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Mitchell Torok Mexican Joe In The Caribbean (4-CD)

Mexican Joe In The Caribbean (4-CD)
 
 
 

Artikel-Nr.: BCD15906

Gewicht in Kg: 1,300

 

Sofort versandfertig, Lieferzeit** 1-3 Werktage

79,95 € *
 
 
 
 
 

Mitchell Torok: Mexican Joe In The Caribbean (4-CD)

4-CD Box (LP-Format) mit 24-seitigem Buch, 111 Einzeltitel. Spieldauer ca. 281 Minuten.

Wir richten die Aufmerksamkeit auf einen der besten Songschreiber der Country Music unserer Zeit. Mitchell Torok schrieb Mexican Joe für Jim Reeves, Norwood und Arkansas für Glen Campbell, Open The Door And Let The Good Times In für Dean Martin und Redneck für Vernon Oxford. Er selbst machte ebenfalls Aufnahmen und hatte Country- und Pop-Hits mit Caribbean (einem Nummer-1 Country-Hit und fünf Jahre darauf ein Top-20 Pophit) und When Mexico Gave Up The Rhumba (ein Top-10 Hit in England). Diese 4-CD Box enthält Mitchells sämtliche seltenen frühen Aufnahmen für FBC und Royalty sowie seine Aufnahmen für Abbott, Decca, Guyden, Mercury und Capitol, womit wir seine Karriere von 1949 bis 1963 nachverfolgen. Zu den herausragenden Nummern zählen Nacogdoches County Line, Piney Woods Boogie, Sober Up, Red Light - Green Light, You Drive Buddy, Havanna Huddle sowie die Originalversion des Top-10 Pop-Hits Pledge Of Love. Mitchell gilt als der etwas andere Countrysänger; diese umfangreiche Edition stellt eine großartige unkonventionelle Zusammenstellung dar.

4-CD Box (LP-Format) mit 24-seitigem Buch, 111 Einzeltitel. Spieldauer ca. 281 Minuten


 

Songs

Torok, Mitchell - Mexican Joe In The Caribbean (4-CD) Box set 1
1: Nacogdoches County Line
2: I'll Get My Lovin' From Someone Else
3: Clingin' Heart
4: Piney Woods Boogie
5: Yearnin' (& SALLY LEE)
6: Someday (When Someone Hurts You)(& SALLY LEE)
7: Table Hoppin' Blues (& SALLY LEE)
8: Sober Up
9: Little Hoo-Wee
10: Judalina
11: Caribbean
12: Weep Away
13: Caribbean (alt)
14: Hootchy Kootchy Henry (From Hawaii)
15: Gigolo
16: Edgar The Eager Easter Bunny
17: Living On Love
18: The Haunting Waterfall
19: Dancerette
20: The World Keeps Turning Around
21: A Peasant's Guitar
22: Roulette
23: Havana Huddle
24: Smooth Talk (& GALE TOROK)
25: My Silly Old Heart
26: Sit Down You're Rocking The Boat
27: Too Late Now
28: My Kind Of Woman
29: Little Hoo-Wee
30: Marching My Blues Away
31: Country And Western (That's For Me)
32: Red Light, Green Light
33: No Money Down
34: It'll Be All Right
35: A Woman By Your Side
36: I Wish I Was A Little Bit Younger
37: Memories Of You Haunting Me Night And Day
38: When Mexico Gave Up The Rhumba
39: Go Ahead And Be A Fool
40: Drink Up And Go Home
41: Take This Heart
42: Pledge Of Love
43: Another Love From Now
44: What's Behind The Strange Door
45: You Never Belonged To Me
46: Sweet Revenge
47: Love Me Like You Mean It
48: You Win Again
49: I Can't Help It (If I'm Still In Love With U)
50: Love Your Touch (Love You So Much)
51: Two Words (True Love)
52: You're Tempting Me
53: You Can't Keep A Good Man Down
54: Honolulu Baby
55: Filipino Baby
56: How Much (Do I Love You)
57: Be Kind To Me
58: These Things I Hold Dear
59: A Date With A Teardrop
60: All Over Again, Again
61: You Can't Get There From Here
62: You Drive, Buddy
63: The P.T.A. Rock And Roll
64: Here I Come Cruel World
65: Teenie Weenie Bikini
66: Cryin' Honky Tonk Blues
67: Caribbean
68: New Guitar
69: You Are The One
70: Especially For You
71: Kish Leon
72: Johnny's Gone Away To College
73: Mexican Joe
74: Little Hoo-Wee
75: Rig-A-Jig-A-Boom
76: You Are The One
77: That's My Desire
78: Guardian Angel
79: A Rose-Covered Garden
80: When The Stars Get In Your Eyes
81: I Want To Know Everything
82: Guardian Angel
83: Pink Chiffon
84: The Seventeenth Summer
85: What You Don't Know (Won't Hurt You)
86: Happy Street
87: Little Boy In Love
88: King Of Holiday Island
89: El Tigre
90: Eating My Heart Out
91: The Comancheros
92: Rio Grande
93: Fool's Disguise
94: A Mighty, Mighty Man
95: For Somebody Who's Supposed To Be Hurtin'
96: I'm Not Myself
97: Hawaiian Sunset
98: Little Secrets
99: I Wish
100: Timid Soul
101: El Tigre
102: Summer Romance
103: Your Love
104: Too Bad
105: Four Your Precious Love
106: The Tree
107: What Goes On In Your Heart
108: Imagination
109: Hidin' The Hurt
110: Little Teenage Heart
111: Country Music I Gave You The Best Years Of...

 

Artikeleigenschaften von Mitchell Torok: Mexican Joe In The Caribbean (4-CD)

  • Interpret: Mitchell Torok

  • Albumtitel: Mexican Joe In The Caribbean (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: 4000127159069

  • Gewicht in Kg: 1.300
 
 

Interpreten-Beschreibung "Torok, Mitchell"

Mitchell Torok Mexican Joe In The Caribbean (4-CD)

Read more at: https://www.bear-family.de/torok-mitchell-mexican-joe-in-the-caribbean-4-cd.html
Copyright © Bear Family Records

Mitchell Torok

Some songwriters work purely from inspiration; they can no more write a song to order than they can find a word to rhyme with 'orange.' Other songwriters are pure craftsmen. If you want a song any time about any subject, they can dash it off. Mitchell Torok falls into the latter category. For fifteen years, he was in and out of the charts as a songwriter and performer. To get a sense of his diversity, consider that he had three Top 10 hits: his song, Mexican Joe, got to #1 on the country charts for Jim Reeves; his own recording of Caribbean also got to #1 on the country charts, and then got into the pop Top 30 six years later; and his record of When Mexico Gave Up The Rumba got up to #6 in England. Add to that, his salute to bubbadom, Redneck, which became a Top 20 hit for Vernon Oxford; three songs for Glen Campbell's movie, 'Norwood;' and an album track or two for Dean Martin. He also cut the original version of Pledge Of Love, his wife's touchingly innocent rock 'n' roll ballad that became a Top 20 pop hit for Ken Copeland.
Mitchell has chased his dreams back and forth across the United States, and once to Europe. He has lived in Texas, Missouri, Nashville, and Los Angeles. These days, Nashville is his home, and artwork is his business. If you want a sign or a painting, he will produce one to order, much like he wrote songs to order thirty years ago. He's vigorous and prolific, and he can paint anything from an icon to a mural. Like many of those who broke into the business several decades ago, he's a little contemptuous of today's stars and today's business, and perhaps a little jealous of the huge rewards that country music delivers today. Thirty years hindsight has given him a deeper understanding of where he took wrong turns, and he'd dearly love to have back some of the opportunities that once were his.


All she had was a few bags tied with rope. When I was four, I was playing under the table, and she went out to get the mail. When she came back she was crying, and I asked what was wrong, and she said in Hungarian that her mother had died. She and my father never went back. She lived to be 95; he lived to be 86. They only spoke Hungarian around the house."
After leaving Indiana, the Toroks went to Wisconsin. Mitchell's older brother, Bill, was born there. Nick Torok wanted to be a postmaster, but Irene caught pneumonia twice, and her doctor told Nick that they needed to move somewhere warmer, so they packed and went to Florida. "We had seven acres in Orlando, and this monstrous hurricane came and blew everything away," said Mitchell. "They packed up again and moved away. We were broke, so we just left everything. I wonder to this day if that seven acres isn't sitting under Disneyworld. It's still ours, I guess."


From Orlando, the Toroks went to Houston. Mitchell was born there on October 28, 1929. He was named for Dr. Mitchell, the doctor who delivered him. He got a guitar when he was twelve, but in high school it looked as though he would excel in sports rather than music. Unlike most country singers from that era, he didn't grow up with country music around the house. There were no big family gatherings when grandmaw and granpaw would break out the fiddle and banjo. Perhaps that's why his music was always a little bit different. He is a voluble source for his career, almost unnervingly accurate in his recollections, and that's just as well because very little has been written about him through the years. We pick up the story in 1949. Mitchell was almost twenty, and a local radio personality around Houston.

When Mitchell started recording, it was for FBC Records, a lilliputian label named for Fort Bend County, just southwest of Houston. The owners, two Schulze brothers, also owned a hardware store that sold records and a radio station, KFRD, in Rosenberg, Texas. Mitchell and two friends had a show on KFRD every Saturday. "Mr Schulze owned the station," said Mitchell. "He called, and said, 'Hey, you sound pretty good. Do you want to cut a record?' I said, 'Yes sir.'" Nacogdoches County Line' was a very creditable debut, and when Mitchell went to Stephen F. Austin State College in Nacogdoches, Texas in the fall of 1949 he found that it had sold well there. One of Mitchell's contemporaries at Stephen F. Foster was Arlie Duff, who was on a basketball scholarship.
"I thought the sun rose and set with Eddy Arnold," said Mitchell, "and Eddy had just the bass, Little Roy Wiggins, and himself, and that's what we were aiming for. Me and the steel guitarist, Jimmy Wayne, went to see an Eddy Arnold show once. Eddy set up backstage during half-time, and Jimmy snuck back behind the curtain and dragged his thumb across Little Roy's steel guitar to get the tuning, and Little Roy caught him and chased him outta there."


In 1950, Mitchell went to Wharton County Junior College, sixty miles south of Houston, on a football scholarship. A promoter in Houston, Jimmy Franklin, signed him to a five-year contract, and landed a deal with Royalty Records (a deeply ironic name for a record company). Royalty, based in Paris, Texas, was owned by Jimmy Mercer, who claimed to be Johnny Mercer's brother. Franklin arranged the session and found the songs. Mitchell simply turned up with Jimmy Wayne, and found the rest of the group and Sally Lee, his duet partner for the day. "I have no idea who Sally Lee was," he says. "I know I was trying to sing too low, and I never will forget the drummer. He was playing a cardboard box with brushes."


Mercer apparently got busted bringing 'party' records across the border from Mexico soon after Mitchell's second Royalty single was issued. Mitchell might have thought he'd heard the last from the deal, but, the music business being what it is, Jimmy Franklin reappeared three years later. Mitchell had just started scoring hits, and Franklin was brandishing his contract. "I went home to see my parents after 'Mexican Joe' hit," said Mitchell, "and he found me and served me with some papers. He sued me for fifty thousand dollars, and settled out of court for five hundred." In 1954, just as Caribbean was coming on strong, Franklin leased two Royalty titles to Imperial Records.

The next player to enter Mitchell Torok's life was Fabor Robison. One of the music business's great hyperbolic figures, Robison had emigrated to California from his home in Beebe, Arkansas. In between, he had been a cook in the Army during the War. After he arrived in California, he worked as a cook and a prop setter at MGM Pictures. Around 1950, he set himself up as an agent, and his first client was the rube comedian and country singer 'Carrot Top' Anderson. Late in 1950, Robison discovered Johnny Horton at a talent show. He placed Anderson and then Horton with Cormac Records, and, after Cormac folded, he started Abbott Records with the initial purpose of recording Horton. Partial funding came from a man named Abbott, who owned a drugstore. At roughly the same time, Fabor signed on with American Music as a song scout. Sylvester Cross, owner of American Music, gave Fabor $125 a month and a new Buick every year. Fabor was supposed to scour the country for songs, and place them with American Music. After Johnny Horton joined the Louisiana Hayride in 1952, Robison began spending more time in Shreveport. He took an apartment there, and toured the tri-state area promoting Horton and looking for songs. One of the artists he found was Jim Reeves.


We would probably have heard from Reeves sooner or later, but the fact remains that he got his all-important big break with Mitchell's song, Mexican Joe. Politically insensitive these days, it was just the kind of breezy two-chord novelty that Reeves needed to get noticed. "I wrote 'Mexican Joe' in January 1953," said Mitchell. "It took me thirty minutes. It only had two chords, and I think I was basing it on 'Polly Wolly Doodle.' I was in Nacogdoches in my last semester of college. For two weeks I went up and down the highway to radio stations trying to give an engineer half of the song if they would cut me a demo tape. They never had time. Two weeks later, Faber came by. He was in Nacogdoches, and he went into Mr. Johnson's music store. He asked if there were any local songwriters he should know about, and the Johnsons told him about me.
"Fabor called me, and said I should meet him at the local drugstore. I recognized him by his sharp perforated shoes and silk shirt. We went back to my house, and I played him 'Mexican Joe.' He said he had a singer by the name of Jim Reeves.


Mitchell Torok
Mexican Joe In The Caribbean (4-CD) Read more at: https://www.bear-family.de/torok-mitchell-mexican-joe-in-the-caribbean-4-cd.html

Copyright © Bear Family Records

 
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