Chet Atkins Radio Transcriptions
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International Home of the Legends Thumbpicking Weekend by Scott Taylor
Fall 2015 Issue 92 Volume 23 Number 4 International Home of the Legends Thumbpicking Weekend by Scott Taylor Those of us who made it down to Moseley and friends. Paul got a laid back easy going demeanor when Muhlenberg County for the last little help from several pickers he plays. weekend in September were treated including his cousin Larry Stone and The Hall of Fame inductions with a full 3 days of guitar picking include recognizing pickers, events. Friday night was the Hall of supporting musicians, supporting Fame induction ceremonies where we fans, recording of the year and a few added some great pickers to the Hall special presidential awards. See the and recognized others for their sidebar for the complete list of thumbpicking support and awards and inductions on page 3. promotion. The annual Home of the The inductions were followed by Legends Thumbpicking Guitar a special premiere showing of a new Contest was held on Saturday KET produced special entitled followed by an evening concert. "Merle Travis: Guitar Man". KET Finally, Sunday was planned to be had helped set up the Travis Center "Pickin in the Park" but the weather with a huge screen covering most of was "iffy" and it was moved indoors the stage back for its viewing and to the Merle Travis Music Center. Michael Moseley, the Travis Center That's a busy weekend. And I had to soundman, had it run through the carve out a few hours on Saturday to house system for a great sound. The slip into a class reunion luncheon. -
Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2015 Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar Andrew Rhinehart University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Rhinehart, Andrew, "Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar" (2015). Theses and Dissertations--Music. 44. https://uknowledge.uky.edu/music_etds/44 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Geof's Farm Pedals
The first recorded effect of fuzz was heard on Marty Robbins’ 1960 hit “Don’t Worry.” A faulty preamp in the mixing con- sole created a fuzzy vibration that sparked Geof’s a sonic revolution. This happy accident led to Glenn Snoddy replicating the sound in a little box that he presented as a prototype to Gibson, which developed it into the Maestro Farm Pedals Fuzz-Tone FZ-1—the first commercially- available fuzz pedal. Despite Gibson’s efforts to boost sales, the Fuzz-Tone per- formed poorly in its first five years. That changed dramatically when Keith Richards used the Maestro FZ-1 on his iconic guitar riff on the Rolling Stones’ hit single “(I Can’t Get No) Satisfaction” in 1965. Accord- ing to Richards, the riff was inserted as a placeholder for a section originally intended for horns. Due to this happy accident, the sonic revolution suddenly got much noisier and the list of effects pedals much longer. Geof Hancock, who with his family owns Hancock Family Farm and has created his own brand of guitar pedals called Farm Pedals, likens them to paints in a painter’s palette. He first got the idea for making them from Micah Blue Smaldone, a Maine musician who had built a guitar amplifier out of an old Hammond Organ tube chassis. Over the years, Geof played guitar and by laurie lamountain bought a pedal or two along the way, but it wasn’t until he and his family moved from here’s a scene in the fabulous doc- Foot pedals, also known as effects ped- Porter to Casco—where they finally had reli- umentary It Might Get Loud in als, are electronic or digital devices that are able power and internet—that he acted on Twhich The Edge demonstrates how used with electric guitars to alter the sound the idea Smaldone had planted in his head. -
45 / Reviews/Lp
45 REVIEWS/LP / T. Hall RCA -APL 1-3018 BILL ANDERSON (MCA MCA 40964) PLACES I'VE DONE TIME - Tom - Double S (4:45) (Stallinon Music/Tree Pub. - BMI) (Bill Anderson/Budy Killen) - Producers: Tom T. Hall and Roy Dea - List: 6.98 Bill Anderson and Buddy Killen have matched almost every word possible that begins Tom T. Hall can really write songs. His perceptions are ac- a with "S" to describe a romance between a swinging Sam and a sexy Susie. D.J. copies curate, his taste is impeccable and his words and music are Each of come with a short and stretched version and should bring salubrious salutations to Ander- marriage born in the eyes of a man who can really see. son. his albums is a collection of ideas ... most brilliant. This album WILLIE NELSON (United Artists UA -X -1254-Y) is brilliant. If nothing else, Tom T. Hall is a humanist who honors There'll Be No Teardrops Tonight (2:15) (Fred Rose Music, Inc. - BMI) (H. Williams) his fellow man in a song. This single is from the vintage Liberty Records catalog of the early sixties which was purchased by United Artists. This song written by Hank Williams will probably catch more Pride RCA -APL 1-2983 airplay because of the short timing (2:15), rather than the overall quality. BURGERS AND FRIES - Charley - Pride List: 6.98 JERRY REED (RCA PB 11407) - Producers: Jerry Bradley and Charley - watches each of Glmme Back My Blues (3:01) (Sleepy Hollow Music ASCAP) (Billy Edd Wheeler) Charley Pride continues to sell records and - the chart. -
JAMES RAE “JIM” DENNY (1911-1963) Music Publisher
JAMES RAE “JIM” DENNY (1911•1963) Music publisher, booking agent, long•time manager of the Grand Ole Opry, and promoter of Nashville’s music industry, was born in Buffalo Valley, Putnam County, TN. As a young man, Denny found work as a mail clerk with the National Life and Accident Insurance Company, parent organization to WSM and the Grand Ole Opry. With growing interest in country music, Denny was running the WSM Artists Service Bureau by 1946, booking Opry talent and other WSM acts. Denny eventually managed the Grand Ole Opry itself. Denny, along with his predecessor, Jack Stapp, is responsible for updating the face of the Opry. As promoters and developers of talent, they helped to transform the Opry from a popular barn dance to a showcase of country superstars, ensuring its growth and long•term success. During their tenure, the cast grew enormously, most major stars became Opry members, and an Opry appearance became a must goal for many performers. In 1954 Denny and Opry star Webb Pierce formed Cedarwood Publishing Company, for a time the most important publishing house in Nashville. Driftwood Music, a companion firm, was a partnership between Denny and Carl Smith, another Opry star. These business interests led to conflict of interest allegations by WSM and eventually Denny’s dismissal. With his knowledge of WSM operations, Denny achieved immediate success as a booking agent. The Jim Denny Bureau served most of the artists Denny had signed while at the Opry. Billboard magazine estimated that, by 1961, the bureau was handling over 3,300 personal appearances worldwide. -
14Th Annual ACM Honors Celebrates Industry & Studio Recording Winners from 55Th & 56Th ACM Awards
August 27, 2021 The MusicRow Weekly Friday, August 27, 2021 14th Annual ACM Honors Celebrates SIGN UP HERE (FREE!) Industry & Studio Recording Winners From 55th & 56th ACM Awards If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES 14th Annual ACM Honors Beloved TV Journalist And Producer Lisa Lee Dies At 52 “The Storyteller“ Tom T. Hall Passes Luke Combs accepts the Gene Weed Milestone Award while Ashley McBryde Rock And Country Titan Don looks on. Photo: Getty Images / Courtesy of the Academy of Country Music Everly Passes Kelly Rich To Exit Amazon The Academy of Country Music presented the 14th Annual ACM Honors, Music recognizing the special award honorees, and Industry and Studio Recording Award winners from the 55th and 56th Academy of Country SMACKSongs Promotes Music Awards. Four The event featured a star-studded lineup of live performances and award presentations celebrating Special Awards recipients Joe Galante and Kacey Musgraves Announces Rascal Flatts (ACM Cliffie Stone Icon Award), Lady A and Ross Fourth Studio Album Copperman (ACM Gary Haber Lifting Lives Award), Luke Combs and Michael Strickland (ACM Gene Weed Milestone Award), Dan + Shay Reservoir Inks Deal With (ACM Jim Reeves International Award), RAC Clark (ACM Mae Boren Alabama Axton Service Award), Toby Keith (ACM Merle Haggard Spirit Award), Loretta Lynn, Gretchen Peters and Curly Putman (ACM Poet’s Award) Old Dominion, Lady A and Ken Burns’ Country Music (ACM Tex Ritter Film Award). Announce New Albums Also honored were winners of the 55th ACM Industry Awards, 55th & 56th Alex Kline Signs With Dann ACM Studio Recording Awards, along with 55th and 56th ACM Songwriter Huff, Sheltered Music of the Year winner, Hillary Lindsey. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
HOUSE JOINT RESOLUTION 790 by Beck a RESOLUTION To
<BillNo> <Sponsor> HOUSE JOINT RESOLUTION 790 By Beck A RESOLUTION to recognize and honor the Grand Ole Opry on the celebration of its ninety-fifth anniversary. WHEREAS, the members of this General Assembly are proud to specially recognize a legendary institution that has contributed significantly to the country music industry and brought acclaim to the State of Tennessee the world over; and WHEREAS, no mass media event is more associated with the State of Tennessee than the WSM radio program known as The Grand Ole Opry. Not only is The Grand Ole Opry the longest-running radio show in U.S. history, but it is renowned as the cornerstone for the dynamic commercial art form of country music; and WHEREAS, the Grand Ole Opry and its offspring comprise, or are affiliated with, the State's major tourist attractions, and the Opry's commercial power and attraction have been the primary reasons for Nashville's emergence as a music recording center; and WHEREAS, the saga of the Grand Ole Opry began on the night of November 28, 1925, when a young announcer on Nashville radio station WSM introduced an eighty-year-old fiddle player, Uncle Jimmy Thompson, as the first performer on a new show called The WSM Barn Dance; and WHEREAS, announcer George D. Hay, who labeled himself "The Solemn Old Judge," but was neither old nor a judge, realized he had started a good thing that fateful night; and WHEREAS, now, ninety-five years later, the radio show Mr. Hay started is still going strong; the Opry is the foundation for a huge entertainment and resort complex and has been instrumental in Nashville claiming the title of Music City U.S.A.; and WHEREAS, this acclaimed radio show followed an NBC network radio program on Saturday nights called The Music Appreciation Hour; in 1928, Mr. -
Multimillion-Selling Singer Crystal Gayle Has Performed Songs from a Wide Variety of Genres During Her Award-Studded Career, B
MultiMillion-selling singer Crystal Gayle has performed songs from a wide variety of genres during her award-studded career, but she has never devoted an album to classic country music. Until now. You Don’t Know Me is a collection that finds the acclaimed stylist exploring the songs of such country legends as George Jones, Patsy Cline, Buck Owens and Eddy Arnold. The album might come as a surprise to those who associate Crystal with an uptown sound that made her a star on both country and adult-contemporary pop charts. But she has known this repertoire of hardcore country standards all her life. “This wasn’t a stretch at all,” says Crystal. “These are songs I grew up singing. I’ve been wanting to do this for a long time. “The songs on this album aren’t songs I sing in my concerts until recently. But they are very much a part of my history.” Each of the selections was chosen because it played a role in her musical development. Two of them point to the importance that her family had in bringing her to fame. You Don’t Know Me contains the first recorded trio vocal performance by Crystal with her singing sisters Loretta Lynn and Peggy Sue. It is their version of Dolly Parton’s “Put It Off Until Tomorrow.” “You Never Were Mine” comes from the pen of her older brother, Jay Lee Webb (1937-1996). The two were always close. Jay Lee was the oldest brother still living with the family when their father passed away. -
1957 and 1961, Both My Life and Career
1957 and 1961, both my life and career began to take shape under the tutelage of legendary Billboard music editor Paul Ackerman and then-chart editor Tom Noonan, who first opened the magazine’s doors to a fifteen-year-old kid. At that time, Billboard was certainly the com munications center of the music industry, and what I learned and saw and heard there has indeed served me well over the years. Far and away the monumental event - and one of the most important moments in my life - was meeting Syd Nathan at a Billboard record-review session one drizzly Wednesday night in March or April 1958. A lthough i had a french test coming up, Paul urged me to stay by saying, “This guy is one of the great indie record men a real character. He can’t see very well and wears these thick, will be around. We’ll listen to those next week. Syd, let’s have Coca-Cola-bottle glasses, has a big ring on his finger and talks your records.” Syd got up and threw his records - fortunately, with a deep, raspy voice due to previous illnesses, but you just unbreakable 45s - on the floor and said, “Y)u don’t step on a man must meet him. He’ll be overwhelmed by your knowledge of when he’s down. Listen to Jerry Blaine’s records, and you can save C&W and R&B, and you will understand and love him and see mine for next week.” Needless to say, a ll the records were what he is all about.” Paul was right: That meeting changed my reviewed, including ones by Little Willie John on Syd’s label King life and destiny and is probably the reason I am able to write a and the Cadillacs on Josie. -
Discography of the Camay Label [1963] the Camay Label Was Started by Don Ames and Hal Weiss in 1961
Discography of the Camay Label [1963] The Camay label was started by Don Ames and Hal Weiss in 1961. The label was based in New York City in the Brill Building at 1721 Broadway. Camay issued singles in 1961, 1962 and 1963 and seemed to disappear prior to 1964. In 1963, the label focused on issuing budget albums. I believe the entire LP output was issued that year, most if not all of the material was leased from other labels and not recorded directly by Camay. In spite of being a budget label, they did produce a few good albums. The first release was a compilation of country music that included two rare sides by Bill Haley. Perhaps the best album on the label was “12 Collectors Goodies” CA 3012, with great pictures of vintage sports cars on the cover. This record contains some of the finest doo-wop put to vinyl and some very rare songs, Lynn McCutcheon in his book “Collecting Doo-Wop Compilations” calls this one of the 25 best doo-wop compilations ever produced. “12 Million Record Sellers” CA 3010 is also an excellent compilation, although it contains more commonly available material. The first Camay label was red with black printing. “CAMAY” above the center hole. The second Camay label was silver with black printing. “camay” on a record overlapping a globe above the center hole. C 3001 - Country Western Bonanza - Various Artists [1963] Run, Boy - Don Gibson/Were You There - Roy Acuff/Let’s Think About Livin’ - Bob Luman/Candy Kisses - Bill Haley/Your Cheatin’ Heart - Billy Byrd/I Miss You Already - Jimmy Newman //Take My Hand - Roy Acuff/Sweet -
~Tate of T!Cenne~~Ee
~tate of t!Cenne~~ee HOUSE JOINT RESOLUTION NO. 638 By Representatives Haynes, Armstrong, Dunn, Niceley, Harry Brooks, Hall, Tindell and Senators Ford, Massey, Overbey A RESOLUTION to honor the Ninetieth Anniversary of WNOX Radio. WHEREAS, locally owned and operated radio stations have been important community cultural institutions since the radio industry first began to gain a foothold in the early years of the twentieth century; the new medium brought local, national, and world events to listeners in a timely fashion and opened doors to music, sports, weather, and other features; and WHEREAS, WNOX Radio is one such vital station which for ninety years has provided its listeners with outstanding service; and WHEREAS, the first broadcast station in Tennessee, WNOX Radio is a popular radio station with a broadcast area that begins in Knoxville and extends throughout Eastern Tennessee and into the multi-state area surrounding the Tennessee Valley; and WHEREAS, throughout its illustrious existence, WNOX Radio has compiled an unequaled history of meritorious service to its community, state, and nation, first on the AM band and now on the FM band; and WHEREAS, venerated for its adherence to the highest quality standards, WNOX Radio has played a pivotal role in creating and sustaining the vibrant, modern, and world-renowned Tennessee broadcasting industry; and WHEREAS, it was instrumental in launching the careers of a plethora of talented performers, including Roy Acuff, Chet Atkins, Carl and Pearl Butler, Archie Campbell, Bill Carlisle, Martha