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Bill Monroe Castle Studio 1950-1951 - Complete Sessions

Artikel-Nr.: ACD12522

Gewicht in Kg: 0,500

 

Sofort versandfertig, Lieferzeit** 1-3 Werktage

79,95 € *
 
 
 
 
 

Bill Monroe: Castle Studio 1950-1951 - Complete Sessions

Video von Bill Monroe - Castle Studio 1950-1951 - Complete Sessions

5-CD hardcover album (CD-size) - 68-page booklet - 181 tracks -(366 min.)

Für die Anhänger von Bill Monroes Musik waren die von BEAR FAMILY seit 1989 veröffentlichten CD-Boxen die Erfüllung aller Hörerträume: die kompletten Aufnahmen des Bluegrass-Pioniers, geschmackvoll zusammengestellt als CD-Sets mit informativen Begleitbüchern. Jetzt haben wir etwas noch viel großartigeres: alle bekannten DECCA-Aufnahmen von Monroe aus den Jahren 1950-51, mit den Sängern Jimmy Martin, Carter Stanley und Edd Mayfield, und dazu – unglaublich! – sämtliche Outtakes (alle bisher unveröffentlicht) von jedem Stück. Dies bedeutet unter anderem mehrere Takes von Raw Hide – eine Offenbarung für Musiker und aufmerksame Hörer, die diese spektakuläre Aufnahme jahrelang studiert haben. 

Es bedeutet außerdem, daß das Tape-Klicken, das wir bisher bei The First Whip- poorwill toleriert hatten, jetzt nicht mehr zu hören ist, da die zuvor veröffentlichte Version von einem fehlerhaft kopierten Band stammt, während die „neue“ 1951er-Version vom original- Masterband kommt.
Diese traumhafte Edition enthält außerdem eine von Neil Rosenberg überarbeitete Diskographie sowie Linernotes von Dick Spottswood (bearbeitet von Rosenberg) mit Erinnerungen von Monroe-Geiger Charlie Smith.
Bluegrass vom Feinsten!
 

Songs

Monroe, Bill - Castle Studio 1950-1951 - Complete Sessions Box set 1
1: Blue Grass Ramble (instrumental) (take 1)
2: Blue Grass Ramble (instrumental) (take 2)
3: Blue Grass Ramble (instrumental) (take 3) OP 1950
4: New Mule Skinner Blues (take 1)
5: New Mule Skinner Blues (take 2, false )
6: New Mule Skinner Blues (take 3) OP 1950
7: New Mule Skinner Blues (take 4)
8: My Little Georgia Rose (take 1)
9: My Little Georgia Rose (take 2, false )
10: My Little Georgia Rose (take 3)
11: My Little Georgia Rose (take 4, fasle )
12: My Little Georgia Rose (take 5) OP 1950
13: Memories Of You (take 1)
14: Memories Of You (take 2)
15: Memories Of You (take 3, false )
16: Memories Of You (take 4) OP 1950
17: I'm On My Way To The Old Home (take 1)
18: I'm On My Way To The Old Home (take 2) OP 1952
19: Alabama Waltz (take 1)
20: Alabama Waltz (take 2,
21: Alabama Waltz (take 3,
22: Alabama Waltz (take 4)
23: Alabama Waltz (take 5)
24: Alabama Waltz (take 6,
25: Alabama Waltz (take 7,
26: Alabama Waltz (take 8)
27: I'm Blue, I'm Lonesome (take 1)
28: I'm Blue, I'm Lonesome (take 2)
29: I'm Blue, I'm Lonesome (take 3)
30: I'm Blue, I'm Lonesome (take 4)
31: I'm Blue, I'm Lonesome (take 5)
32: I'm Blue, I'm Lonesome (take 6)
33: I'll Meet You In Church Sunday
34: I'll Meet You In Church Sunday
35: I'll Meet You In Church Sunday
36: I'll Meet You In Church Sunday
37: Boat Of Love (take 1)
38: Boat Of Love (take 2,
39: Boat Of Love (take 3)
40: Boat Of Love (take 4)
Monroe, Bill - Castle Studio 1950-1951 - Complete Sessions Box set 2
1: The Old Fiddler (take1, breakdown)
2: The Old Fiddler (take2, breakdown)
3: The Old Fiddler (take3, breakdown)
4: The Old Fiddler (take4)
5: The Old Fiddler (take5, false )
6: The Old Fiddler (take6)
7: The Old Fiddler (take7)
8: The Old Fiddler (take8) OP 1950
9: Uncle Pen (false )
10: Uncle Pen (take 2) OP 1951
11: When The Golden Leaves Begin To Fall (take 1)
12: When The Golden Leaves Begin To Fall (take 2)
13: When The Golden Leaves Begin To Fall (take 3, breakdown) 14 When The Golden Leaves Begin To Fall (take 4) OP 1951
15: Lord Protect My Soul (take 1, false )
16: Lord Protect My Soul (take 2)
17: Lord Protect My Soul (take 3, false )
18: Lord Protect My Soul (take 4)
19: Lord Protect My Soul (take 5)
20: Lord Protect My Soul (take 6) OP 1951
21: 2, breakdown) River Of Death (take 1
22: River Of Death (take 3, false )
23: River Of Death (take 4, breakdown)
24: River Of Death (take 5) OP 1951
25: Letter From My Darlin' (take 1) OP 1952
26: On The Old Kentucky Shore (take 1)
27: 3, breakdown) On The Old Kentucky Shore (take 2
28: On The Old Kentucky Shore (take 4)
29: On The Old Kentucky Shore (take 5) OP 1951
30: Raw Hide (instrumental) (take 1, breakdown)
31: Raw Hide (instrumental) (take 2)
32: Raw Hide (instrumental) (take 3, false )
33: Raw Hide (instrumental) (take 4)
34: Raw Hide (instrumental) (take 5)
35: Raw Hide (instrumental) (take 6) OP 1952
Monroe, Bill - Castle Studio 1950-1951 - Complete Sessions Box set 3
1: Poison Love (take 1, breakdown)
2: Poison Love (take 2, breakdown)
3: Poison Love (take 3, breakdown)
4: Poison Love (take 4, breakdown)
5: Poison Love (take 5, breakdown)
6: Poison Love (take 6, breakdown)
7: Poison Love (take 7, false )
8: Poison Love (take 8)
9: Poison Love (take 9, breakdown)
10: Poison Love (take 10, breakdown)
11: Poison Love (take 11 false , 2 breakdowns)
12: Poison Love (take 12 false , breakdown)
13: Poison Love (take 13, false ) 0 1951
14: Kentucky Waltz (take 1)
15: Kentucky Waltz (take 2)
16: Kentucky Waltz (take 3) 0 1951
17: Prisoner's Song (take 1, false )
18: Prisoner's Song (take 2) 0 1951
19: Swing Low, Sweet Chariot (take 1)
20: Swing Low, Sweet Chariot (take 2)
21: Swing Low, Sweet Chariot (take 3, breakdown)
22: Swing Low, Sweet Chariot (take 4) 0 1951
23: Angels Rock Me To Sleep (take 1)
24: Angels Rock Me To Sleep (take 2, false )
25: Angels Rock Me To Sleep (take 3, false )
26: Angels Rock Me To Sleep (take 4)
27: Angels Rock Me To Sleep (take 5, breakdown)
28: Angels Rock Me To Sleep (take 6) OP 1951
29: Brakeman's Blues (take 1, breakdown)
30: Brakeman's Blues (take 2, false )
31: Brakeman's Blues (take 3) OP 1951
32: Travelin' Blues (take 1)
33: Travelin' Blues (take 2 false , breakdown)
34: Travelin' Blues (take 3)
35: Travelin' Blues (take 4, breakdown)
36: Travelin' Blues (take 5) OP 1951
Monroe, Bill - Castle Studio 1950-1951 - Complete Sessions Box set 4
1: When The Cactus Is In Bloom (take 1, breakdown)
2: When The Cactus Is In Bloom (take 2)
3: Sailor's Plea (take 1)
4: Sailor's Plea (take 2)
5: Sailor's Plea (take 3, breakdown)
6: Sailor's Plea (take 4) 0 1952
7: Sailor's Plea (take 5, breakdown)
8: Sailor's Plea (take 6)
9: My Carolina Sunshine Girl (take 1, breakdown)
10: My Carolina Sunshine Girl (take 2, breakdown)
11: My Carolina Sunshine Girl (take 3)
12: My Carolina Sunshine Girl (take 4, breakdown)
13: My Carolina Sunshine Girl (take 5) 0 1989
14: Ben Dewberry's Final Run (take 1)
15: Ben Dewberry's Final Run (take 2, breakdown)
16: Ben Dewberry's Final Run (take 3) 0 1989
17: Peach Pickin' Time In Georgia (take 1, 2 false s)
18: Peach Pickin' Time In Georgia (take 2, false , breakdown)
19: Peach Pickin' Time In Georgia (take 3,false ) 0 1964
20: Those Gambler's Blues (take 1, breakdown)
21: Those Gambler's Blues (take 2, false , breakdown)
22: Those Gambler's Blues (take 3, false ) 0 1989
23: Highway Of Sorrow (take 1, false , breakdown)
24: Highway Of Sorrow (take 2)
25: Highway Of Sorrow (take 3) 0 1951
26: Rotation Blues (take 1)
27: Rotation Blues (take 2)
28: Rotation Blues (take 3, breakdown)
29: Rotation Blues (take 4, breakdown)
30: Rotation Blues (take 5)
31: Rotation Blues (take 6, breakdown)
32: Rotation Blues (take 7, breakdown)
33: Rotation Blues (take 8, breakdown)
34: Rotation Blues (take 9)
Monroe, Bill - Castle Studio 1950-1951 - Complete Sessions Box set 5
1: Lonesome Truck Driver's Blues (take 1, breakdown)
2: Lonesome Truck Driver's Blues (take 2)
3: Lonesome Truck Driver's Blues (take 3, breakdown)
4: Lonesome Truck Driver's Blues (take 4) ® 1951
5: Sugar Coated Love (take 1)
6: Sugar Coated Love (take 2, breakdown)
7: Sugar Coated Love (take 3)
8: Sugar Coated Love (take 4)
9: Sugar Coated Love (take 5) 0 1951
10: Cabin Of Love (take 1)
11: Cabin Of Love (take 2)
12: Cabin Of Love (take 3)
13: Cabin Of Love (take 4) 0 1953
14: You're Drifting Away (take 1)
15: You're Drifting Away (take 2)
16: You're Drifting Away (take 3) ® 1953
17: Get Down On Your Knees And Pray (take 1)
18: Get Down On Your Knees And Pray (take 2, breakdown)
19: Get Down On Your Knees And Pray (take 3)
20: Get Down On Your Knees And Pray (take El)
21: Get Down On Your Knees And Pray (take E2)
22: Get Down On Your Knees And Pray (take E3)
23: Get Down On Your Knees And Pray (take 3, master) 0 1951
24: Christmas Time's A-Coming (take 1, false & breakdown)
25: Christmas Time's A-Coming (take 2, breakdown)
26: Christmas Time's A-Coming (take 3, breakdown)
27: Christmas Time's A-Coming (take 4)
28: Christmas Time's A-Coming (take 5, breakdown)
29: Christmas Time's A-Coming (take 6) C) 1951
30: The First Whippoorwill (take 1)
31: The First Whippoorwill (take 2, false )
32: The First Whippoorwill (take 3, breakdown)
33: The First Whippoorwill (take 4, breakdown)
34: The First Whippoorwill (take 5, breakdown)
35: The First Whippoorwill (take 6)
36: The First Whippoorwill (take 7) p1951

 

Artikeleigenschaften von Bill Monroe: Castle Studio 1950-1951 - Complete Sessions

  • Interpret: Bill Monroe

  • Albumtitel: Castle Studio 1950-1951 - Complete Sessions

  • Artikelart Box set

  • Genre Country

  • Label Richard Weize Archives

  • SubGenre Country - Bluegrass

  • EAN: 4260072724228

  • Gewicht in Kg: 0.500
 
 

Interpreten-Beschreibung "Monroe, Bill"

Bill Monroe

Record Labels: RCA, Columbia, Harmony, Decca, MCA, Stetson, Rebel
Erster Hit: Scotland (1958)

Bill Monroe, The Father Of Bluegrass Music, begann seine Schallplattenkarriere 1936 zusammen mit seinem Bruder Charlie als "The Monroe Brothers“. Neben den Blue Sky Boys zählten die Monroes zu den populärsten Duos der 30er Jahre. Nach der Trennung von Charlie 1938 gründete Bill zunächst eine Gruppe die er „Kentuckians“ und wenig später "Bluegrass Boys“ nannte. 1940 spielte er die ersten Aufnahmen für RCA ein, doch erst nach dem Zweiten Weltkrieg folgten die ersten Aufnahmen in jenem Stil, der im Verlauf der Jahre als „Bluegrass“ in die Geschichte der Country Music eingehen sollte.

Genau am 16. September 1946 wurden die ersten Bill Monroe Aufnahmen in den Castle Studios von Nashville - Tennessee aufgenommen, die man als Bluegrass bezeichnen kann, gekennzeichnet nicht nur durch Bill Monroe`s hohe scharfe Stimme und den harten Drive der Band, sondern vor allem durch das im 3-Finger-Stil gespielte 5-String-Banjo von Earl Scruggs. Das war für Columbia Records. Als Columbia dann später mit den Stanley Brothers eine weitere Bluegrass Band unter Vertrag nahm, verließ Monroe das Unternehmen und ging zur Decca, der späteren MCA. Bill Monroe, der mit seiner Band den Bluegrass Stil kreierte, hat selbst wenig zur Weiterentwicklung dieses Stils beigetragen. Dies haben andere besorgt. Er selbst spielt noch heute nach dem alten Konzept, hat keine weiteren Instrumente als Fiddle, Banjo, Gitarre, Mandoline und Bass zugelassen und singt noch immer hoch und scharf. Dennoch, die wichtigsten Bluegrassmusiker sind mehr oder weniger lang durch die harte Schule von Bill Monroe hindurch: Clyde Moody, Howdy Forrester, Don Reno, Red Smiley, Jimmy Martin, Carter Stanley, Vassar Clements, Chubby Wise und Byron Berline. 1970 wurde Bill Monroe in die Country Music Hall Of Fame aufgenommen.

 Bill Monroe

William Smith Monroe was born on September 13, 1911 near Rosine, Ohio County, Kentucky. His older brother Charles had been born on July 4, 1903. Bill was the youngest child of the eight children born to Malissa Vandiver and James Buchanan 'Buck' Monroe, a local farmer, coal miner, and timber cutter. Rosine was far from the rugged mountains of eastern Kentucky, but was set in the rolling hills of the western end of the state, about 30 miles from the Ohio River. Young Bill, like the rest of his family, grew up doing hard physical chores on the family's 653-acre farm -- an experience that instilled in him a work ethic that would dominate his life.

 The Monroe children relaxed with music. Buck Monroe was an especially fine flat-foot dancer, often featuring a dance called the 'Kentucky Back-Step,' and three of the sons--Birch, Charlie, and Bill--would later begin their careers by doing such dancing on stage. The brothers learned music from their mother, who sang the old classic ballads; from their Uncle Pen Vandiver, who was the region's best-known square dance fiddler; from the shape-note singing schools local churches and travelling teachers held in the summer; from local black musicians like Arnold Shultz, who played a blues-tinged thumbpicking guitar style; and from the stars of Chicago station WLS's 'National Barn Dance,' such as Mac and Bob, blind musicians who used mandolin and guitar; and The Prairie Ramblers, a hot string band from western Kentucky that featured a mandola. Bill --along with thousands of others-- also admired the Victrola records of Vernon Dalhart, Jimmie Rodgers, and Bradley Kincaid.

It was the younger of the Monroe children who became most involved with the music. Older brother Birch took up the fiddle, and Charlie and sister Bertha began playing guitar. When Bill was eight or nine, he began fooling around with instruments, mainly the guitar and mandolin; he really wanted to specialize in the fiddle or guitar, but as the youngest and smallest he was stuck with the mandolin in the family music sessions. In later years, Bill liked to tell about how his brothers would only let him use four strings on the mandolin (instead of the usual eight) so he wouldn't sound too loud.

1921 Malissa Monroe died and it was several years after this that Bill started playing music seriously. He began by playing guitar backup for his Uncle Pen at dances, and later spoke of Pen as "the fiddler that I learned to play from."  He also began to play dances with Arnold Shultz, a local black guitar player who was comfortable playing the blues, traditional Anglo tunes, pop music, and even jazz. (Friends of Shultz recall that he used to spend winters in New Orleans, where he picked up a fondness for 'passing' chords.) In 1927, when Bill was only 16, his father Buck Monroe passed away as well, and since his older brothers and sisters had already moved away, he was sent to live with his Uncle Pen. Bill continued to learn music from him.

Birch and Charlie Monroe, like so many young men in the late 1920s, had left the farm and gone north to work in the new factories supplying the auto industry. For a time they were in Detroit, and then moved to the East Chicago area, first to Hammond and then to Whiting, where they found jobs in oil refineries. Around 1929 Bill, who was now 18, came north to join them. His first job was working in the barrel house at the Sinclair refinery in which he moved huge, heavy drums of oil all day long--something that built his physique up to that resembling a weight lifter. It was a bruising job, but with the Depression hitting, it was the best available; Bill kept it for five years. Some of his brothers who had 'lighter' jobs were often out of work during these years, leaving young Bill as the sole support for parts of the family.

From booklet BCD16399 - Bill Monroe 1936-1949 (6-CD)
Read more at: https://www.bear-family.de/monroe-bill-1936-1949-6-cd.html
Copyright © Bear Family Records

 
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