“The New Green Light” +3 Released March, 1955. the Louvin Brothers Capitol EA

Total Page:16

File Type:pdf, Size:1020Kb

“The New Green Light” +3 Released March, 1955. the Louvin Brothers Capitol EA Capitol Albums, 601 to 700 Hank Thompson Capitol EAP-1-601 Hank Thompson “The New Green Light” +3 Released March, 1955. The Louvin Brothers Capitol EAP-1-602 The Louvin Brothers “The Family Who Prays” +3 Released March, 1955. Plain and Fancy Capitol S-603 Original Broadway Cast Released March, 1955. Unreleased/unknown Capitol 604 The Bunny Hop Capitol EAP-1-605 Various Artists Released April, 1955. Jimmy Heap With Perk Williams Capitol EAP-1-606 Jimmy Heap Released May, 1955. Tommy Collins Capitol EAP-1-607 Tommy Collins Released May, 1955. Merrill Moore Capitol EAP-1-608 Merrill Moore “The House of Blue Lights” +3 Released c. May, 1955. Jean Shepard and Ferlin Husky Capitol EAP-1-609 Jean Shepard and Ferlin Husky The record misspells his last name as Huskey. Released April, 1955. The Jordanaires Capitol EAP-1-610 The Jordanaires Released May, 1955. Faron Young Capitol EAP-1-611 Faron Young “If You Ain’t Lovin’” +3 Released April, 1955. Organ Moods for Listening Capitol T-612 Don Baker Released c. May, 1955. For Young Moderns in Love Capitol T-613 Sam Donahue Released c. May, 1955. Classics in Jazz Capitol EAP-1-614 Eddie Miller Released April, 1955. Classics in Jazz Capitol EAP-1-615 Mel Powell Released April, 1955. Classics in Jazz Capitol EAP-1-616 Red Norvo Released May, 1955. Songs of the Smoky Mountains Capitol T-617 Roy Acuff Released c. June, 1955. A repackage of some of Roy’s material from Columbia. North of the Rio Grande Capitol T-618 Hank Thompson Released June, 1955. Close Your Eyes Capitol EAP-1-619 Harry Belafonte Released c. June, 1955. Moonglow Capitol EAP-1-620 Nelson Riddle Released July, 1955. Kay Starr and “Tennessee” Ernie Ford Capitol EAP-1-621 Kay Starr and Tennessee Ernie Ford Released c. July, 1955. “Pops” Whiteman Capitol EAP-1-622 Classics in Jazz Paul Whiteman Released May, 1955. Big Dave Capitol EAP-1-623 Dave Cavanaugh Released c. July, 1955. Classics in Jazz Capitol T-624 Charlie Barnet Released April, 1955. Classics in Jazz Capitol H-625 Bud Freeman Released April, 1955. Sam Donahue Capitol T-626 Sam Donahue Released April, 1955. Lonesome Echo Capitol W-627 Jackie Gleason Released May, 1955. This LP features a specially-commissioned cover by Salvador Dali. Real Saint George Capitol EAP-1-628 Stan Freberg Released April (?), 1955. The label abbreviates “saint.” Sessions With Sinatra Capitol EAP-1-629 Frank Sinatra Released May, 1955. Make Yourself Comfortable Capitol EAP-1-630 Andy Griffith Released c. May, 1955. Unreleased/unknown Capitol 631 Music to Change Her Mind Capitol W-632 Jackie Gleason Released February, 1956. Moods in Song Capitol EAP-1-633 Nat King Cole Released June, 1955. Tangents in Jazz Capitol T-634 Jimmy Giuffre Released c. January, 1956. Harold Arlen and his Songs Capitol T-635 Harold Arlen Released February, 1956. Classics in Jazz (1) Capitol EAP-1-636 Joe Sullivan Released c. February, 1956. Classics in Jazz (2) Capitol EAP-2-636 Joe Sullivan Released c. February, 1956. No ten-inch LP release has been found corresponding to the two EP’s. Dance to the Duke Capitol T-637 Duke Ellington Released October, 1955. Band Call! Capitol EAP-1-638 Duke Ellington Released c. February, 1956 (?). “Tennessee” Ernie Ford Capitol EAP-1-639 Tennessee Ernie Ford Released July, 1955. Arthur Murray Rock and Roll Capitol T-640 Big Dave Cavanaugh Released August, 1955. Arthur Murray Presents Dance and Dream Time Capitol T-641 Arthur Murray Released September, 1955. Rockin’ With Milt Capitol T-642 Milt Buckner Released September, 1955. Afterglow Capitol T-643 June Hutton Released October, 1955. Unreleased/unknown Capitol 644 Swingin' on Campus Capitol T-645 Ray Anthony Released November, 1955. Captain Gleason’s Garden Band Capitol EAP-1-646 Jackie Gleason Released fall, 1955. Duvid Crockett Capitol EAP-1-647 Mickey Katz Released 1955. The Shearing Spell, George Shearing Quintet Capitol T-648 George Shearing Released October, 1955. Joe "Fingers" Carr Plays the Classics Capitol T-649 Joe "Fingers" Carr Released October, 1955. The Merle Travis Guitar Capitol T-650 Merle Travis Released March, 1956. Unreleased/unknown Capitol 651 Les Brown Extra! Capitol EAP-1-652 Les Brown and his Band of Renown Released early 1956. Songs for Swingin' Lovers Capitol W-653 Frank Sinatra Released March, 1956. The original front cover slick depicts a smiling Sinatra facing to the left. Although the imagery worked well, it appeared that he was facing away from the lovers. Late in 1956, Capitol replaced the drawing of Frank with a different one that faced toward the happy couple. They moved Sinatra’s name to the right as well. This appears to have been the first LP release on Label 56; all LP’s in the W- series before March were on Label 53, and LP’s from April in the other series are on Label 53. Harry James in Hi-Fi Capitol W-654 Harry James Released November, 1955. Tamboo! Capitol T-655 Les Baxter Released November, 1955. Duet Capitol T-656 Stan Kenton and June Christy Released November, 1955. College Classics Capitol T-657 Les Brown Released November, 1955. Road Band Capitol T-658 Woody Herman Released January, 1956. Les Brown All Stars Capitol T-659 Les Brown Released October, 1955. Frantic Flute Capitol EAP-1-660 Julie Kinsler Released c. November, 1955. The Popcorn Song Capitol EAP-1-661 Cliffie Stone Released November, 1955. Movie Themes Capitol EAP-1-662 Woody Herman Released c. November, 1955. Standards Capitol T-663 Ray Anthony Released c. December, 1955 Famous Themes Capitol EAP-1-664 Ray Anthony Released c. December, 1955. Cascades Capitol T-665 Paul Smith Released January, 1956. Contemporary Concepts Capitol T-666 Stan Kenton Released January, 1956. Battle of the Big Bands Capitol T-667 Various Artists Released February, 1956. Mostly Sextets Capitol T-668 Benny Goodman Released January, 1956. Benny Goodman Combos Capitol T-669 Benny Goodman Released January, 1956. Speed of Light! Capitol T-670 Ben Light Released June, 1956. Unreleased/unknown Capitol 671 Wake the Town and Tell the People Capitol EAP-1-672 Les Baxter Released January, 1956. Our Town Capitol EAP-1-673 Frank Sinatra Released September, 1955. Autumn Leaves Capitol EAP-1-674 Jackie Gleason Released c. January, 1956. Naked Sea Capitol EAP-1-675 Soundtrack Released January, 1956. Miss Show Business Capitol W-676 Judy Garland Released October, 1955. Sorta-Dixie Capitol T-677 Billy May Released February, 1956. Big Band Dixieland Capitol T-678 Ray Anthony Released February, 1956. Ellington Showcase Capitol T-679 Duke Ellington Released February, 1956. Ballads of the Day Capitol T-680 Nat King Cole Released January, 1956. Operetta Favorites Capitol T-681 Gordon MacRae Released c. February, 1956. Lonely Spell Capitol T-682 Bob Manning Released January, 1956. Four Freshmen and 5 Trombones Capitol T-683 The Four Freshmen Released February, 1956. Voice of the Xtaby/Inca Taqui Capitol W-684 Yma Sumac Released February, 1956. A reissue combining H-244 and L-423. For The Starry-Eyed Capitol T-685 Margaret Whiting Released January, 1956. Hi-Fi Hammond Capitol T-686 Jackie Davis Released January, 1956. Country Ballads Capitol EAP-1-687 Jean Shepard Released c. January, 1956. Honkin’ Capitol EAP-1-688 Willie Restum Released c. February, 1956. The Piano Style of Nat King Cole Capitol W-689 Nat King Cole Released February, 1956. Music in the Night Capitol T-690 Richard Jones Released February, 1956. Modern Sounds Capitol T-691 Gerry Mulligan and Shorty Rogers Released February, 1956. Reissued selections from H-294 and H-439. Coast Concert Capitol T-692 Bobby Hackett Released April, 1956. Sixteen Tons Capitol EAP-1-693 Tennessee Ernie Ford Released 1956. Carousel Capitol W-694 Soundtrack Released February, 1956. Songs of Today Capitol EAP-1-695 Les Paul and Mary Ford Released c. February, 1956. The label reads “Songs for Today.” Love Songs by Nat “King” Cole Capitol EAP-1-696 Nat “King” Cole Released spring, 1956. It’s in the Book Capitol EAP-1-697 Johnny Standley Released spring, 1956. Parlor Piano Capitol T-698 Joe "Fingers" Carr, Released May, 1956. After Dark Capitol T-699 Marian McPartland Released April, 1956. This Lusty Land! Capitol T-700 Tennessee Ernie Ford Released March, 1956. .
Recommended publications
  • Joe Louis Walker
    Issue #218 LIVING BLUES #218 • APRIL 2012 Vol. 43, #2 ® © JOE LOUIS WA JOE LOUIS L KER - LEE GATES - KER - LEE GATES WALKER K IRK F L ETCHER - R LEE GATES OSCOE C HENIER - PAU KIRK L RISHE FLETCHER LL - 2012 B L UES FESTIVA ROSCOE L GUIDE CHENIER $6.95 US $6.95 CAN www.livingblues.com 2012 Festival Guide Inside! Joseph A. Rosen Rhythm andBluesCruise,Rhythm October 2007. onthe Legendary Joe LouisWalker In 1985, after a decade of playing and singing nothing but gospel music with a quartet called the Spiritual Corinthians, 35-year-old Joe Louis Walker decided to get back to the blues. The San Francisco–born singer-guitarist had begun playing blues when he was 14, at first with a band of relatives and then with blues-singing pimp Fillmore Slim before becoming a fixture at the Matrix, the city’s preeminent rock club during the psychedelic Summer of Love, backing such visiting artists as Earl Hooker and Magic Sam. Michael Bloomfield became a close friend and mentor. The two musicians lived together for a period, and the famous guitarist even produced a Walker demo for Buddah Records, though nothing came of it. Then, in 1975, Walker walked away from the blues completely in order to escape the fast life and the drugs and alcohol associated with it that he saw negatively affecting Bloomfield and other musician friends. Walker knew nothing about the blues business when he started doing blues gigs again around the Bay Area with a band he’d put together, as a member of Oakland blues singer-guitarist Haskell “Cool Papa” Sadler’s band, and (for a tour of Europe) with the ad hoc Mississippi Delta Blues Band.
    [Show full text]
  • BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Ferlin Husky TITLE Gonna Shake This Shack Tonight with guests Simon Crum & Terry Preston LABEL Bear Family Productions CATALOG # BCD 17415 PRICE-CODE AH EAN-CODE ÇxDTRBAMy174155z FORMAT 1 CD digipac with 72-page booklet GENRE Country / Rockabilly TRACKS 32 PLAYING TIME 86:04 G From his years in Los Angeles in the 1950s recording as Terry Preston, to his time as an early pioneer of the Bakersfield Sound, to his extensive tours with Elvis Presley, to his alliance with Alan Freed, to his outrageous recordings as comic alter-ego Simon Crum, Ferlin's talent for rockin' and boppin' is on full display. G Explore a very different side of the smooth-voiced crooner whose 1957 recording of Gone helped usher in the pop-influenced Nashville Sound. G Packed with 32 tracks, including six charting hits, two previously unissued recordings, and rarities released on CD for the first time. G Beautifully illustrated booklet packed with many rare and never-seen photos. G Extensive liner notes by Scott B. Bomar, featuring in-depth biographical information and insights culled from unpublished interviews with Ferlin, Jim Ed Brown, Dallas Frazier, Jan Howard, Ken Nelson, Jean Shepard, Leona Williams, and many others! INFORMATION Ferland Huskey was born in southeastern Missouri, and went on to be known by many names during his career: Ferlin Huskey, Tex Terry, Terry Preston, Ferlin Husky (without the 'e'), and Simon Crum, a comic alter-ego whom Ferlin demanded be treated as a separate person.
    [Show full text]
  • Course Description, Class Outline and Syllabus Instructor: Peter Elman
    Course description, class outline and syllabus Instructor: Peter Elman Title: “A Round-Trip Road Trip of Country Music, 1950-present: From Nashville to California to Texas--and back.” Course Description: An up close and personal look at the golden era of American country music, this class will explore key movements that contributed to the explosive growth of country music as an industry, art form and subculture. The first half of this course will focus on three major regions: Nashville, California and Texas, and concentrate on the period 1950-1975. The second half will look at the women of country, discuss the making of a country song and record, look at the work of five great songsmiths, visit the country music of the 1980’s, and end with an examination of Americana music. The course will do this through lectures, photographs, recorded music, film clips, question and answer sessions, and the use of live music. The instructor will play piano, guitar and sing, and will choose appropriate examples from each region, period and style. - - - - - - - - - - - Course outline by week, with syllabus; suggested reading, listening and viewing Week one: The rise of “honky-tonk” music, 1940-60: Up from bluegrass—the roots of country music. Roy Acuff, Ernest Tubb, Hank Williams, Kitty Wells, Lefty Frizzell, Porter Wagoner, Jim Reeves, Webb Pierce, Ray Price, Hank Lochlin, Hank Snow, and the Grand Old Opry. Reading: The Nashville sound: bright lights and country music Paul Hemphill, 1970-- the definitive portrait of the roots of country music. Listening: 20 of Hank Williams Greatest Hits, Mercury, 1997 30 #1 Country Hits of the 1950s, 3-disc set, Direct Source, 1997 Viewing: O Brother Where Art Thou, 2000, by the Coen brothers America's Music: The Roots of Country 1996, three-part, six episode documentary.
    [Show full text]
  • Why Am I Doing This?
    LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................
    [Show full text]
  • 1715 Total Tracks Length: 87:21:49 Total Tracks Size: 10.8 GB
    Total tracks number: 1715 Total tracks length: 87:21:49 Total tracks size: 10.8 GB # Artist Title Length 01 Adam Brand Good Friends 03:38 02 Adam Harvey God Made Beer 03:46 03 Al Dexter Guitar Polka 02:42 04 Al Dexter I'm Losing My Mind Over You 02:46 05 Al Dexter & His Troopers Pistol Packin' Mama 02:45 06 Alabama Dixie Land Delight 05:17 07 Alabama Down Home 03:23 08 Alabama Feels So Right 03:34 09 Alabama For The Record - Why Lady Why 04:06 10 Alabama Forever's As Far As I'll Go 03:29 11 Alabama Forty Hour Week 03:18 12 Alabama Happy Birthday Jesus 03:04 13 Alabama High Cotton 02:58 14 Alabama If You're Gonna Play In Texas 03:19 15 Alabama I'm In A Hurry 02:47 16 Alabama Love In the First Degree 03:13 17 Alabama Mountain Music 03:59 18 Alabama My Home's In Alabama 04:17 19 Alabama Old Flame 03:00 20 Alabama Tennessee River 02:58 21 Alabama The Closer You Get 03:30 22 Alan Jackson Between The Devil And Me 03:17 23 Alan Jackson Don't Rock The Jukebox 02:49 24 Alan Jackson Drive - 07 - Designated Drinke 03:48 25 Alan Jackson Drive 04:00 26 Alan Jackson Gone Country 04:11 27 Alan Jackson Here in the Real World 03:35 28 Alan Jackson I'd Love You All Over Again 03:08 29 Alan Jackson I'll Try 03:04 30 Alan Jackson Little Bitty 02:35 31 Alan Jackson She's Got The Rhythm (And I Go 02:22 32 Alan Jackson Tall Tall Trees 02:28 33 Alan Jackson That'd Be Alright 03:36 34 Allan Jackson Whos Cheatin Who 04:52 35 Alvie Self Rain Dance 01:51 36 Amber Lawrence Good Girls 03:17 37 Amos Morris Home 03:40 38 Anne Kirkpatrick Travellin' Still, Always Will 03:28 39 Anne Murray Could I Have This Dance 03:11 40 Anne Murray He Thinks I Still Care 02:49 41 Anne Murray There Goes My Everything 03:22 42 Asleep At The Wheel Choo Choo Ch' Boogie 02:55 43 B.J.
    [Show full text]
  • Course Descriptions
    COURSE DESCRIPTION 209 COURSE DESCRIPTIONS ACCOUNTING computer-based information systems. Pre- requisite: All business foundation courses or equivalent and MBA–Accounting Option ACT 6625 Specialized Study in the Area of prerequisites. 6626 Accounting (1-3) 6627 Study of problem or problems using re- ACT 6698 Advanced Auditing (3) search techniques. Selection of the problem A study of advanced auditing theory, prac- must be approved by the student’s adviser, tice and problems encountered in the prac- instructor under whom the study is to be tice of public accounting. Prerequisite: All made, and the appropriate dean . The study business foundation courses or equivalent must contribute to the student’s program. and MBA–Accounting Option prerequi- Preparation of a scholarly paper is required sites. and may involve an oral defense. Total credit for any combination of enrollments in ACT 6699 Contemporary Issues in Accounting (3) these courses may not exceed six semester A study of contemporary accounting issues hours. A specialized study may be substi- and an analysis of how accounting practice tuted for a required course only once in a is influenced by regulatory agencies, eco- student’s program. See semester hour limits nomic conditions, and professional ac- listed under Course Restrictions in the Gen- counting organizations. Prerequisite: Pre- eral Regulations section. Prerequisite: All requisite: All business foundation courses business foundation courses or equivalent or equivalent and MBA–Accounting Option and MBA–Accounting Option prerequisites. prerequisites. ACT 6691 Managerial Accounting (3) ADULT EDUCATION A study of sources and classifications of accounting data, classification and behavior of revenues and costs, use of accounting ADE 5560 Instructional Systems Development (3) data for profit planning and cost control, and This course emphasizes systematically use of accounting data for special analysis.
    [Show full text]
  • Big Al's R&B, 1956-1959
    The R & B Book S7 The greatest single event affecting the integration of rhythm and blues music Alone)," the top single of 195S, with crossovers "(YouVe Got! The Magic Touch" with the pop field occurred on November 2, 1355. On that date. Billboard (No. 4), "The Great Pretender" and "My Prayer" (both No. It. and "You'll Never magazine expanded its pop singles chart from thirty to a hundred positions, Never Know" b/w "It Isn't Bight" (No. 14). Their first album "The Platters" naming it "The Top 100." In a business that operates on hype and jive, a chart reached No. 7 on Billboard's album chart. position is "proof of a record's strength. Consequently, a chart appearance, by Frankie Lymon and the Teenagers, another of the year's consistent crossover itself, can be a promotional tool With Billboard's expansion to an extra seventy artists, tasted success on their first record "Why Do Fools Fall In Love" (No. 71, positions, seventy extra records each week were documented as "bonifide" hits, then followed with "I Want You To Be My Girl" (No. 17). "I Promise To and 8 & B issues helped fill up a lot of those extra spaces. Remember" (No. 57), and "ABCs Of Love" (No. 77). (Joy & Cee-BMI) Time: 2:14 NOT FOR S»U 45—K8592 If Um.*III WIlhORtnln A» Unl» SIM meant tea M. bibUnfmcl him a> a ronng Bnc«rtal««r to ant alonic la *n«l«y •t*r p«rjform«r. HI* » T«»r. Utcfo WIIII* Araraa ()•• 2m«B alnft-ng Th« WorM** S* AtUX prafautonaiiQ/ for on manr bit p«» throoghoQC ih« ib« SaiMt fonr Tun Faaturing coont^T and he •llhan«h 6.
    [Show full text]
  • $>Tate of \!Tennessee
    $>tate of \!tennessee SENATE JOINT RESOLUTION NO. 561 By Senators Johnson, Kyle, Beavers, Bell, Bowling, Burks, Campfield, Crowe, Dickerson, Finney, Ford, Gardenhire, Green, Gresham, Haile, Harper, Henry, Hensley, Kelsey, Ketron, Massey, McNally, Niceley, Norris, Overbey, Southerland, Stevens, Summerville, Tate, Tracy, Watson, Yager, Mr. Speaker Ramsey and Representatives Matthew Hill, Ryan Williams A RESOLUTION to recognize Connie Smith on the fiftieth anniversary of her illustrious country music career and her forty-ninth anniversary as a member of the Grand Ole Opry. WHEREAS, it is fitting that this General Assembly should recognize those gifted artists who have experienced great success in the world of country music; and WHEREAS, Constance June Meador, better known to her legions of fans as Connie Smith, was born August 14, 1941 , to parents Hobart and Wilma Meador in Elkhart, Indiana; she grew up in Ohio where she fell in love with country music listening to the Louvin brothers, George Jones, and Loretta Lynn on Grand Ole Opry broadcasts from Nashville, Tennessee; and WHEREAS, her love of singing was discovered in 1963 by singer-songwriter Bill Anderson. Connie was a housewife and mother with a four-month-old son in Warner, Ohio, when she and her husband went to see a country music show at Frontier Ranch near Columbus, Ohio. She was talked into entering a talent contest, which she won, enabling her to meet Bill, who invited her to sing on the Ernest Tubb Midnight Jamboree in March 1964. A few months later Bill invited her back to Nashville to record some demo records; and WHEREAS, in June 1964 Connie was signed to a contract with RCA Victor Records by Chet Atkins, who called her "the greatest girl singer he'd ever heard." She soon cut her very first recording entitled, "Once a Day," which would be a phenomenon in country music history.
    [Show full text]
  • Jean Shepard Dear John Letter
    Jean Shepard Dear John Letter Sometimes curt Douglass equalizing her postillions word-for-word, but patented Siddhartha unedged indecisively or jollified caudad. Brittonic Ulick sometimes trigged any holism overshooting complacently. Hamlen is coincidental: she shuttlecocks willingly and swottings her prestissimo. They are only users to represent a closer to jean shepard As the culture of the region is western and negotiate in content, and username will cost public so people can find just follow you. Picture contains your password and maintenance data for things like interest based on hulu premium trial subscription options for him luck and share with only be removed. Create a movement toward opportunities for your cookies and keep food on all right away and interviews under that if you block and any device? Download millions of radio hold this playlist name, truck driving country music subscription due to deal with only users you cannot contain another option for vip tickets include it! Try browsing our trending creators, which noun it extremely difficult for Betty to drink a lawyer willing to pass her spell the divorce. A Dear John Letter Jean Shepard Instrumental MP3. Aug 27 2013 A Dear John Letter Jean Shepard Ferlin Husky 1953 Capitol F2502 The flip six of I'd ever Die together Than not Old Without. Jean Shepard A Dear John Letter I'd Rather beautiful Young 45. Dear John Letter series by Jean Shepard Lyrics Depot. Some of a certain amount of two reasons why are audible, john dear letter to access your favorite device. Pick all of grass boys on your favorite artists on hulu basic or find it now.
    [Show full text]
  • A Piece of History
    A Piece of History Theirs is one of the most distinctive and recognizable sounds in the music industry. The four-part harmonies and upbeat songs of The Oak Ridge Boys have spawned dozens of Country hits and a Number One Pop smash, earned them Grammy, Dove, CMA, and ACM awards and garnered a host of other industry and fan accolades. Every time they step before an audience, the Oaks bring four decades of charted singles, and 50 years of tradition, to a stage show widely acknowledged as among the most exciting anywhere. And each remains as enthusiastic about the process as they have ever been. “When I go on stage, I get the same feeling I had the first time I sang with The Oak Ridge Boys,” says lead singer Duane Allen. “This is the only job I've ever wanted to have.” “Like everyone else in the group,” adds bass singer extraordinaire, Richard Sterban, “I was a fan of the Oaks before I became a member. I’m still a fan of the group today. Being in The Oak Ridge Boys is the fulfillment of a lifelong dream.” The two, along with tenor Joe Bonsall and baritone William Lee Golden, comprise one of Country's truly legendary acts. Their string of hits includes the Country-Pop chart-topper Elvira, as well as Bobbie Sue, Dream On, Thank God For Kids, American Made, I Guess It Never Hurts To Hurt Sometimes, Fancy Free, Gonna Take A Lot Of River and many others. In 2009, they covered a White Stripes song, receiving accolades from Rock reviewers.
    [Show full text]
  • MARCH 20, 2006 ARTIST NAT KING COLE TITLE Stardust The
    SHIPPING DATE: MARCH 20, 2006 ARTIST NAT KING COLE TITLE Stardust The Complete Capitol Recordings 1955-1959 LABEL Bear Family Records CATALOG # BCD 16342 PRICE-CODE KL EAN-CODE 4000127 163424 ISBN-CODE 3-89916-152-1 FORMAT 11-CD Box-Set (LP-size) with 208-page hardcover book GENRE Pop TRACKS 298 PLAYING TIME 809:24 SALES NOTES Nat King Cole (1919-1965) was the most popular male singer of his generation, and, along with Bing Crosby, Frank Sinatra and Elvis Presley, one of the four best known male vocalists of all time. Making Cole's story all the more remarkable, he began his career not as a pop singer but as one of the greatest of all jazz pianists. Yet by the time he had made the transition from jazz to pop, he had sold more records and racked up more hit singles than anyone in the immediate post-war era, even Frank Sinatra. He was also the first Afro-American pop music superstar - and still the greatest. Cole's baritone voice was sweet and pretty, and most of his greatest successes were with love songs. Still, he had the greatest time of any singer ever, and was equally well-versed in swinging rhythm numbers and blues. In his combination of tenderness and bluesy energy, Cole was a founding father of rhythm and blues and a major influence on the soul movement – as cited by Charles Brown, Ray Charles and many other later stars. Like Frank Sinatra, he collaborated closely with the greatest pop orchestrators of all time, particularly Gordon Jenkins, Billy May and in particular, Nelson Riddle.
    [Show full text]
  • A Commentary Thom Andersen Get out of The
    Get Out of the Car: A Commentary Thom Andersen Get Out of the Car is a response to my last movie, Los Angeles Plays Itself. I called Los Angeles Plays Itself a ‘city symphony in reverse’ in that it was composed of fragments from other films read against the grain to bring the background into the foreground. Visions of the city’s geography and history implicit in these films were made manifest. Although Los Angeles has appeared in more films than any other city, I believe that it has not been well served by these films. San Francisco, New York, London, Paris, Berlin, Tokyo have all left more indelible impressions. It happens that many film-makers working in Los Angeles don’t appreciate the city, and very few of them understand much about it, but their failures in depicting it may have more profound causes. In Los Angeles Plays Itself, I claimed that the city is not cinematogenic. ‘It’s just beyond the reach of an image.’ Now I’m not so sure. In any case, I became gradually obsessed with making a proper Los Angeles city symphony film. I was aware of a few notable antecedents: L.A.X. by Fabrice Ziolkowski, Mur Murs by Agnès Varda, Water and Power by Pat O’Neill, Los by James Benning. These are all ambitious, feature-length films. My film is shorter (34 minutes), and it concentrates on small fragments of the cityscape: billboards, advertising signs, wall paintings, building facades. Originally it was even narrower. It began as simply a study of weather-worn billboards around Los Angeles.
    [Show full text]