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Willie Nelson Nashville Was The Roughest..(8-CD)

Nashville Was The Roughest..(8-CD)
 
 
 

Artikel-Nr.: BCD15831

Gewicht in Kg: 2,000

 

Sofort versandfertig, Lieferzeit** 1-3 Werktage

157,95 € *
 
 
 
 
 

Willie Nelson: Nashville Was The Roughest..(8-CD)

8-CD Box (LP-Format) mit 72-seitigem gebundenem Buch, 219 Einzeltitel. Spieldauer ca. 587 Minuten.

Bevor Willie Nelson einer der Protagonisten der Outlaw-Szene in den 1970er Jahren wurde, versuchte er sein Glück in Nashville. 1964 spielte er einige Aufnahmen für Monument ein und nahm kurz darauf Chet Atkins' Angebot an, bei RCA zu unterschreiben. In acht Jahren, von 1964 bis 1972, kristallisierte sich ein Stil heraus, der ihn zu einem der erfolgreichsten Country-Künstler machte. Es entstanden ein Live-Album, das in Fort Worths Panther Hall aufgenommen wurde; eine LP mit Ernest Tubbs Troubadours. Aber abgesehen von einigen unbedeutenden Hits blieben die großen Erfolge aus. Gegen Ende seiner RCA-Zeit nahm er zwei Konzept-Alben auf: 'Texas In My Soul', ein Tribut an seine Heimat und 'Yesterday's Wine', heute als bahnbrechend eingestuft, damals kaum bemerkt. Während seiner letzten Aufnahmesessions begann er 'Phases, Stages Circle And Cycles', ein Projekt, das er bei RCA nicht beenden konnte, dann allerdings zwei Jahre später bei Atlantic herausbrachte. Die Grundlagen seiner späteren Erfolge wurden bei RCA gelegt. Diese 8 CDs enthalten alle RCA- und Monument-Aufnahmen aus den Jahren 1964 bis 1972 und bieten einen definitiven Blick in die Entwicklung und Karriere eines der größten Stilisten der amerikanischen Musikgeschichte.

Ausserdem ist ein 72-seitiges Buch im LP-Format mit einer Biografie von Rich Kienzle, einer Diskografie und vielen seltenen und teilweise bisher unveröffentlichten Fotos enthalten.

8-CD Box (LP-Format) mit 72-seitigem gebundenem Buch, 219 Einzeltitel. Spieldauer ca. 587 Minuten


 

Songs

Nelson, Willie - Nashville Was The Roughest..(8-CD) Box set 1
1: King Of A Lonely Castle
2: (There'll Be) Someone Waiting For You
3: To Make A Long Story Short
4: I Never Cared For You
5: You Left Me A Long, Long Time Ago
6: I Feel That Old Feeling
7: King Of A Lonely Castle
8: Pretty Paper
9: What A Merry Christmas This Could Be
10: Healing Hands Of Time
11: Talk To Me
12: Whisky Walzer
13: Little Darling
14: Permanently Lonely
15: Healing Hands Of Time
16: Ashamed
17: She's Not For You
18: Are You Sure
19: Night Life
20: Mr. Record Man
21: Healing Hands Of Time
22: Funny How Time Slips Away
23: My Own Peculiar Way
24: One Day At A Time
25: It Should Be Easier Now
26: Darkness On The Face Of The Earth
27: Buddy
28: Hello Walls
29: So Much To Do
30: Within Your Crowd
Nelson, Willie - Nashville Was The Roughest..(8-CD) Box set 2
1: Did I Ever Love You
2: And So Will You My Love
3: I Just Can't Let You Say Goodbye
4: Down To Our Last Goodbye
5: Fraulein
6: I Love You Because
7: I'd Trade All Of My Tomorrows
8: Making Believe
9: Home In San Antone
10: Don't You Ever Get Tired (Of Hurting Me)
11: Columbus Stockade Blues
12: Seasons Of My Heart
13: Heartaches By The Number
14: Go On Home
15: My Windows Faces The South
16: San Antonio Rose
17: I'm Still Not Over You
18: San Antonio Rose
19: Columbus Stockade Blues
20: He Sits At My Table
21: A Wonderful Yesterday
22: The Party's Over
23: One In A Row
24: Make Way For A Better Man
25: Did I Ever Love You
26: And So Will You My Love
27: I Just Can't Let You Say Goodbye
28: Down To Our Last Goodbye
29: A Wonderful Yesterday
30: The Party's Over
31: One In A Row
32: Make Way For A Better Man
Nelson, Willie - Nashville Was The Roughest..(8-CD) Box set 3
1: Have I Stayed Away Too Long
2: Some Other World
3: If It's Wrong To Love You
4: Have I Told You Latley That I Love You?
5: You Made Me Live, Love And Die
6: Born To Lose
7: What Now My Love
8: Lovin' Lies
9: Teach Me To Forget
10: Tender Years
11: A Mansion On The Hill
12: Something To Think About
13: Blackjack County Chain
14: Don't Say Love Or Nothing
15: You Ought To Hear Me Cry
16: I Don't Feel Anything
17: Hold Me Tighter
18: I'll Stay Around
19: A Moment Isn't Very Long
20: The Ghost
21: No Tomorrow In Sight
22: There Goes A Man
23: Go Away
24: Once Alone
25: The End Of Understanding
26: To Make A Long Story Short (She's Gone)
27: Suffer In Silence
28: Truth Number One
29: When I Don't Have You
Nelson, Willie - Nashville Was The Roughest..(8-CD) Box set 4
1: Someday You'll Call My Name
2: Wild Memories
3: December Day
4: Pages
5: Little Things
6: Good Times
7: She's Still Gone
8: Sweet Memories
9: Johnny One Time
10: Jimmy's Road
11: Bring Me Sunshine
12: I Let My Mind Wander
13: I Just Don't Understand
14: I Just Dropped By
15: The Local Memory
16: Natural To Be Gone
17: Love Has A Mind Of Its Own
18: I'll Walk Alone
19: It Will Come To Pass
20: My Own Peculiar Way
21: The Message
22: That's All
23: Any Old Arms Won't Do
24: Johnny One Time
25: Jimmy's Road
26: Bring Me Sunshine
27: Bloody Merry Morning
28: Pins And Needley (In My Heart)
29: Everbody's Talkin'
Nelson, Willie - Nashville Was The Roughest..(8-CD) Box set 5
1: Crazy Arms
2: I Gotta Get Drunk
3: Wabash Cannon Ball
4: One Has My Name (The Other Has My Heart)
5: Who Do I Know In Dallas
6: Both Sides Now
7: It Could Be Said That Way
8: Once More With Feeling
9: Following Me Around
10: Minstrel Man
11: Where Do You Stand?
12: When We Live Again
13: If You Could See What's Going Through My Mind
14: Happiness Lives Next Door
15: I've Seen That Look On Me (A Thousand Times)
16: I Don't Feel Anything
17: Laying My Burdens Down
18: How Long Have You Been There
19: Senses
20: Sunday Mornin' Comin' Down
21: What Can You Do To Me Now?
22: The Losers Song
23: Fire And Rain
24: I Can Cry Again
25: I'm A Memory
26: That's Why I Love Her So
27: If You Could See What's Going Through My Mind
28: The Losers Song
Nelson, Willie - Nashville Was The Roughest..(8-CD) Box set 6
1: Yours Love
2: Kneel At The Feet Of Jesus
3: Today I Started Loving You Again
4: I'm So Lonesome I Could Cry
5: Will You Remember?
6: Wonderful Future
7: Wake Me When It's Over
8: Help Me Make It Through The Night
9: Rainy Day Blues
10: If You Really Loved Me
11: The Words Don't Fit The Picture
12: What Do You Want Me To Do?
13: Stay Away From Lonely Places
14: Good Hearted Woman
15: Home Is Where You're Happy
16: My Kind Of Girl
17: I'd Rather You Didn't Love Me
18: Undo The Right
19: One Step Beyond
20: I Want A Girl
21: Country Willie
22: You Left Me A Long, Long Time Ago
23: London
24: A Moment Isn't Very Long
25: Who'll Buy Me Memories
26: No Love Around
27: Come On Home
28: Mountain Dew
Nelson, Willie - Nashville Was The Roughest..(8-CD) Box set 7
1: Dallas
2: San Antonio
3: Streets Of Laredo
4: Who Put All My Ex's In Texas
5: The Hill Country Theme
6: Waltz Across Texas
7: Travis Letter
8: Remember The Alamo
9: Texas In My Soul
10: There's A Little Bit Of Everything In Texas
11: Beautiful Texas
12: Medley: Where's The Show/Let Me Be A Man
13: In God's Eyes
14: Family Bible
15: It's Not For Me To Understand
16: Medley: These Are Difficult/
17: Remember The Good Times
18: Summer Of Roses
19: December Day
20: Yesterday's Wine
21: Me And Paul
22: Goin' Home
23: Phases, Stages, Circles, Cycles And Scenes
24: Pretend I Never Happened
25: Sister's Coming Home
26: Down At The Corner Beer Joint
27: I'm Falling In Love Again
28: Chet's Tune
29: Poor Old Ugly Gladys Jones
Nelson, Willie - Nashville Was The Roughest..(8-CD) Box set 8
1: Introduction Bo Powell/Willie Introduces Band
2: Medley: Mr. Record Man/Hello Walls/
3: One Day At A Time]
4: Medley: The Last Letter/Half A Man/
5: I Never Cared For You]
6: Yesterday
7: Touch Me
8: Something To Think About
9: I Just Can't Let You Say Goodbye
10: How Long Is Forever
11: Night Life
12: Medley: Opportunity To Cry/Permanently Lonely
13: My Own Peculiar Way
14: I Love You Because
15: I'm Still Not Over You
16: There'll Be No Teardrops Tonight

 

Artikeleigenschaften von Willie Nelson: Nashville Was The Roughest..(8-CD)

  • Interpret: Willie Nelson

  • Albumtitel: Nashville Was The Roughest..(8-CD)

  • Artikelart Box set

  • Genre Country

  • Music Genre Country Music
  • Music Style Songwriter / Outlaw / Country Rock
  • Music Sub-Genre 009 Songwriter/Outlaw/Country Rock
  • Edition 2 Deluxe Edition
  • Label Bear Family Records

  • Preiscode HK
  • SubGenre Country - General

  • EAN: 4000127158314

  • Gewicht in Kg: 2.000
 
 

Interpreten-Beschreibung "Nelson, Willie"

Willie Nelson

Geboren am 30. 4. 1933 in Abbott, Texas, USA.

Willie Nelson spielte bereits als Kind und Jugendlicher in Country-Bands. Er ist einer der größten Stars des Genres überhaupt und war bis heute mit über 100 Singles in den US-Country-Charts vertreten.

Nach der Veröffentlichung seiner Debüt-45er 'Lumberjack' 1956 siedelte er nach Nashville über, wo er eigene Demos verkaufte und damit seine Autoren-Karriere einläutete. 1961 spielte er mit Ray Price bei den Cherokee Cowboys. Er schrieb erste Hits für Roy Orbison, Patsy Cline und Faron Young. Nelson ließ sich nach seiner Heirat mit Shirley Collie als Schweinefarmer in Ridgetop, Tennessee, nieder. Er trat bis heute mit stilistisch so unterschiedlichen Kollegen wie Bob Dylan, Carlos Santana, Neil Young und Julio Iglesias in Duetten auf.

Mit Johnny Cash, Waylon Jennings und Kris Kristofferson spielt er, neben seiner Solo-Karriere, unter dem Namen The Highwaymen. 1978 Gründung des eigenen Labels Lone Star. Nelson stand Anfang der 90er Jahre mit rund 16 Millionen Dollar Schulden bei der US-Steuerbehörde in der Kreide. 1991: Hochzeit mit Annie D'Angelo. Die Zahl von Nelsons eingespielten Songs liegt jenseits der 1000er-Marke.

Aus dem Bear Family Buch - 1000 Nadelstiche von Bernd Matheja - BFB10025 -

Willie Nelson


1964 through 1972 were eight of Nashville’s more unsettled years.The pop-oriented ‘Nashville Sound’ pioneered by Chet Atkins and Owen Bradley had been adopted by much of the industry. In the late 1950s, after rock ‘n’ roll knocked the entire Nashville music industry off its shaky foundation, that smoother, more sophisticated sound had saved Nashville by expanding country records to grab pop record buyers. It made Don Gibson, Jim Reeves and Patsy Cline greater stars than they’d been singing hard country alone. By 1964, that initial rush of creativity had slowed. Plane crashes claimed two top exponents, Cline in 1963, Reeves in the summer of 1964. At that point, Eddy Arnold, whose string of massive hits diminished in the wake of Elvis, was about to make a dramatic comeback with elaborately orchestrated ballads like Make The World Go Away, light years from the intimate dignity of his 1940s hits. Ray Price had already begun to occasionally wrap a string quartet around the Cherokee Cowboys on many of his recording sessions, attracting new fans but sending many older ones stomping off in disgust.

Not even a honkytonk giant of George Jones’s stature was immune from Nashville sound production. Onstage, it was Texas honkytonk business as usual, the fiddle and steel whining behind him. The recording studio was another matter. Pappy Daily, his discoverer and only producer, forced Jones into the softer mold at United Artists and later at Musicor Records. He continued in that mode with Billy Sherrill after joining Epic in 1970.

A few wild cards counteracted the syrupy side of things, since the country audience divided as it expanded. As Price slithered out of his rhinestone skin into tuxes, a West Coast honky-tonk cyclone, unstoppable as the dust storms that drove Texans and Okies to California in the first place, roared out of Bakersfield. The success of Buck Owens, followed by the rise of Merle Haggard, reflected the belief of many fans that some of the pop stuff was going too far afield, that Nashville needed an alternative. A second alternative came from within Music City with the rise of Johnny Cash. Popular for nearly a decade, his no-frills music and phenomenally successful 1967 ‘Folsom Prison’ LP weren’t as surprising to Nashville as his acceptance by pop audiences.

On 16th Avenue South, Atkins and Bradley continued setting the pace. At Columbia, Don Law was retiring, and though Bob Johnston was his immediate successor, the label’s rising star was clearly Billy Sherrill, the former R&B musician and Sam Phillips’ engineer who took over much of the production for Columbia’s Epic subsidiary. Nearly all Nashville producers saw the softer sound as the strongest and simplest formula for putting across a new artist quickly. It explained why artists were counseled to trust their producer, who usually picked material (unless the singer was one potent writer) and offered ‘direction’. If a producer happened to have written some of the recommended songs, or at least own an interest in publishing songs they pushed on artists, it was a conflict of interest routinely winked at around 16th Avenue South.

There was one huge problem. Assuming that one sound could fit any singer was an idea that didn’t always work out in practice. Convincing the men in the control room that ooh-aah choruses and muted strings just didn’t work with everyone was quite another matter.

That was the world Willie Nelson faced in 1964.

At 31, he was one of Nashville’s top writers, whose songs had been hits for many, including Patsy Cline, Billy Walker and Faron Young. Like other writers of his generation, Harlan Howard and Hank Cochran among them, his recording career had been less impressive. He’d started his singing career before Hank Williams died. His early recordings in Washington State and Houston went unnoticed. Only after moving to Nashville in 1960 and crafting such standards as Crazy, Funny How Time Slips Away and Hello Walls did he land a major label deal with Liberty. After a Top Ten duet single and a solo Top Ten hit, both in 1962, his success on records quickly faded while he continued writing brilliant songs for others.

Song royalties gave Willie a farm in Ridgetop, Tennessee, northwest of Nashville, where he played the eccentric artist, living with an extended family, sustained by writers’ royalties and frequent touring. That would have satisfied many. But he still believed he had potential as a singer if someone gave him a chance. He still wanted to record, knowing he had it in him to succeed, even if many in Nashville regarded his weird vocal phrasing and unconventional attitude, disdain for spangled suits and mile-high pompadours, as a bit off base.It wasn’t like a successful, eccentric songwriter couldn’t become a recording star on his own terms. In 1964, Willie’s longtime pal Roger Miller had done just that, scoring big with Dang Me and Chug-A-Lug that year after unsuccessful stints on Mercury, Decca and RCA. King Of The Road in 1965 would take Roger far beyond the country crowd.

Willie spent a brief two-session period with Monument in 1964 before beginning eight years with RCA. Over those years, he’d enter the RCA Nashville studios for 44 solo sessions. Guitarist Chet Atkins, RCA’s Vice President in charge of Nashville Operations, probably understood unconventionality better than just about anyone in Nashville at the time. He appreciated Willie’s uniqueness. His challenge was to sell Nelson to a wider audience by integrating that uniqueness into the usual trends to make it acceptable, just as he had with Gibson and Reeves.

In Willie’s case, Atkins admittedly didn’t do very well. During those years, with himself or Felton Jarvis producing, a total of 15 Willie Nelson RCA singles charted, only two, One In A Row in 1965 and Bring Me Sunshine in 1968, breaking into ‘Billboard’s’ country Top Twenty. Eight of his LPs made it to the magazine’s Top Country Albums chart, only three rising into the Top Ten. At the time, the only area Willie enjoyed consistent popularity with his records was his home state of Texas.

Those eight years would leave the singer frustrated, a frustration that would ferment and expand, drilling into his mind the idea that he could produce better records on himself than anyone in Nashville could. He was not alone among RCA artists sick of the label’s assembly-line approach. His friend and fellow RCA artist Waylon Jennings, another who’d enjoyed only moderate success, had a similar idea. In the mid-1970s, Nashville would call it ‘Outlaw’, then act as if it were their idea all along and package old Waylon and Willie material with newer recordings. They’d also give country music its first platinum LP with the 1976 release ‘Wanted! The Outlaws’. Today, it's easy to see he and Waylon were right, and just as easy to blame Atkins and Jarvis for not knowing how to produce either one.

Would Willie have fared any better at any other major label in those years? That’s doubtful. Atkins correctly characterized Willie as being “ahead of his time.” From 1964 through 1972, Nelson hadn’t a snowball’s chance in hell of being understood anywhere but Texas. Today, the world understands the Lone Star State’s quirky musical eclecticism at the heart of Willie’s repertoire. 30 years ago, few outsiders and most of Nashville didn’t get it at all. True, Nashville accepted Texas singers, but ignored the culture that produced them, preferring to shove them into the mold.

That’s why it isn’t likely that results would have been any better for Willie artistically or commercially, had he been recording with Don Law at Columbia, for Ken Nelson or Marvin Hughes at Capitol, for Billy Sherrill at Epic, Owen Bradley at Decca or Jerry Kennedy at Mercury. The only Nashville producers in that era who stood a remote chance of understanding him would have been mavericks like Bob Johnston, who produced Johnny Cash at Columbia or Jack Clement, with his lifelong flair for the unconventional. Would an independent label have been the answer? Hardly, given the non-results during his brief stay at Monument.

Taken in the context of that era, Willie didn’t break a couple of Nashville rules. He broke a slew of them. At RCA, production of his records was usually formulaic even if his songs were unconventional. While recording his own tunes wasn’t a reach, at RCA he laid down a crazy quilt of material, mostly Nelson originals with country and pop standards mixed in. He occasionally covered others’ hits, with a few contemporary pop and rock songs and whatever else he liked thrown in for good measure. After he became an established force in both country and popular music, Willie’s varied repertoire and musical settings would be viewed as marvelous eclecticism. When he was recording for RCA, such variety was seen as eccentric at best.

Willie Nelson Nashville Was The Roughest..(8-CD)
Read more at: https://www.bear-family.com/nelson-willie-nashville-was-the-roughest..8-cd.html
Copyright © Bear Family Records

 

 
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