized, was more in the vein of rock acts like the Allman Brothers and Bob Dylan, and it communicated a stark rawness and honesty that would influence artists of all genres for decades to come. Studded with a diverse secondary cast including Johnny Cash, Rodney Crowell, Kinky Friedman, Billy Joe Shaver, and others, Streissguth´s new book brings to life an incredible chapter in musical history and reveals for the first time a surprising outlaw zeitgeist in Nashville. Based on extensive research and probing interviews with key players, what emerges is a fascinating glimpse into three of the most legendary artists of our times and the definitive story of how they changed music in Nashville and everywhere. 1. Language: English. Narrator: John Pruden. Audio sample: http://samples.audible.de/bk/harp/003463de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.
Taschenbuch - 258 Seiten - Billboard Books - 1995 - Englisch by Neil Haislop, Tad Lathrop and Harry Sumrall Some say country and western, some say western swing, some say hillbilly music. But by any name, the sound collectively known as country music has a rich American iltion and an ongoing vitality that continues to move listeners today. Giants of Country Music offers an inside view of 180 of country´s biggest names, drawing upon dozens of never-before-published intervikwith such stars as Garth Brooks, Clint lack, Mary Chapin Carpenter, Willie Nelson, Dwight Yoakam, Randy Travis, and many more. Here the artists get ´´up close and personal,´´ providing insights into their musical styles, in ences, and contributions to the larger country music community. The book covers each artist´s career in detail and explains how their work has fit into the surrounding musical landscape. Loaded with freewheeling stories and anecdotes, many of them appearing in print for the first time, Giants of Country Music presents a special look at a sound that is more popular now than ever.
Inspired by the Hank Williams and Leadbelly recordings he heard as a teenager growing up outside of Boston, Jim Rooney began a musical journey that intersected with some of the biggest names in American music, including Bob Dylan, James Taylor, Bill Monroe, Muddy Waters, and Alison Krauss. In It for the Long Run: A Musical Odyssey is Rooney´s kaleidoscopic firsthand account of more than five decades of success as a performer, concert promoter, songwriter, music publisher, engineer, and record producer. As witness to and participant in over half a century of music history, Rooney provides a sophisticated window into American vernacular music. Following his stint as a Hayloft Jamboree hillbilly singer in the mid-1950s, Rooney managed Cambridge´s Club 47, a catalyst of the ´60s folk music boom. He soon moved to the Newport Folk Festival as talent coordinator and director, where he had a front-row seat to Dylan ´´going electric´´. In the 1970s, Rooney´s odyssey continued in Nashville, where he began engineering and producing records. His work helped alternative country music gain a foothold in Music City and culminated in Grammy nominations for singer-songwriters John Prine, Iris Dement, and Nanci Griffith. Later in his career, he was a key link connecting Nashville to Ireland´s folk music scene. Whether he´s writing songs or writing his memoir, Jim Rooney is the consummate storyteller. In It for the Long Run: A Musical Odyssey is his singular chronicle from the heart of Americana. 1. Language: English. Narrator: Jim Rooney. Audio sample: http://samples.audible.de/bk/blak/008390de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.