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Wer war/ist Tex Ritter ? - CDs, Vinyl LPs, DVD und mehr


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

 

 



Weitere Informationen zu Tex Ritter auf de.Wikipedia.org
 
 
   
 
Tex Ritter: High Noon (4-CD)
Art-Nr.: BCD16356
 

Sofort versandfertig

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...

Statt: 79,95 € * 77,95 € *

Tex Ritter: High Noon
Art-Nr.: BCD15634
 

Sofort versandfertig

1-CD mit 28-seitigem Booklet, 28 Einzeltitel. Spieldauer ca. 76 Minuten. Mit seinem monotonen doch sonoren Bass klang Tex Ritter von all den Hollywood-Cowboys am echtesten. Diese CD liefert mit 28 Songs einen Überblick über seine frühen Capitol-Aufnahmen, die...

Statt: 15,95 € * 13,95 € *

Tex Ritter: The Friendly Voice Of Tex Ritter (Vinyl)
Art-Nr.: LPHAT3114
 

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(1980s/Stetson) 11 Tracks, rare Wiederveröffentlichung des 1965er Capitol Albums.

21,95 € *

Tex Ritter: Have I Stayed Away Too Long (4-CD)
Art-Nr.: BCD16239
 

Sofort versandfertig

4-CD Box (LP-Format) mit 48-seitigem Buch, 111 Einzeltitel. Spieldauer ca. 269 Minuten. Die vier CDs dieser Zusammenstellung enthalten die wohl besten Einspielungen, die Tex Ritter gemacht hat. Sie stammen aus neun Aufnahme-Sessions für Capitol Transcriptions,...

Statt: 79,95 € * 77,95 € *

Tex Ritter: Lady Killin'Cowboy (LP, Picture Disc)
Art-Nr.: BDP15209
 

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(1986/Bear Family Records) 14 tracks Decca & Champion 1935-1936. All titles recorded in New York. Including the 1935 studio version of 'Sam Hall'. Mastered by Bob Jones (with 'CTS Cowtown Special' and 'Cowboy Cuttin' written in dead wax!) Full Color Picture Disc...

29,95 € *

Tex Ritter: Singin' In The Saddle (LP, Picture Disc)
Art-Nr.: BDP15231
 

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(1986/Bear Family Records) 16 tracks Decca 1937-1939. All titles recorded in Los Angeles. Full Color Picture Disc in Deluxe Gatefold Cover. Mastered at CTS by Bob Jones (with 'Bopalong Bob' written in dead wax) New stock copy (Bear Family Records)

29,95 € *

Tex Ritter: Arizona Days - Sing, Cowboy, Sing (0)
Art-Nr.: DVDALP5133
 

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(2006/ALPHA) NTSC, B/W, USA 1936, 52 minutes, starring Tex Ritter

Statt: 9,95 € * 4,97 € *

Tex Ritter: The Mystery Of The Hooded Horseman (0)
Art-Nr.: DVDALP6140
 

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(2003/ALPHA) engl., 1937, b&w, 60 min.

Statt: 9,95 € * 4,97 € *

Tex Ritter: Blood On The Saddle 4-CD-Box & 44-Page Book
Art-Nr.: BCD16260
 

Derzeit nicht lieferbar

TEX RITTER   Have I Stayed Away Too Long Die vier CDs dieser Zusammenstellung enthalten die wohl besten Einspielungen, die Tex Ritter gemacht hat. Sie stammen aus neun Aufnahme-Sessions für Capitol Transcriptions, die in zweieinhalb Jahren (zwischen 1945 und...

Statt: 79,95 € * 77,95 € *

   
 
 
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