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Tex Ritter High Noon (4-CD)

High Noon (4-CD)
 
 
 

Artikel-Nr.: BCD16356

Gewicht in Kg: 1,100

 

Sofort versandfertig, Lieferzeit** 1-3 Werktage

79,95 € *
 
 
 
 
 

Tex Ritter: High Noon (4-CD)

4-CD Box (LP-Format) mit 39-seitigem Buch, 111 Einzeltitel. Spieldauer ca. 288 Minuten.


Der zweite Teil von Bear Family Records' umwerfender Tex-Ritter-Anthologie umfaßt die Jahre 1947 bis 1954. Tex Ritter war inzwischen einer der größten Bühnen-, Kino- und Schallplatten-Stars - wahrhaftig eine der populärsten Persönlichkeiten der amerikanischen Unterhaltungs-Branche.

Er nahm Pop-Songs auf, spielte Alben mit Kinderliedern ein, die bis heute gefragt sind, veröffentlichte Country-Titel; doch seine größte Liebe galt den Western-Songs - einige davon gehören zu den zeitlosesesten Veröffentlichungen dieses Genres.

Die 4-CD-Box enthält Tex Ritters klassische Einspielungen von Pecos Bill, Rock And Rye, Deck Of Cards (auch Red Deck Of Cards, den Nachfolge-Titel aus der McCarthy-Ära), The Pledge Of Allegiance, The Eyes Of Texas, Big Blue Diamonds sowie Tracks der Country-Legenden Johnny Horton (Coal Smoke Valve Oil And Steam) und Hank Williams (Wearin' Out Your Walkin' Shoes). Ebenfalls zu haben ist Tex' Original-Version von Let Me Go, Devil, das später als Let Me Go, Lover ein Hit wurde.

Sämtliche Fassungen des größten Tex-Ritter-Erfolgs High Noon (Do Not Forsake Me) sind vertreten: das Capitol-Original, die Capitol-Einspielung mit diversen Overdubs sowie die in England entstandene Aufnahme. High Noon' bedeutet einen Meilenstein in seiner Karriere; und ist noch heute eine der hypnotischsten und aufregendsten Balladen, die jemals eingespielt wurde.

Zu den Begleitmusikern gehören Merle Travis in Bestform, das Les Baxter Orchestra sowie die besten Studiomusiker der Westküste, etwa Speedy West, Harold Hensley und Cliffie Stone.

Viele Titel aus dieser Anthologie wurden Klassiker, die außerdem Eckpfeiler von Tex Ritters Shows bis hin zum Karriere-Ende darstellten.

Die Box enthält insgesamt 111 Aufnahmen, davon 19 bislang unveröffentlichte. Das dazugehörige Buch von Packy Smith präsentiert viele seltene und nie zuvor gezeigte Fotos.

4-CD Box (LP-Format) mit 39-seitigem Buch, 111 Einzeltitel. Spieldauer ca. 288 Minuten


 

Songs

Ritter, Tex - High Noon (4-CD) Box set 1
1: High Noon (part 1)
2: Pecos Bill
3: Dallas Darlin'
4: Tehena, Timpson, Bob And Blair
5: Rock And Rye
6: The Eyes Of Texas Are Upon You
7: Boogie Woogie Cowboy
8: He's A Cowboy Auctioneer
9: Tennessee Blues
10: As Long As The River Flows On
11: When My Blue Moon Turns To Gold
12: When It's Springtime In The Rockies
13: Buffalo Dream
14: The Marshall's Daughter
15: The San Antonio Story
16: Let Me Go Devil!
17: The Long Black Rifle
18: Brave Man
19: Lovely Veil Of White
20: The Best Time Of All
21: Your Heart And My Heart Are One
22: Prairie Home
23: The Bandit
24: High Noon (part 2)
25: High Noon (part 3)
26: High Noon (part 4)
Ritter, Tex - High Noon (4-CD) Box set 2
1: I've Had Enough Of Your Two Timin'
2: Never Mind My Tears
3: Waitin' And Worryin'
4: I Just Called To Say Goodbye
5: Careless Hands
6: Ol' Shorty
7: Nobody's Fool
8: I've Got Five Dollars And It's Saturday Night
9: Coal Smoke, Valve Oil, And Steam
10: Boiled Crawfish (At Te Maurice)
11: Stay Away From My Heart
12: Wearin' Out Your Walkin' Shoes
13: Big Blue Diamonds
14: From The World Of Love
15: Three Handed Woman
16: You're Always Brand New
17: There's No One To Cry Over Me
18: My Bucket's Been Fixede
19: If I Could Steal You From Somebody Else
20: Rock All The Babies To Sleep
21: The Letter Edged In Black
22: When It's Lamplighting Time In The Valley
23: Go On, Get Out
24: Hills Of Pride
25: Everybody Likes A Little Lovin'
26: Love You As Big As Texas
27: My Woman Ain't Pretty
28: Turn Around, Boy
29: High On A Mountain Top
Ritter, Tex - High Noon (4-CD) Box set 3
1: Deck Of Cards
2: A Beautiful Life
3: Hide Me Rock Of Ages
4: Thief On The Cross
5: Give The World A Smile
6: Onward Christian Soldiers
7: There Shall Be Showers Of Blessings
8: Lord, Send An Angel
9: The Touch Of The Masters's Hand
10: The Pledge Of Allegiance
11: The Gettysburg Address
12: The Fiery Bear
13: Daddy's Last Letter (A Letter From Korea)
14: The Great American Eagle
15: The Red Deck Of Cards
16: Jesus Loves Me
17: I'll Be A Sunbeam
18: Two Little Hands/Jesus Loves The Little...
19: Little Feet Be Careful/Away In A Manger
20: Jesus Loves Me
21: Merry Christmas Polka
22: Is There A Santa Claus
23: Old Tex Kringle
24: Skybird (parts 1-4)
Ritter, Tex - High Noon (4-CD) Box set 4
1: Coffee Pot
2: The Green Grass Grew All Around
3: Talk Gobbler Talk
4: A Wahle Of A Tale
5: Animal Fair
6: Cactus Jackson Had A Ranch
7: I Was Born A Hundred Years Ago
8: Thank You
9: Egg-A-Bread
10: Big Rock Candy Mountain
11: Yankee Doodle
12: She'll Be Comin' Round The Mountain
13: I'll Be A Sunbeam
14: Chicken, My Chicken
15: The Picnic Song
16: The Cricket Song
17: If You Whistle
18: Blue Tail, The Red Fox
19: The Noise Song
20: Mr. Buzzard
21: Carbon, The Copy Cat
22: One Misty Moisty Morning
23: Muskrat
24: Little Wendy Why Why
25: Has Anybody Seen My Kitty
26: Two Little Magic Words (Please And Thank You)
27: Pick Up After You
28: Happy Hands
29: It Doesn't Hurt A Bit To Be Polite

 

Artikeleigenschaften von Tex Ritter: High Noon (4-CD)

  • Interpret: Tex Ritter

  • Albumtitel: High Noon (4-CD)

  • Artikelart Box set

  • Genre Country

  • Music Genre Country Music
  • Music Style Classic Country Artists
  • Music Sub-Genre 002 Classic Country Artists
  • Edition 2 Deluxe Edition
  • Label Bear Family Records

  • Preiscode DI
  • SubGenre Country - General

  • EAN: 4000127163561

  • Gewicht in Kg: 1.100
 
 

Interpreten-Beschreibung "Ritter, Tex"

Tex Ritter

Geb. 12. 1.1907 in Murvaul - Texas
Gest. 2. 1. 1974
Record Labels: ARC, Columbia, Decca, MCA, Capitol, Pickwick, Bear Family, CMH
Erster No. 1 Hit: I'm Wastin` My Tears On You (1944)

Woodward Maurice „Tex“ Ritter gehörte neben Gene Autry und Roy Rogers zu den wichtigsten „Singenden Cowboys“ der 30er und 40er Jahre, die man in unzähligen B-Western bewundern konnte. Neben seinem Jurastudium faszinierte den jungen Tex Ritter immer wieder die Western Musik, das Milieu der Cowboys. Er trat in Radio Shows auf und landete schließlich Anfang der 30er Jahre in New York City, wo er als Sänger in dem Broadway Musical Green Grow The Lilacs“ zu bewundern war. Er trat in zahlreichen berühmten Hörspielserien auf wie „Lone Ranger“, „Death Valley Days“,“Tex Ritter`s Camp Fire“ und „Cowboy Tom's Round-Up“.

1933 unterschrieb Tex seinen ersten Schallplattenvertrag bei Columbia und 1936 folgte der Ruf nach Hollywood. Ritter's erster Film hieß "Song Of The Gringo“. Die Filmkarriere dauerte bis Mitte der 50er Jahre. Daneben hatte er immer wieder Schallplatten eingespielt. 1965 ging Tex Ritter nach Nashville, kam zur Grand Ole Opry und machte sich bei der CMA einen Namen. Tex Ritter`s große Zeit waren zweifellos die 40er Jahre, doch auch später, bis zu seinem Tod, kamen seine Platten immer wieder in die Country Charts.

In Europa wurde Tex Ritter vor allem durch den Song "High Noon“, den er in dem gleichnamigen Film mit Gary Cooper in der Hauptrolle sang, bekannt. Weitere bekannte Ritter-Erfolge hießen „l Dreamed Of A Hillbilly Heaven“ und „Wayward Wind“. Schon 1964 wurde Tex Ritter in die Country Music Hall Of Fame aufgenommen."

 

Tex Ritter 

Have I Stayed Away Too Long

 It can be argued that there has never been a medium as important to the development and spread of a genre of music as radio was to country music. Beginning in the earliest stages of radio's development, country music, or 'hillbilly' as it was called in the twenties and thirties, was a staple of programming for most stations away from the large metropolitan areas. In the early days, the music came from local bands and singers performing live. In 1922, a talent manager complained "Everybody wants to get on the air. Everyone who can twang or pick or scrape a string, every person who can touch or pound a keyboard, and anyone at all who is not tongue-tied has become possessed with the idea that he must get on the radio."

As the novelty of radio began to wear off, the listeners became more discerning and programmers more sophisticated. Only the best and most talented of the local entertainers were able to stay on the air because the advertisers listened to their audience and refused to support the less talented. Then in the mid-twenties, a couple of phonograph record companies tried a daring experiment: sending producers into the South to record some of the local 'hillbilly' singers and string bands in hopes of building a market with the hillbilly folks. The immediate result was a series of sectional, or regional, hit records, as well as the emergence of country music's first superstar, Jimmie Rodgers. The long-term effect was to create a demand for the services of the more popular hillbilly performers on the stations in the larger markets causing a shortage of quality talent for local programs on stations in the smaller markets.

The obvious solution for the smaller stations was the least satisfying in the beginning; that was playing recorded music, the commercial 78rpm records. The initial problem was that the surface noise was such that the listener was instantly aware he was listening to a recording. But that was only a problem when the station was actually able to obtain a record to play. In the 1920s and 1930s, the record companies refused to license their records for broadcast. Their fear was if the audience could get it for free, they would not be so interested in buying the record, or, as the jukebox became the biggest outlet for records during the war years, wouldn't spend the money to listen to it. Many record dealers however, quickly realized that just the opposite was true. Airplay was the best method of promotion; in fact, in many towns and cities, local record dealers would give a radio station recent records, and occasionally, even pay the announcers to play them. They believed it was a legitimate form of advertising. As the record companies began to realize that airplay actually boosted sales, they generally ignored the fact that a particular station was programming using their records; but, if asked for permission, the record companies nearly always refused.

Beginning in 1922, Western Electric set out to develop a sound system for motion pictures that would fill a theater with synchronized sound. At its 1869 inception, the company provided parts and models for inventors, and, by 1881, just prior to joining the Bell System (which became AT&T in 1899), Western Electric was the largest electrical manufacturer in the United States. In the early 20th century, when a handful of companies assembled scientific researchers to expand their innovative capacities, Western Electric did so in a big way. The research branch of Western Electric's engineering department became Bell Laboratories, the greatest private research organization in the world. By 1924, Western Electric had developed a large-disc, integrated recording system and was researching sound-on-film technology. They were ready to sell to Hollywood its large-disc system to synchronize sound to film for the early 'talkies.' Western Electric and Warner Bros. formed a joint venture, the Vitaphone Corporation, to experiment in the production and exhibition of sound motion pictures.

When the optical sound-on-film process replaced the transcription disc as the standard for sound films, which it did in a few short months, some entrepreneurs felt there was a future for such transcriptions in radio. The fidelity of the transcription discs was far superior to 78rpm records—much less surface noise. Radio networks were in their infancy, and programs could be sent on these discs to stations in all parts of the country to be played at the optimum time for their individual market. NBC, among the networks, was a long time holdout in allowing its stations to reschedule broadcast times by using discs, feeling that it destroyed the integrity of the network.

The slower speed (33 1/3rpm) technology—developed by Western Electric—was first licensed by the World Broadcasting Service in 1929. By 1935, three other major transcription services were in business using the same technology, supplying programming to 350 radio stations around the country. Standard Radio Library, RCA/NBC Thesaurus, the C.P. MacGregor service, as well as World, were providing a basic library of radio shows complete in themselves (ready for local commercials) and a library of musical selections, along with a license to play them on the air. In addition, periodic issues of new discs and replacements would be provided. Also included was a continuity script written around the musical selections included in the library, and formed into individual shows. Some were three time a week, 15-minutes each; some are 30-minute 'across the board' (called 'strip' today) shows; some were for Sunday only, and some for a particular time slot. One library was all any one station would generally need. With one library, by using the continuity scripts provided, and using more than one staff announcer, as many as twenty to twenty-five different shows a week were available to any station. In the early 1930s, some stations began experimenting with the 'disc jockey' format using the transcriptions, but it would be the late 1940s before it became a common programming format. These libraries did not 'belong' to a radio station; they were leased for as long as the station paid the proper fees. The turntables used were large enough to accommodate the 16-inch discs, and they were dual speed.

Tex Ritter High Noon (4-CD)
Read more at: https://www.bear-family.com/ritter-tex-high-noon-4-cd.html
Copyright © Bear Family Records

 

 

 
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