´Hard Country Music and Contemporary Culture´ ´Ching...argues that this feisty, mostly male genre, (hard country), is overdue for cultural analysis, claiming that its focus is ´far wider than barnyard and bars´ and that its ´volatile blend of anger, irony, and burlesque abjection´ - first cooked up by (Hank) Williams - warrants serious study in the postmodern age´. ´The New Yorker´ - - This book is the first study of ´hard´ country music as well as the first comprehensive application of contemporary cultural theory to country music. Ching argues that hard country deliberately focuses on its low position, while mainstream country buys into the standards of ´higher´ culture.
244 pages/Seiten - 28/21.5 cm - Hardback/Gebunden - enthält alle in den USA veröffentlichte Schallplatten (45,EP,LP), geordnet nach: Titel, Interpret, Label und Bestellnummer Documenting all known releases for one entire year. Every record issued appears three ways - artist, label and title. Contains label catalogue analysis, which reports, label by label, all of the information necessary to understand the many different numberings and prefixes used.
Paperback - 320 pages - Publisher: Billboard Books - 1994 - English Rock and roll wasn´t supposed to last. From the days in 1953 when Bill Haley and His Comets´ ´´Crazy Man Crazy´´ became the first rock record to enter the Billboard charts, through the arrival of Elvis Presley, Chuck Berry, and Little Richard later in the decade, the music and its stars were often dismissed as a passing phase, a garish blip on the screen of constantly changing teen tastes. In fact, ten years after rock´s inception, even the biggest stars of the era downplayed their signifi-cance. In 1963, in the first flush of the mania that would be named for them, the Beatles often talked of what they would do ´´when the bubble burst´´: at the time, George Harrison mentioned something about becoming an electrician; Ringo Starr said he dreamed of owning a string of ladies´ hair salons. But the bubble didn´t burst, for the Beatles or for rock and roll. Rock and roll did last. It enters its fifth decade as a multibillion-dollar-a-year industry whose reach extends beyond teenagers to generations who have grown up, and older, with it. Along the way, it has infiltrated the culture of the world. Its songs have provided the soundtracks for political campaigns and social movements, for wars and revolutions. Its heroes have been at the forefront of constantly evolving tastes, mores, trends, and aes-thetics. From Elvis shaking the Eisenhower years from their secure slumber with a wag of his hips; to Bob Dylan galvanizing the civil rights movement of the 1960s with ´´Blowin´ in the Wind´´; to the Beatles changing the look and sound of virtually everything by the sheer power of their presence; to Bob Geldof raising tens of millions of dollars for starving Ethiopians with Band Aid and Live Aid; to the heavy metal of Van Halen, which U.S. military pilots used to pump themselves up for combat in the Gulf War, rock and roll has proved that is has not merely last-ed—it has mattered. That rock has done all this is hardly news. And outlining the role and importance of rock isn´t the purpose of this book. Instead, Pioneers of Rock and Roll is an examination of artists whose music and careers have defined and redefined rock in the course of its history and, in the process, made it a crucial component of the culture of its time. ´´Artists´´ is the key word in all of this and is used intentionally in place of ´´performers,´´ ´´musicians,´´ or ´´acts.´´ Each of the individuals or groups includ-ed in this book has contributed in one or more ways to establishing rock as an art form. While the latter point—rock as art—could still be open to debate in some aesthetic spheres, the case for such status can certainly be made. If art can be defined as a creative expression of a particular time, for all time, then rock is art. It would be impossible, or at least misleading, to discuss or study or evaluate the social history of the West in the second half of this century without factoring in the impact of rock and roll. The point of all this as it pertains to this book is that if rock and roll had simply been a commercial device to separate teens (or their parents) from their money, or just another form of entertainment, it would never have lasted. It has lasted because, in its highest forms—in the music of people who are included in this book—it is more than those other aspects. It is art. And this book is about how they have made it thus. On to practical matters. The artist entries have several components. Each includes an analysis of music and impact of the indi-vidual artist or group that explains why and how they became ´´pioneers.´´ And each includes a discus-sion of the artist´s career, providing pertinent dates and facts to place the analysis in a historical context.
(2014/Doxy) 12 tracks - Reproduction of the original 1958 ´Sun´ LP album Even as a little boy, Johnny Cash had a feeling he was going to be famous one day. It wasn´t the kind of premonition he could go about telling people. They´d have thought dreams of fame and riches pretty far removed from the Cash´s barely-productive 40-acre cotton farm in Arkansas. Especially sincc Johnny had no idea of how he was going to make his mark. Johnny left the farm to go into the Air Force — and in his travels hc acquired first, a wife — and secondly, a guitar. Assigned to Germany and forced to leave his wife behind, Johnny found a faithful companion in his guitar. The boys in his barracks seemed to like his pickin´ and singin´ — and gradually the plan for a career began to take shape. He would be a singer — a country singer. When he got back from service, Johnny was not so modest about his plans for the future. He let his Memphis friends know he was going to be a singer — a good singer, a famous singer — a singer who would revolutionize country music. No matter how long it took — he was determined! As it happened, Lady Luck inclined her face toward Johnny almost immediately. His releases on the Sun label were instantly acclaimed, and in 1956, one year after Johnny Cad, launched his recording career, he was named the most promising country and western artist of the year in four separate polls. After the success of ´I Walk the Line´ as a simultaneous C & W and popular hit, it was indicated the course Johnny´s career should take. Though always identifying himself as a singer for the country fans — a favorite entertainer on the Grand Ole Opry — Johnny Cash with ´Ballad of a Teen-Age Queen´ came to be a top selling artist in the pop recording field. Almost reluctantly, Johnny evolved a pop-country style in arrangement and instrumentation, evident in such hits as ´Guess Things Happen That Way´ and ´The Ways of a Woman in Love´ to supply the demand for Cash records by fans of both types of music. It is ironic that Johnny Cash caused more of a revolution in pop music than in country music, as was his big aim, by being one of the first C & W artists exposed on national ´general entertainment´ ´TV shows; and the first C & W artist to capture the LP market with one great release (Sun 1220). Johnny Cash — in his voice, looks and demeanor — carries a certain aura of ´specialness´. He is a very dramatic figure — tall, muscular, with blue-black hair. He looks the part of a folk singer — a 20th century wandering minstrel. And his fatalistic style, both in composing and singing, has a quality of monotone, but of ´emotional monotone´ that defies analysis, but which is genuinely powerful. Johnny Cash is one of those persons endowed with an exceptional talent which had to express itself. And being expressed, his talent has been uniquely recognized and applauded by many loyal fans, who will enjoy this reminiscent album of the songs which to date are landmarks in the career of the one and only Johnny Cash. --- Original album liner notes
(2000/RPM) 15 tracks - 6 panel color fold-out. - The original Album was released in 1969 and issued in the US only and then quickly withdrawn. This release is remastered and includes 2 other songs recorded during that weekend in April 1969 plus alternate takes recorded on different nights. - The little lady with the big voice is captured here at the legendary PJ´s Club in 1969.The original album release on Liberty consisted of only 8 tracks, was issued in the US only, and coupled with some studio material on side two, then quickly withdrawn. RPM present the LIVE half of the album, released for the first time in Europe, and reissued for the first time anywhere, now digitally remastered and enhanced by the reinstatement of the two other songs recorded across that weekend in April ´69. Bonus tracks have also been added in the form of alternate takes recorded on different nights, of three of the songs, all recently mixed down from the original 1´ mutli-track masters. The sound is very soulful, Timi is backed by a tight Stax sounding house band, and she performs wills her customary passions. ALL TRACKS RECORDED LIVE AT THE PJ´S CLUB, APRIL 1969 BY 1969 TIMI YURO was at a professional crossroads, hitless in over four years and unsure which musical direction to pursue. Furthermore, she was by now also at something of a personal crossroads, shortly about to get married and enter into a period of semi-retirement. And yet with all this as a backdrop she went out and cut one of the most powerful LP´s of her career - although ironically, the album was destined to remain unissued for over thirty years (this actually represents its first ´full´ release). The previous year, following a three-year spell with Mercury Records which had proved both commercially and artistically disappointing, she´d returned to Liberty Records in a bid to get her recording career back on track. But although they´d been desperately keen to re-sign Timi, Liberty had no more idea what to do with her than they´d had four years earlier - which was essentially why she´d left them the first time around. Her 1968 LP Something Bad On My Mind (which span off a much-vaunted UK Northern Soul collectors´ item, a fine revival of Baby Washington´s It´ll Never Be Over For Me) had presented an entirely new, up-to-date Timi Yuro -she even looked totally different, what with her Mary Quant hairjob and boyish fringe. But despite encouraging reviews, Something Bad... bad done considerably better in the UK and Europe than it had in the US - and yet ironically, it had been a superb set, arguably Timi´s strongest album, wholly contemporaneous at the time of its release, evincing a wholly Soulful feel which many of her earlier albums had failed to achieve. But oddly enough, despite Trini´s spectacular singalong successes few other artists had recorded there since, which might go some way towards explaining why Timi´s Live album was fraught with technical problems. For when we asked Timi about the project she was largely dismissive of it, commenting that ultimately, she´d been glad the record company had cancelled its release. She recalled that the LP had been recorded in less than ideal conditions, using what she described as ´inferior´ recording equipment - in particular, she felt that the gig had been poorly mic´d - and they´d suffered endless technical hitches. There had been a major equipment failure on the first night, which was repeated when they tried to ´save´ the project the following night using different recording equipment. And to top it all off, she´d not worked with the PJ´s house band previously. i in the beginning Subsequently, in an endeavour to present Timi in an even more contemporary context, Liberty decided that she should record a Live album. It seems the thinking behind this was that it would cover all bases: it would demonstrate her ease with finger-clicking supper-club material, thus appealing to the MOR audience, ditto Soul material, which with she´d always evinced a strong affinity, and it would also feature a couple of her old hits, as a nod to her long-term fans. Nonetheless in the final analysis three nights were recorded, and after hours of editing and mixing, the following tracklisting eventually emerged:A Place In The Sun, For Once In My Lie/Stand By Your Man, Make The World Go Away, Loving You/Something´s Wrong With My Baby, Bang Bang, What´s A Matter Baby/Why Am I Treated So Bad, A Place In The Sun. However, although it was mastered, allocated