Kitty Wells' Greatest Hits Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Kitty Wells Kitty Wells' Greatest Hits mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Kitty Wells' Greatest Hits Country: US Released: 1968 Style: Country MP3 version RAR size: 1693 mb FLAC version RAR size: 1279 mb WMA version RAR size: 1537 mb Rating: 4.1 Votes: 709 Other Formats: AU TTA RA WMA VQF XM MIDI Tracklist A1 It Wasn't God Who Made Honky Tonk Angels 2:38 A2 This White Circle 2:47 A3 Mommy For A Day 2:25 A4 Release Me 2:11 A5 I Gave My Wedding Dress Away 2:57 A6 Amigo's Guitar 2:36 B1 Hearbreak U.S.A. 2:35 B2 I'll Repossess My Heart 2:00 B3 Password 2:30 B4 Searching (For Someone Like You) 2:27 B5 Making Believe 2:45 Notes This is the MONO version of the Original Release (Stereo Version is DL 75001). White Label Promo Other versions Category Artist Title (Format) Label Category Country Year Kitty Kitty Wells' Greatest DL 75001 Decca DL 75001 US 1968 Wells Hits (LP, Comp) Kitty Wells' Greatest Kitty DL 75001 Hits (LP, Comp, Decca DL 75001 US 1968 Wells Promo) MCA MCAC-121, Kitty Greatest Hits (Cass, Records, MCAC-121, US Unknown C-121 Wells Comp) MCA C-121 Records Kitty Greatest Hits (LP, MCA MCA-121 MCA-121 Canada 1980 Wells Comp, RE) Records Kitty Kitty Wells' Greatest MCA MCA-121 MCA-121 US 1973 Wells Hits (LP, Comp, RE) Records Related Music albums to Kitty Wells' Greatest Hits by Kitty Wells Kitty Wells - It's All Over Now (But The Crying) / Queen Of Honky Tonk Street Kitty Wells - Songs Made Famous By Jim Reeves Kitty Wells - It Wasn't God Who Made Honky Tonk Angels / I Can't Stop Loving You Kitty Wells - Kitty Wells Favorites Kitty Wells - Kitty Wells' Country Hit Parade Kitty Wells - Christmas Day With Kitty Wells Kitty Wells - The Man I Used To Know / Carmel By The Sea Kitty Wells - If I Was A Bottle Kitty Wells - It Wasn't God Who Made Honky Tonk Angels Kitty Wells - The Country Music Hall Of Fame.

Copy Link

Recommended publications

Loretta Lynn: Writin' Life Article 1
Online Journal of Rural Research & Policy Volume 5 Issue 4 Loretta Lynn: Writin' Life Article 1 2010 Loretta Lynn: Writin’ Life Danny Shipka Louisiana State University Follow this and additional works at: https://newprairiepress.org/ojrrp This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Shipka, Danny (2010) "Loretta Lynn: Writin’ Life," Online Journal of Rural Research & Policy: Vol. 5: Iss. 4. https://doi.org/10.4148/ojrrp.v5i4.205 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Online Journal of Rural Research & Policy by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Online Journal of Rural Research and Policy Vol. 5, Issue 4 (2010) Loretta Lynn: Writin‟ Life DANNY SHIPKA Louisiana State University Recommended Citation Style: Shipka, Danny. “Loretta Lynn: Writin‟ Life.” The Online Journal of Rural Research and Policy 5.4 (2010): 1-15. Key words: Loretta Lynn, Van Leer Rose, Country Music, Content Analysis, Textual Analysis This is a peer- reviewed essay. Abstract The release of Loretta Lynn‟s 2004 album Van Leer Rose welcomed back after 33 years one of the premier feminist voices in recorded music. The songs that Loretta wrote in 60s and early 70s were some of the most controversial and politically charged to hit the airwaves. They encompassed a microcosm of issues that rural women were facing including the changing sexual roles of women, ideas on marriage, the ravages of war and substance abuse.
[Show full text]
Visual Schedule Scavenger Hunt
Look on the Back for Visual Schedule More Information! Scavenger Hunt As you explore the museum, keep an eye out for these items. When you see an artifact, write down the name of the artist it belonged to. Feel free to ask if you want to know more about something. You never know what you might learn! 1 2 3 6 5 4 7 8 9 Show at Front Desk for a Prize What Did You See? 1. Jimmie Rodgers’ Hat Before becoming the “Father of Country Music,” Jimmy Rodgers worked as a brakeman on the railroad. He often wore railroad worker’s clothes and was known as “The Singing Brakeman.” Rodgers was one of the first three inductees into the Country Music Hall of Fame when it opened in 1961. 2. Pee Wee King’s Accordion Bandleader Pee Wee King played this rhinestone encrusted according at his first appearance on the Grand Ole Opry stage in 1937. The Grand Ole Opry started out as just another radio barn dance, but by 1939 it became a nationally broadcasted program. You can still tune in today to hear the oldest radio program in the country. 3. Elvis Presley’s “Solid Gold” Cadillac With his signature Rockabilly sound, Elvis brought country music to a broader audience. “The King of Rock & Roll” had this Cadillac plated in 24-karat gold and painted in 40 coats of “diamond dust pearl,” a special finish made of crushed diamonds and fish scales. 4. Buck Owens’ Suit This rhinestone-studded suit was made by costume designer Nathan Turk and worn by Buck Owens at his 1966 Carnegie Hall performance.
[Show full text]
“It Wasn't God Who Made Honky Tonk Angels”-- Kitty Wells (1952)
“It Wasn’t God Who Made Honky Tonk Angels”-- Kitty Wells (1952) Added to the National Registry: 2007 Essay by John Rumble (guest post)* Kitty Wells When Kitty Wells first recorded for Decca Records in 1952, she had toured for years with her husband, Johnnie (later Johnny) Wright, and his partner, Jack Anglin. But the mother of three was tired of the road, and earlier sessions for RCA had yielded no hits. This time, her main concern was the session fee she would earn. Wells had moved back to Nashville, her hometown, with Johnnie & Jack on the strength of that duo’s 1951 hit “Poison Love,” their entrée to the Grand Ole Opry cast. Now, with Johnnie’s prospects looking up, she pondered leaving full-time entertaining altogether. As it turned out, Wells’s “It Wasn’t God Who Made Honky Tonk Angels,” her first Decca release, quickly scaled “Billboard” magazine’s country charts. The hit made Wells a major star, and an Opry member in her own right. To be sure, country music had boasted successful female artists since the 1920s. The Carter Family’s Sara and Maybelle Carter, cowgirl singer Patsy Montana, and Opry comedienne Minnie Pearl had already won national fame. But Wells was the first to reach #1 in the decade after World War II, when country entered its takeoff phase. In these years, American women faced enormous pressures to leave their wartime jobs, renounce political concerns, and return to keeping house and raising children. Popular magazines, psychologists, and men (whose jobs women had filled) all told them so.
[Show full text]
Sweet Songs from Crazy Heart 1 Sweet Songs from Crazy by Sarah Skates Heart 2 Bobby Karl Works the New Movie Crazy Heart Drawn Less Media Lady Antebellum No
page 1 Friday, January 15, 2010 Table of Contents Sweet Songs From Crazy Heart 1 Sweet Songs From Crazy by Sarah Skates Heart 2 Bobby Karl Works The New movie Crazy Heart drawn less media Lady Antebellum No. 1 was not filmed in Nashville, attention with his un- Party but its country music theme billed role as “Tommy 3 Griffith Rejoins Magic is drawing a lot of local Sweet,” the superstar Mustang interest. A premiere held who got his start in 3 Roots Music Exporters Hits First $1 Million Year Tuesday night (1/12) at Blake’s band. Maggie 4 Flammia Exits UMG the Green Hills movie Gyllenhall is “Jean” a 4 King Offers Inspiration theatre attracted members journalist, and Robert And Help of the industry and Duvall plays Blake’s bar- 4 DISClaimer celebrities alike; all owning friend. Writer- 5 Spin Zone/Chart Data curious about the flick director Scott Cooper 7 Programmer Playlist which is generating adapted the story from 8 On The Road... Oscar buzz for star Jeff Thomas Cobb’s novel by 9 CountryBreakout™ Chart Bridges and the theme Jeff Bridges the same name. song penned by T Bone Photo: Erika The film’s roots- Respect Intellectual Property: Goldring MusicRow transmissions in email and Burnett and Ryan Bingham. grounded soundtrack was file form plus online passwords, are In the movie Bridges plays produced by renowned intended for the sole use of active subscribers only and protected under hard-living country singer- talents Burnett and Stephen the copyright laws of the United States. Resending or sharing of such intellectual songwriter “Bad Blake.” With the Bruton, who also contributed property to unauthorized individuals tagline “The Harder The Life, The as songwriters and and/or groups is expressly forbidden.
[Show full text]
A RESOLUTION to Recognize and Honor the Grand Ole Opry on Its 5,000Th Saturday Night Broadcast
<BillNo> <Sponsor> HOUSE JOINT RESOLUTION 518 By Beck A RESOLUTION to recognize and honor the Grand Ole Opry on its 5,000th Saturday night broadcast. 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, on October 30, 2021, the Grand Ole Opry will send over the airwaves its 5,000th Saturday night broadcast, a momentous occasion in the history of this touchstone of American culture; and WHEREAS, "the show that made country music famous" began on Saturday, 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, this acclaimed radio show followed an NBC network radio program on Saturday nights called The Music Appreciation Hour; in 1928, Mr. Hay announced on the air, "For the past hour we have been listening to music taken largely from the Grand Opera, but now we will present the Grand Ole Opry"; the name stuck and the rest is history; and WHEREAS, crowds of people would come to the studio and stand in corridors to enjoy the Grand Ole Opry in person; WSM then decided to move the Opry to its own home, Studio C, wisely believing
[Show full text]
HOUSE JOINT RESOLUTION 243 by Eldridge a RESOLUTION to Honor
HOUSE JOINT RESOLUTION 243 By Eldridge A RESOLUTION to honor and recognize Whisperin’ Bill Anderson. WHEREAS, it is fitting that the members of this General Assembly should salute those exceptional musicians who have received recognition as signal artists in the tradition of country music, a vital part of Tennessee’s cultural heritage; and WHEREAS, one such noteworthy artist is Whisperin’ Bill Anderson, who was recently awarded the first ever Poet’s Award by the Academy of Country Music (ACM), which held its first ACM Honors ceremony at the Musicians Hall of Fame in Nashville on September 17, 2008; and WHEREAS, Mr. Anderson was born in Columbia, South Carolina and raised in Decatur, Georgia; he currently lives in Nashville; and WHEREAS, at the age of nineteen, Whisperin’ Bill Anderson wrote his first big hit, “City Lights,” which was recorded by Ray Price; fifty years later, Mr. Anderson writes and co-writes songs loved by today’s audiences, including songs like “Whiskey Lullaby” and “Give It Away”; and WHEREAS, in 1961, the Grand Ole Opry welcomed him as a member, and he continues to perform there and at venues across the United States and Canada, often with his Po’ Folks Band; and WHEREAS, Whisperin’ Bill Anderson has not only been a country music songwriter but a performer as well; his career includes twenty-three years of singing hits for Decca Records. In 1963, he released the single “Still,” which became his signature tune and a major hit with fans of pop music and country music alike; and WHEREAS, Mr. Anderson’s songs have been
[Show full text]
Beneath the Load of Women's Cares
Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky “Beneath the load of women’s cares:” Women’s voices in country music Bakalářská práce Autor: Nela Brančíková Vedoucí: Mgr. David Livingstone, Ph.D. OLOMOUC 2018 Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně pod odborným dohledem vedoucího práce a uvedla úplný seznam citované a použité literatury. V Olomouci dne 14.5. 2018 Nela Brančíková I would like to thank my supervisor Mgr. David Livingstone, Ph.D. for his patient help, advice and encouragement. Contents 1 Introduction 5 2 Country music background 7 2.1 Origins of Country Music 7 2.2 The South, Folk Music and Society 9 2.3 Early Recordings 11 2.4 Appalachian women 12 3 The 1920s 15 3.1 The Carter Family 15 3.2 Single Girl, Married Girl 19 3.3 Lulu Walls 21 4 The post-war era 24 4.1 Kitty Wells 25 4.2 It Wasn’t God Who Made Honky-Tonk Angels 26 4.3 Cheatin’s a Sin 29 5 The Women’s movement of the 1960s – 1980s 31 5.1 Loretta Lynn 31 5.2 The Pill 33 5.3 Hey Loretta 36 5.4 Dolly Parton 39 5.5 Jolene 41 5.6 Working Girl 43 6 Conclusion 46 7 České resumé 49 8 Bibliography 52 9 Annotation 55 10 Anotace 56 1 Introduction The aim of this work is to show how women were perceived in American society through country music culture, specifically through the country music of female artists. The quote from the title of my work “Beneath the load of women’s cares” is the final line from the song “Are You Tired of Me My Darling” by The Carter Family, one of the analyzed country music artists.
[Show full text]
Establishing Female Resistance As Tradition in Country Music: Towards a More Refined Discourse
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-19-2016 12:00 AM Establishing Female Resistance as Tradition in Country Music: Towards a More Refined Discourse Catherine Keron The University of Western Ontario Supervisor Dr. Norma Coates The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Catherine Keron 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Keron, Catherine, "Establishing Female Resistance as Tradition in Country Music: Towards a More Refined Discourse" (2016). Electronic Thesis and Dissertation Repository. 3970. https://ir.lib.uwo.ca/etd/3970 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This thesis analyzes facets of resistance in the lyrics of female country music performers and explores how their articulations of female resistance draw on and rework Appalachian folk traditions within country music. Beginning with the musical practices of Appalachian women, who used music to lament their lives restricted by domestic responsibilities, this thesis examines expressions of female resistance through lyrical analysis, with a concentration on female country performers from 1995 to the present. Despite evolving into a performance tradition, female resistance in country music continues to address the lived experiences of its female audience. As such, the female resistance tradition is an enduring component of country music that has addressed women’s issues for over a century.
[Show full text]
MCA Discography
MCA-1 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA Discography Note: When MCA discontinued Decca, Uni, Kapp and their subsidiary labels in late 1972, they started the new MCA label by consolidating artists from those old labels into the new label. Starting in 1973, MCA reissued hundreds of albums from all of those labels with new catalog numbers under the new MCA imprint. They started these reissues in the MCA-1 reissue series, which ran to MCA-299. MCA MCA-1 Reissue Series: MCA 1 - Loretta Lynn’s Greatest Hits - Loretta Lynn [1973] Reissue of Decca DL7 5000. Don't Come Home A Drinkin'/Before I'm Over You/If You're Not Gone Too Long/Dear Uncle Sam/Other Woman/Wine Women And Song//You Ain't Woman Enough/Blue Kentucky Girl/Success/Home You're Tearin' Down/Happy Birthday MCA 2 - This Is Jerry Wallace - Jerry Wallace [1973] Reissue of Decca DL7 5294. After You/She'll Remember/The Greatest Love/In The Misty Moonlight/New Orleans In The Rain/Time//The Morning After/I Can't Take It Any More/The Hands Of The Man/To Get To You/There She Goes MCA 3 - Rick Nelson in Concert - Rick Nelson [1973] Reissue of Decca DL7 5162. Come On In/Hello Mary Lou, Goodbye Heart/Violets Of Dawn/Who Cares About Tomorrow-Promises/She Belongs To Me/If You Gotta Go, Go Now//I'm Walkin'/Red Balloon/Louisiana Man/Believe What You Say/Easy To Be Free/I Shall Be Released MCA 4 - Sousa Marches in Hi-Fi - Goldman Band [1973] Reissue of Decca DL7 8807.
[Show full text]
Country Shows at the Flame Jimmy Wells
Country Shows at the Flame Jimmy Wells; Ardis Wells; Princess Jo Ann February 23 1956 Tex Ritter; TBS; Jimmy Wells May 16 1956 Tabby West; TBS; Jimmy Wells May 23 1956 Betty Foley; The Westerners - World's only Square Dance Roller Skaters; TBS; Jimmy Wells Dakota Roundup May 30 - June 2 1956 Marvin Rainwater; TBS; Jimmy Wells Dakota Roundup June 6 - 9 1956 Bobby Lord and Wanda Jackson; TBS; Jimmy Wells Dakota Roundup June 13 - 16 1956 Billy Walker; The Westerners; TBS; Jimmy Wells June 20 - 23 1956 Mac Weisman; TBS; Jimmy Wells June 27 - 30 1956 Justin Tubb; TBS; Jimmy Wells Dakota Roundup July 4 - 7 1956 Arlie Duff; TBS; Jimmy Wells Dakota Roundup July 11 - 14 1956 Jerry Reed; TBS; Jimmy Wells Dakota Roundup July 18 - 21 1956 Joe Carson (Wells on vacation) July 25 - 28 1956 Marvin Rainwater; TBS; Jimmy Wells Dakota Roundup August 1 - 4 1956 Lee Emerson, Everly Brothers; TBS; Jimmy Wells Dakota Roundup August 8 - 9 1956 Marvin Rainwater; TBS; Jimmy Wells Dakota Roundup August 10 - 11 1956 Bobby Lord; TBS; Jimmy Wells August 15 - 18 1956 Del Woods; Bonnie Sloan August 23 1956 Autrey Inman; TBS; Jimmy Wells August 22 - 25 1956 Mitchell Torok; TBS; Jimmy Wells Dakota Roundup August 29 - September 1 1956 Mrs. Hank Williams (Miss Audrey); TBS; Jimmy Wells September 5 - 8 1956 Jimmy Roberts; TBS; Jimmy Wells September 12 - 15 1956 Leon Payne; TBS; Jimmy Wells September 19 - 22 1956 Cowboy Copas; TBS; Jimmy Wells September 26 - 29 1956 Marvin Rainwater and Mimi Roman September 27 1956 Justin Tubb; TBS; Jimmy Wells October 10 - 13 1956 Mimi Roman;
[Show full text]
National Historic Landmark Nomination Form (Washington, DC: U.S
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-934 (Rev. 12-2015) OMB Control No. 1024-0276 (Exp. 01/31/2019) PATSY CLINE HOUSE Page 1 United States Department of the Interior, National Park Service National Historic Landmarks Nomination Form 1. NAME AND LOCATION OF PROPERTY Historic Name: Patsy Cline House Other Name/Site Number: Patsy Cline Historic House Street and Number (if applicable): 608 South Kent Street City/Town: Winchester County: N/A State: Virginia 2. SIGNIFICANCE DATA NHL Criteria: 1 and 2 NHL Criteria Exceptions: n/a NHL Theme(s): III. Expressing Cultural Values 2. Visual and Performing Arts Period(s) of Significance: 1948–1957 Significant Person(s) (only Criterion 2): Patsy Cline (Virginia Patterson Hensley) Cultural Affiliation (only Criterion 6): n/a Designer/Creator/Architect/Builder: unknown Historic Contexts: Women’s History Initiative XXII. Music D. Popular K. Performers (Soloists and Ensembles) O. Recording Designated a National Historic Landmark by the Secretary of the Interior January 13, 2021 Paperwork Reduction Act Statement. We are collecting this information under the authority of the Historic Sites Act of 1935 (16 U.S.C. 461-467) and 36 CFR part 65. Your response is required to obtain or retain a benefit. We will use the information you provide to evaluate properties nominated as National Historic Landmarks. We may not conduct or sponsor and you are not required to respond to a collection of information unless it displays a currently valid OMB control number. OMB has approved this collection of information and assigned Control No. 1024-0276. Estimated Burden Statement. Public reporting burden is 2 hours for an initial inquiry letter and 344 hours for NPS Form 10-934 (per response), including the time it takes to read, gather and maintain data, review instructions and complete the letter/form.
[Show full text]
Country Music in the Modern Era: 1940S-1970S New World NW 207
Country Music in the Modern Era: 1940s-1970s New World NW 207 Country music is a commercial art. The music's artistic development is intertwined with the growth of those institutions that helped or hindered the performance of the music. Radio shows, record companies, and television networks have all had a place in the story. Great artists have left their mark on country music's sound, and great executives have had an equal influence on the music by affecting its packaging and availability. The term "country music" came into use only gradually in the years following World War II. "Hillbilly music" had been the term used to characterize the music of the white rural South, but after the war the style came under the influence of popular music and an urban audience, and as the music changed "hillbilly" became less and less accurate. The period between World War II and the middle seventies has generally been one of growth in the audience for this most native of American music traditions. In the twenties and thirties country material was essentially folk music placed on disc. By the end of the thirties the music had diversified to a considerable degree, but much hillbilly music continued to reflect British and American folk song. It was most frequently recorded on location in the South and Southwest. Powerful radio stations like Chicago's WLS and Nashville's WSM broadcast live country music to a growing audience. Bob Wills and his jazz influenced western swing thrilled thousands of country fans in the Southwest. Yet, despite these signs of musical growth and diversity, hillbilly music remained unfocused in the thirties.
[Show full text]