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    <author>
        <name>Bear Family Records</name>
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    <title>Blog / flux Atom</title>
    <id>https://www.bear-family.fr/blog/index/sCategory/215151084/sRss/1</id>
    <updated>2026-11-13T20:38:42+01:00</updated>
    
        <entry>
            <title type="text">Press Archive - Lefty Frizzell An Article From Life - The Complete Recordings...</title>
            <id>https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/1115</id>
            <link href="https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/1115"/>
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                                            Press Archive - Lefty Frizzell An Article From Life - The Complete Recordings - themortonreport.com Lefty Frizzell arguably played almost as big a role in the development of modern country music as his friend Hank Williams. Nevertheless, he didn’t make it into the Country Musi...
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                 Lefty Frizzell arguably played almost as big a role in the development of modern country music as his friend Hank Williams. Nevertheless, he didn&amp;rsquo;t make it into the Country Music Hall of Fame until 1982 and, for reasons I&amp;rsquo;ve never quite figured out, he is not as well known or loved by the public today as, say, Williams or George Jones. 
 He continues to be revered by his fellow musicians, however. &amp;ldquo;The soul of Hank Williams, the appeal of Johnny Cash, and the charisma of Elvis Presley. He had it all,&amp;rdquo; said the late, great Merle Haggard, one of Frizzell&amp;rsquo;s biggest fans. &amp;ldquo;The impact he had on country music, and on me, is not even measurable.&amp;rdquo; Indeed, Frizzell had a huge influence on many artists, including, in addition to Haggard, Randy Travis, John Anderson, and Willie Nelson. (Nelson recorded a whole album called&amp;nbsp; To Lefty from Willie).&amp;nbsp; Roy Orbison paid homage to him by choosing the name Lefty Wilbury for himself when he joined the Traveling Wilburys. George Jones looked up to Frizzell and Williams so much that his producer reportedly admonished him for trying to sound too much like them. 
 &amp;nbsp; 
 Frizzell, who was himself influenced by Jimmie Rodgers, wrote many excellent songs. But what most set him apart was his unique and emotional vocal style&amp;mdash;the way he used his tenor to stretch out syllables, convey intimacy, and blend honky-tonk with an approach that could appeal to a wider audience.&amp;nbsp; 
 In his day, he certainly got that audience. Both sides of his very first single&amp;mdash;&amp;ldquo;If You&amp;rsquo;ve Got the Money (I&amp;rsquo;ve Got the Time) b/w &amp;ldquo;I Love You a Thousand Ways&amp;rdquo;&amp;mdash;topped country charts in 1950. (The latter song was one of many that he wrote to his wife in late 1947, while serving six months in jail for statutory rape.) And by the end of 1953, he had hit the top 10 no fewer than 15 times, with numbers like &amp;ldquo;Always Late (With Your Kisses)&amp;rdquo; and &amp;ldquo;I Want to Be with You Always.&amp;rdquo;&amp;nbsp; 
 Frizzell&amp;rsquo;s career went into decline by the mid 50s, though he did score hits near the end of the decade (&amp;ldquo;Cigarettes and Coffee Blues&amp;rdquo; and his version of &amp;ldquo;Long Black Veil&amp;rdquo;); had another No. 1 in 1962 (&amp;ldquo;Saginaw Michigan&amp;rdquo;); and continued to enjoy minor hits until shortly before his death at age 47 in 1975. You&amp;rsquo;ll find all of these songs and a whole lot more&amp;mdash;to put it mildly&amp;mdash;on the Bear Family label&amp;rsquo;s new&amp;nbsp; An Article from Life: The Complete Recordings.  
 I&amp;rsquo;ve been suspicious of music collections touted as &amp;ldquo;complete&amp;rdquo; ever since I shelled out big bucks for the 12-CD&amp;nbsp; The Complete Hank Williams , only to find that I still needed to purchase the two-disc, 49-track&amp;nbsp; Health and Happiness Shows &amp;nbsp;and, later, the three-disc, 54-track&amp;nbsp; The Unreleased Recordings . And I initially thought this Frizzell package from Germany&amp;rsquo;s Bear Family label might also fall short of its title&amp;rsquo;s promise, since its dozen music CDs looked similar at first glance to ones in a box that came out in 1999 under the title&amp;nbsp; Life&amp;rsquo;s Like Poetry . That set was massive, but as some fans noticed, it failed to include dozens of tracks from Frizzell&amp;rsquo;s archives.&amp;nbsp; 
 That&amp;rsquo;s not the case, however, with this anthology, which is packaged as artfully as an Apple computer and appears to contain every last note that Frizzell ever recorded. Its dozen jam-packed music CDs, which offer nearly 15 hours of playing time, feature more than 350 newly remastered tracks, including all of Frizzell&amp;rsquo;s approximately three dozen hits; every 45, 78, and LP track; and every previously unissued demo, session, and non-session recording, among them many newly discovered tracks. 
 The release also incorporates a colorful eight-CD, 17-chapter audio biography of Frizzell by his brother, country singer David Frizzell, and an LP-sized, 264-page hardcover book with a wealth of photos, extensive liner notes, a complete discography, and more. I&amp;rsquo;m tempted to say that this collection contains everything but the kitchen sink, but I&amp;rsquo;m not finished exploring and it&amp;rsquo;s possible the sink may be in there somewhere, too. 
 The package isn&amp;rsquo;t exactly cheap, but for anyone trying to build a collection of country&amp;rsquo;s most important recordings, Frizzell&amp;rsquo;s work is essential. And to paraphrase the title of his first hit, if you&amp;rsquo;ve got the money,&amp;nbsp; An Article from Life &amp;nbsp;has got the music. 
 &amp;nbsp; 
 read more 
 http://www.themortonreport.com/entertainment/music/album-reviews-lefty-frizzell-an-article-from-life-plus-more-new-music/ 
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                            <updated>2018-12-19T00:00:00+01:00</updated>
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        <entry>
            <title type="text">James Mangold, director of the Johnny Cash biopic &#039;Walk The Line&#039; (starring J...</title>
            <id>https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/16</id>
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                                            James Mangold, réalisateur du biopic Johnny Cash&#039;Walk The Line&#039; (avec Joaquin Phoenix), révélé dans une interview à Los Angeles.
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                 James Mangold, r&amp;eacute;alisateur du film&#039;Walk The Line&#039; sur la vie de Johnny Cash (avec Joaquin Phoenix dans le r&amp;ocirc;le-titre), a assur&amp;eacute; lors de l&#039;interview &amp;agrave; Los Angeles : &quot;Je n&#039;aurais jamais tourn&amp;eacute; ce film si je n&#039;avais pas trouv&amp;eacute; les caisses du label BEAR FAMILY. Je suis un fan depuis que j&#039;ai d&amp;eacute;couvert&#039;At Folsom Prison&#039; quand j&#039;&amp;eacute;tais enfant dans la collection de disques de mon p&amp;egrave;re entre d&#039;&amp;eacute;tranges disques de John Den- ver. Mais ce n&#039;est qu&#039;&amp;agrave; travers les photos et les textes d&#039;accompagnement des bo&amp;icirc;tes de la famille BEAR FAMILY que j&#039;ai d&amp;eacute;velopp&amp;eacute; un sentiment pour l&#039;&amp;eacute;poque. Ils ont aussi &amp;eacute;t&amp;eacute; d&#039;une grande aide dans la conception des d&amp;eacute;cors et des costumes.&quot;&amp;nbsp; 
 James Mangold, director of the Johnny Cash biopic &#039;Walk The Line&#039; (starring Joaquin Phoenix), revealed in a Los Angeles interview,&amp;nbsp;&quot;I would not have made this movie if I had not come across the Johnny Cash CD box sets released by BEAR&amp;nbsp;FAMILY&amp;nbsp;RECORDS. I had been a fan since I had found &#039;At Folsom Prison&#039; in my father&amp;rsquo;s record collection amongst a couple of odd John Denver records. It definitely was the pictures and the text in those BEAR&amp;nbsp;FAMILY&amp;nbsp;box sets that gave me the right feeling for the whole era. The box sets were also very helpful at the film set and for the costume designers.&amp;rdquo; 
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                            <updated>2018-03-28T00:00:00+02:00</updated>
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        <entry>
            <title type="text">Bear Family… Boxing Clever</title>
            <id>https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/855</id>
            <link href="https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/855"/>
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                                             &quot;Notre objectif a toujours été de diffuser de la musique importante.... qu&#039;il s&#039;agisse de musique country, r&amp;b, rock&#039;n&#039; roll, pop classique ou même pop britannique ou calypso trinidadienne... quel que soit le potentiel de vente...&quot;. Richard Weize
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                 Famille Bear.... Boxing Clever 
 Trop souvent, le terme &quot;&amp;nbsp;famille&amp;nbsp;&quot; est utilis&amp;eacute; &amp;agrave; tort pour une organisation qui ressemble &amp;agrave; la d&amp;eacute;finition de la mafia sicilienne du terme.... beaucoup de &quot;&amp;nbsp;respect&amp;nbsp;&quot; masquant les tensions, les tensions sublim&amp;eacute;es et pas beaucoup d&#039;amour que l&#039;on peut trouver n&#039;importe o&amp;ugrave;. Mais l&#039;atmosph&amp;egrave;re de la ferme de la famille Bear, au c&amp;oelig;ur des bois, &amp;agrave; une quarantaine de kilom&amp;egrave;tres de Br&amp;ecirc;me, dans le nord de l&#039;Allemagne, est celle d&#039;une vraie famille. J&#039;ai r&amp;eacute;cemment eu le privil&amp;egrave;ge d&#039;assister &amp;agrave; l&#039;une de leurs r&amp;eacute;unions semestrielles dans la maison du fondateur Richard Weize, o&amp;ugrave; tous les membres de la famille se sont r&amp;eacute;unis autour d&#039;une immense table de cuisine pour discuter des diff&amp;eacute;rents aspects des affaires de la famille Bear. La table a &amp;eacute;t&amp;eacute; r&amp;eacute;v&amp;eacute;l&amp;eacute;e plus tard comme &amp;eacute;tant faite &amp;agrave; partir de la porte du bureau de Gabe Tucker &amp;agrave; Houston, Texas. Apr&amp;egrave;s que Gabe a quitt&amp;eacute; son partenariat avec le colonel Tom Parker, il a fond&amp;eacute; sa propre compagnie qui a r&amp;eacute;serv&amp;eacute; des artistes country dans les Houston Halls qui ont tous sign&amp;eacute; la porte lors de leur visite &amp;agrave; son bureau. La cuisine contenait cinq, comptez-les, cinq bo&amp;icirc;tes de juke vintage rang&amp;eacute; autour des murs accroch&amp;eacute;s avec des affiches vintage et des souvenirs encadr&amp;eacute;s et la famille est &amp;eacute;videmment fond&amp;eacute;e sur une base solide de rock d&#039;un amour et le respect pour la musique, pour l&#039;histoire musicale et pour l&#039;un pour l&#039;autre. Les coques de mon c&amp;oelig;ur &amp;eacute;taient vraiment r&amp;eacute;chauff&amp;eacute;es et j&#039;ai peu &amp;agrave; peu senti que les rapports sur la mort de l&#039;industrie du disque avaient &amp;eacute;t&amp;eacute; grandement exag&amp;eacute;r&amp;eacute;s. 
 &quot;Notre objectif a toujours &amp;eacute;t&amp;eacute; de diffuser de la musique importante.... qu&#039;il s&#039;agisse de musique country, r&amp;amp;b, rock&#039;n&#039; roll, pop classique ou m&amp;ecirc;me pop britannique ou calypso trinidadienne... quel que soit le potentiel de vente...&quot;. Richard Weize 
 Apr&amp;egrave;s trente-cinq ans dans l&#039;entreprise, leurs coffrets merveilleusement ma&amp;icirc;tris&amp;eacute;s, qui servent de d&amp;eacute;finition de &quot; d&amp;eacute;finitif &quot;, sont maintenant la substance de la l&amp;eacute;gende de la r&amp;eacute;&amp;eacute;dition de disques et tous sont remplis de livres &amp;agrave; dos dur en couleur contenant des photographies rares, des feuilles de piste, des scanners d&#039;&amp;eacute;tiquettes et des notes de couverture d&amp;eacute;taill&amp;eacute;es et savantes. &amp;Agrave; bien des &amp;eacute;gards, ces ensembles ont maintenant quitt&amp;eacute; le domaine du divertissement populaire pour entrer dans le domaine des projets de recherche dont la maison devrait &amp;ecirc;tre &amp;agrave; temp&amp;eacute;rature contr&amp;ocirc;l&amp;eacute;e dans les biblioth&amp;egrave;ques universitaires. Dans un monde id&amp;eacute;al, une bo&amp;icirc;te familiale Bear serait consid&amp;eacute;r&amp;eacute;e comme une th&amp;egrave;se de doctorat ou une demande de chaire de professeur. Mais ils ne sont pas secs, des tomes savants &amp;agrave; &amp;eacute;couter et &amp;agrave; regarder en m&amp;ecirc;me temps et &amp;agrave; classer &amp;agrave; des fins de recherche, car chaque sortie est remplie d&#039;une musique extr&amp;ecirc;mement divertissante ou significative. Peut-&amp;ecirc;tre que Bear Family travaille vraiment dans le foss&amp;eacute; inf&amp;acirc;me de Robert Rauschenberg entre l&#039;art et la vie. C&#039;est difficile de voir les choses autrement. 
 &quot;Bien que nous n&#039;ayons pas &amp;eacute;t&amp;eacute; le premier label &amp;agrave; &amp;eacute;mettre des coffrets, nous sommes certainement le label qui a &amp;eacute;lev&amp;eacute; l&#039;art du coffret &amp;agrave; son plus haut niveau possible&quot;. Richard Weize 
 Dans une autre pi&amp;egrave;ce, un mur est &amp;eacute;tag&amp;egrave;re du sol au plafond avec une s&amp;eacute;lection d&#039;exemples de bo&amp;icirc;tes familiales Bear et de livres &amp;agrave; dos dur. Pour chaque bo&amp;icirc;te de&#039;Complete Sun Singles&#039; (Volumes 1 &amp;agrave; 6, BCD 15801 &amp;agrave; 15806), il y a des compilations moins &amp;eacute;videntes comme&#039;Vorbei Beyond Recall&#039; (BCD 16030) enregistr&amp;eacute; &amp;agrave; Berlin par des membres de la Ligue culturelle juive &amp;agrave; l&#039;approche de la Seconde Guerre mondiale alors que l&#039;antis&amp;eacute;mitisme &amp;eacute;tait une doctrine d&#039;Etat. Sous la surveillance constante de la Gestapo, leurs activit&amp;eacute;s, de par leur nature m&amp;ecirc;me, devaient &amp;ecirc;tre clandestines. Qu&#039;en est-il de la musique underground ? Et puis de retour avec un bang &amp;agrave; volume apr&amp;egrave;s volume d&#039;un genre distinctement allemand de musique pop cultiv&amp;eacute;e dans le pays, connu sous le nom de&#039;schlager&#039;... &quot;soit vous l&#039;aimez, soit vous le d&amp;eacute;testez&quot; J&#039;ai &amp;eacute;t&amp;eacute; inform&amp;eacute; de mani&amp;egrave;re fiable. 
 &quot;Bear Family a cette grande s&amp;eacute;rie appel&amp;eacute;e&#039;Schlager im Spiegel Der Zeit&#039; (BCD 17159 &amp;agrave; BCD 17189).... vous pourriez probablement la comparer &amp;agrave; la tradition du music hall anglais. C&#039;est comme une chanson populaire qui d&amp;eacute;peint certains sujets qui sont dans le courant populaire comme des proverbes ou des proverbes ou des dictons ou certaines souches d&#039;int&amp;eacute;r&amp;ecirc;ts comme les folies, certaines coiffures.... mais surtout le schlager contemporain s&#039;inspire beaucoup de la musique populaire am&amp;eacute;ricaine des ann&amp;eacute;es 60. Quand le Sir Douglas Quintet a enregistr&amp;eacute;&#039;Mendocino&#039;, leur version a &amp;eacute;t&amp;eacute; sur les charts hollandais pendant trente semaines et une version allemande a &amp;eacute;t&amp;eacute; sur les charts allemands pendant plus de trente semaines.... et &amp;agrave; partir de ce moment-l&amp;agrave;, chaque chanson de Schlager avait ce Tex Mex battu avec l&#039;orgue Farfisa&#039;oompah, ooompah, oompah, oompah&#039; et ainsi de suite....&quot;. 
 Roland Heinrich 
 L&#039;histoire de la famille Bear a d&amp;eacute;j&amp;agrave; &amp;eacute;t&amp;eacute; racont&amp;eacute;e en mots et en musique dans le&#039;35 !!!!!! Le coffret de trois CD de Years Bear Family Records sorti en 2010 (BCD 17035) et ce n&#039;est qu&#039;un instantan&amp;eacute;. J&#039;esp&amp;egrave;re qu&#039;il ira quelque part vers l&#039;illustration de ce qui rend Bear Family Records si sp&amp;eacute;cial... &amp;agrave; commencer par Richard Weize qui se souvient de la fa&amp;ccedil;on dont la soci&amp;eacute;t&amp;eacute; a &amp;eacute;t&amp;eacute; fond&amp;eacute;e. 
 &quot;Pour faire court, j&#039;avais des amis plus &amp;acirc;g&amp;eacute;s que moi et ils &amp;eacute;taient tr&amp;egrave;s pauvres, mais ils avaient tout ce que je n&#039;avais pas... et qu&#039;ils n&#039;obtiendraient pas... et ils avaient un disque de Bill Haley,&#039;Rock&#039;, et je l&#039;ai entendu de leur bouche et ils m&#039;ont dit&#039;eh bien, vous pouvez acheter &amp;ccedil;a au magasin de disques&#039;. J&#039;ai pris tout l&#039;argent que j&#039;avais et je suis all&amp;eacute; au magasin de disques et ils m&#039;ont dit : &quot; Nous n&#039;avons pas ce disque. Nous n&#039;avons que&#039;Rock Around The Clock&#039; et j&#039;ai d&amp;eacute;cid&amp;eacute; d&#039;acheter&#039;Rock Around The Clock&#039; et j&#039;ai apport&amp;eacute; ce disque &amp;agrave; la maison et je l&#039;ai mis sur la platine pour mon p&amp;egrave;re qui &amp;eacute;tait dans l&#039;une de ses armoires &amp;agrave; musique. A l&#039;&amp;eacute;poque, on pouvait acheter une aiguille &amp;agrave; double face... si on tourne d&#039;un c&amp;ocirc;t&amp;eacute;, on joue des 78 et de l&#039;autre c&amp;ocirc;t&amp;eacute;, des 45. Nous n&#039;avions pas de 45.... seulement 78.... et mon p&amp;egrave;re a fait cet &amp;eacute;change avec un de ses amis puisque nous n&#039;avions pas de 45.... et le bras... la partie o&amp;ugrave; vous avez &amp;eacute;chang&amp;eacute; l&#039;aiguille... &amp;eacute;tait en quelque sorte cass&amp;eacute;e, il a donc coll&amp;eacute; l&#039;aiguille 78. Ruin&amp;eacute; la platine, ruin&amp;eacute; le bras et ainsi le disque a &amp;eacute;t&amp;eacute; confisqu&amp;eacute; et c&#039;&amp;eacute;tait la fin de cette histoire. 
 A partir de ce jour-l&amp;agrave;, j&#039;ai aim&amp;eacute; les disques. Les amis avaient des disques.... et moi aussi ! &amp;Agrave; cette &amp;eacute;poque, les disques &amp;eacute;taient quelque chose d&#039;&amp;eacute;norme. Ce n&#039;&amp;eacute;tait pas comme aujourd&#039;hui quand c&#039;est juste un autre disque.... chaque disque &amp;eacute;tait pr&amp;eacute;cieux... une pi&amp;egrave;ce pr&amp;eacute;cieuse... une vraie pi&amp;egrave;ce pr&amp;eacute;cieuse. Et puis, en 1959 ou 1960, un ami a dit : &quot; Avez-vous d&amp;eacute;j&amp;agrave; entendu parler de Jim Reeves ou de Don Gibson ? Et je n&#039;avais jamais entendu parler de Jim Reeves ou Don Gibson ! Je lisais les cartes am&amp;eacute;ricaines et je savais tout.... au moins, je pensais tout savoir... et &amp;ccedil;a m&#039;a fait perdre deux noms dont je n&#039;avais jamais entendu parler. Il a dit : &quot; La prochaine fois que je viendrai, je vous apporterai ces disques de mon fr&amp;egrave;re &quot;. Il m&#039;a apport&amp;eacute; un de ces albums aussi &amp;eacute;pais.... vous savez les 45 albums.... b&amp;eacute;nis-le ! C&#039;&amp;eacute;tait tellement surcharg&amp;eacute; que chaque poche contenait deux disques. J&#039;ai jet&amp;eacute; un coup d&#039;oeil et c&#039;&amp;eacute;tait seulement les dossiers de Don Gibson et Jim Reeves et tous publi&amp;eacute;s en Allemagne. Je n&#039;arrivais pas &amp;agrave; y croire ! Tant de disques que je n&#039;avais jamais vus.... ils n&#039;avaient jamais pass&amp;eacute; mon chemin. Et j&#039;ai jou&amp;eacute; deux disques.... deux chansons....&#039;The Blizzard&#039; de Jim Reeves dont je me souviens encore aujourd&#039;hui et peut-&amp;ecirc;tre&#039;Oh Lonesome Me&#039; ou&#039;Just One Time&#039; de Don Gibson. 
 Et &amp;agrave; partir de ce jour-l&amp;agrave;, j&#039;ai commenc&amp;eacute; &amp;agrave; collectionner les disques de Jim Reeves et Jim Reeves est venu &amp;agrave; Hanovre et je l&#039;ai vu sur sc&amp;egrave;ne. Jim Reeves a dit un jour : &quot; Un &amp;eacute;tranger est un ami que vous n&#039;avez jamais rencontr&amp;eacute; &quot;, mais lorsque je l&#039;ai rencontr&amp;eacute; en 64.... trois mois avant sa mort... il n&#039;&amp;eacute;tait vraiment pas tr&amp;egrave;s gentil. M&amp;ecirc;me si c&#039;est tout ce qu&#039;on dit, les gens ne s&#039;entendaient pas bien avec lui en studio non plus. Cependant, il &amp;eacute;tait perfectionniste et, si vous &amp;ecirc;tes perfectionniste, et si vous persistez dans les choses, il est certain que les gens ne vous aiment pas parce qu&#039;ils vous rappellent que vous n&#039;&amp;ecirc;tes pas bon et que vous devez le r&amp;eacute;p&amp;eacute;ter et le r&amp;eacute;p&amp;eacute;ter. Et quelle que soit la musique de lui.... pour la plupart, c&#039;est parfait. Mais je l&#039;ai rencontr&amp;eacute;.... les yeux bleus.... et il s&#039;est av&amp;eacute;r&amp;eacute; &amp;ecirc;tre une douleur dans le cou. Parfois... ce que l&#039;on ne r&amp;eacute;alise pas... c&#039;est que ces gens sont sous pression constante et qu&#039;il y a tous ces idiots qui se prom&amp;egrave;nent en posant toutes ces questions idiotes et que vous avez toujours les m&amp;ecirc;mes r&amp;eacute;ponses et les m&amp;ecirc;mes choses. 
 Au moment o&amp;ugrave; j&#039;ai rencontr&amp;eacute; Jim Reeves, il y avait Bobby Bare, The Kerr Singers et quelques autres que j&#039;ai oubli&amp;eacute;s. Les autres &amp;eacute;taient tr&amp;egrave;s gentils parce qu&#039;ils venaient en Allemagne.... sauf Jim Reeves qui n&#039;&amp;eacute;tait tout simplement pas gentil ! Mais &amp;agrave; la fin de la journ&amp;eacute;e, il &amp;eacute;tait gentil parce que Chet Atkins &amp;eacute;tait l&amp;agrave; et Chet Atkins a vu qu&#039;il m&#039;avait bross&amp;eacute;, puis l&#039;a emmen&amp;eacute; dans une pi&amp;egrave;ce et a ferm&amp;eacute; la porte. Cinq minutes plus tard, Jim Reeves est sorti, puis il a &amp;eacute;t&amp;eacute;&#039;Gentleman Jim&#039;. Je suis presque s&amp;ucirc;r que c&#039;&amp;eacute;tait une tourn&amp;eacute;e promotionnelle pour RCA.... sur laquelle ils &amp;eacute;taient.... et on ne peut pas se contenter de p*sser les gens. M&amp;ecirc;me si c&#039;est un mannequin comme moi.... un &amp;eacute;ventail aux yeux bleus. Il en est sorti des choses.... J&#039;ai fait un coffret de seize CD de Jim Reeves... tout ce qu&#039;il a jamais fait. Il n&#039;a pas vu &amp;ccedil;a parce qu&#039;il &amp;eacute;tait mort depuis longtemps. Quelque chose finit par sortir de quelque chose. Vous rencontrez toujours des gens deux fois dans votre vie. Il faut toujours s&#039;en rendre compte et essayer d&#039;&amp;ecirc;tre aussi gentil que possible et, en g&amp;eacute;n&amp;eacute;ral, essayer d&#039;&amp;ecirc;tre une personne amicale. Je ne suis pas toujours amical ! 
 En m&amp;ecirc;me temps, nous avions une librairie &amp;agrave; la maison et j&#039;ai donc int&amp;eacute;gr&amp;eacute; Teldec Records and Distribution afin de pouvoir acheter mes disques en gros, puis je me suis procur&amp;eacute; un catalogue Schwann. Savez-vous ce qu&#039;est un catalogue Schwann ? C&#039;&amp;eacute;tait la bible &amp;agrave; l&#039;&amp;eacute;poque. Il y avait toutes les nouvelles sorties ainsi que toutes les anciennes qui &amp;eacute;taient encore disponibles... le fameux catalogue Schwann... et c&#039;&amp;eacute;tait vraiment g&amp;eacute;nial. &amp;Agrave; l&#039;&amp;eacute;poque, c&#039;&amp;eacute;tait bon.... vous l&#039;avez eu et vous avez vu ce qui &amp;eacute;tait disponible.... c&#039;&amp;eacute;tait cher. Je ne sais pas comment je l&#039;ai eu.... Je n&#039;en avais probablement qu&#039;un seul... et il y avait une publicit&amp;eacute; de David Eskin Export aux &amp;Eacute;tats-Unis. Et je n&#039;avais rien de mieux &amp;agrave; faire sur le papier &amp;agrave; en-t&amp;ecirc;te de la librairie de mes parents que de lui &amp;eacute;crire ! J&#039;ai achet&amp;eacute; des disques en grande quantit&amp;eacute; chez lui.... vingt albums &amp;agrave; la fois... et j&#039;avais cette liste et les gens m&#039;ont dit : &quot;Je veux ceci et je veux cela&quot; et j&#039;ai donc combin&amp;eacute; les commandes. A l&#039;&amp;eacute;poque, un LP en Allemagne.... Je ne me souviens pas exactement.... co&amp;ucirc;tait 18 ou 19 marks et un disque en provenance des Etats-Unis, qui avait une couverture &amp;eacute;paisse et dix fois plus belle, co&amp;ucirc;tait 28 &amp;agrave; 30 marks. Alors je les ai eues, je les ai import&amp;eacute;es, et m&amp;ecirc;me avec tous les co&amp;ucirc;ts impliqu&amp;eacute;s, c&#039;&amp;eacute;tait environ 11 marks, alors je les ai vendues &amp;agrave; mes amis pour 12 marks.... et pour chaque dix disques, j&#039;avais un disque gratuit ! Et &amp;ccedil;a a march&amp;eacute;, c&#039;est pour &amp;ccedil;a que je me suis lanc&amp;eacute; dans le disque. Puis j&#039;ai arr&amp;ecirc;t&amp;eacute;. Je me suis mari&amp;eacute; et je suis all&amp;eacute; en Angleterre. Arr&amp;ecirc;t&amp;eacute; compl&amp;egrave;tement..... 
 En 68, je vivais &amp;agrave; Isleworth et en allant dans le centre de Londres, il y avait un panneau d&#039;affichage sur le rond-point de Brentford pour le Wembley Country &amp;amp; Western Festival et Hank Snow arrivait ! Je suis all&amp;eacute; au Festival mais Hank Snow n&#039;est pas venu ! Et pourtant, Loretta Lynn, George Hamilton IV.... qui est un tr&amp;egrave;s bon ami jusqu&#039;&amp;agrave; ce jour.... est venu.C&#039;&amp;eacute;tait le premier.... Mervyn Conn &amp;eacute;tait le promoteur... apr&amp;egrave;s qu&#039;ils les ont fait tous les ans.... est venu en Allemagne.... est venu partout. Mais &amp;agrave; cette &amp;eacute;poque, il n&#039;y avait pas de concerts de musique country et Mervyn Conn l&#039;a essay&amp;eacute; et a r&amp;eacute;ussi. Il est all&amp;eacute; &amp;agrave; Nashville et a dit &amp;agrave; tous ces artistes majeurs.... et il y avait beaucoup d&#039;artistes majeurs...&#039;Je ne peux pas vous payer beaucoup d&#039;argent et je ne gagnerai pas beaucoup d&#039;argent&#039;. Il a certainement d&amp;ucirc; gagner de l&#039;argent, mais d&#039;un autre c&amp;ocirc;t&amp;eacute;, il a donn&amp;eacute; &amp;agrave; tout le monde la chance d&#039;&amp;ecirc;tre en Angleterre. Donc, si vous prenez George Hamilton IV.... George est un nom bien connu en Angleterre. Chaque ann&amp;eacute;e, je suis s&amp;ucirc;r qu&#039;il y est probablement pour un mois ou deux. &amp;Agrave; cette &amp;eacute;poque, il avait une &amp;eacute;mission de t&amp;eacute;l&amp;eacute;vision de la salle Nashville qui se trouvait sur la route Cromwell Road.... juste sur l&#039;A4... et cela a fait beaucoup de bien. J&#039;ai recommenc&amp;eacute; &amp;agrave; collectionner quand je suis revenu en Allemagne.... vous savez... Je n&#039;avais pas d&#039;emploi et j&#039;ai commenc&amp;eacute; &amp;agrave; vendre des disques. J&#039;ai eu de la chance parce que la musique country &amp;eacute;tait en plein essor et, comme je savais ce que je faisais, c&#039;est arriv&amp;eacute;, c&#039;&amp;eacute;tait une bonne fa&amp;ccedil;on de le faire. Et c&#039;est comme &amp;ccedil;a que la famille Bear a commenc&amp;eacute;.&quot; Richard Weize 
 Richard a commenc&amp;eacute; &amp;agrave; s&#039;entourer de gens qui partageaient les m&amp;ecirc;mes id&amp;eacute;es, d&#039;autres moins, &amp;agrave; commencer par Hermann... &quot;&amp;nbsp;qui est le ministre des finances de la famille Bear&amp;nbsp;&quot;. 
 &quot;J&#039;ai &amp;eacute;t&amp;eacute; avec la famille Bear depuis le d&amp;eacute;but... lorsque j&#039;ai rencontr&amp;eacute; Richard, il vivait dans une vieille ferme &amp;agrave; la campagne. Il n&#039;avait pas d&#039;argent, il n&#039;avait pas de travail et il envoyait des disques qu&#039;il avait import&amp;eacute;s des &amp;Eacute;tats-Unis &amp;agrave; des amis. Richard n&#039;est pas dans la vraie vie ! Il vit dans un monde diff&amp;eacute;rent.... il est dans son esprit de collectionneur et les r&amp;eacute;alit&amp;eacute;s de la vie ne sont pas celles de Richard ! J&#039;ai donc pris en charge le c&amp;ocirc;t&amp;eacute; pratique... J&#039;ai r&amp;eacute;par&amp;eacute; la voiture... J&#039;ai commenc&amp;eacute; &amp;agrave; aller chercher les disques quand ils sont venus des &amp;Eacute;tats-Unis. J&#039;avais &amp;eacute;tudi&amp;eacute; les math&amp;eacute;matiques &amp;agrave; l&#039;universit&amp;eacute; de Br&amp;ecirc;me et pour moi, c&#039;&amp;eacute;tait juste amusant. Donc quand j&#039;ai termin&amp;eacute; mes &amp;eacute;tudes, je ne savais pas quoi faire.... Je ne voulais pas continuer avec les math&amp;eacute;matiques parce que j&#039;avais &amp;eacute;tudi&amp;eacute; pendant huit ans et que je voulais faire quelque chose. Je ne voulais pas me lancer dans l&#039;industrie ou l&#039;assurance ou quelque chose comme &amp;ccedil;a.... alors j&#039;ai juste aid&amp;eacute; Richard au d&amp;eacute;but. Et nous avons commenc&amp;eacute; &amp;agrave; organiser quelque chose.... c&#039;&amp;eacute;tait un peu chaotique mais &amp;ccedil;a a commenc&amp;eacute; comme &amp;ccedil;a. A cette &amp;eacute;poque, nous n&#039;avions pas d&#039;ordinateurs.... rien. Quelques ann&amp;eacute;es plus tard, nous avons obtenu l&#039;un des premiers ordinateurs.... mes math&amp;eacute;matiques m&#039;ont aid&amp;eacute; et j&#039;ai programm&amp;eacute; notre entreprise.... remplir les commandes et tout. 
 &amp;nbsp; Two years later we put out our first records&amp;hellip; I think it was with Johnny Cash singing German songs. I still remember that the invoice we had for the pressing nearly killed us! It was something like twenty thousand German marks. We didn&amp;rsquo;t have the money so we had to borrow it&amp;hellip; it was really difficult&amp;hellip; but we continued and it was very successful and we began to work with the music industry getting licensed material for release. We had more and more interesting stuff and we started exporting to the States&amp;hellip; started exporting to Great Britain. At that time every six weeks I went over to London with a bus load full of records. I remember some nights in Soho when I had a suitcase full of &amp;pound;50,000 in cash! In the night time! That was the beginnings. Once we became a little bit more professional things went up and up and up.&amp;rdquo;  Hermann 
 However Richard&amp;rsquo;s recollections of the first Bear Family releases are slightly differently to those of Hermann&amp;hellip; it&amp;rsquo;s a long time ago now. 
  &amp;ldquo;I am not sure anymore. It was either Bill Clifton or Carl T Sprague! Bill Clifton was reissues and Carl T Sprague was new recordings. He was a cowboy&amp;hellip; I&amp;rsquo;m sure you haven&amp;rsquo;t heard of him&amp;hellip; a cowboy singer. He did his first recording in 1924 &amp;lsquo;When The Work&amp;rsquo;s All Done This Fall&amp;rsquo; and it was said&amp;hellip; I&amp;rsquo;m sure it&amp;rsquo;s bullsh*t&amp;hellip; it sold a million copies. In those days factories weren&amp;rsquo;t even able to produce a million records. But it was a very, very successful record and&amp;hellip; at least&amp;hellip; if it sold fifty thousand that would be many, many records in those days. They were vinyl albums. It was back in 1972 before Bear Family started fully fledged&amp;hellip; the first CD that came out was in the early Eighties and I did my first CD&amp;hellip; I believe&amp;hellip; in &amp;rsquo;82 or &amp;rsquo;83. Just at the very beginning. It was very, very difficult and very, very expensive.&amp;rdquo;  Richard Weize 
 The story of the struggle between art and commerce, of becoming &amp;lsquo;too&amp;rsquo; commercial and &amp;lsquo;selling out&amp;rsquo;, is as old as musical manufacturing but, from the outset, Bear Family were never about music business cynicism&amp;hellip; about product and the shifting of units. Music business&amp;hellip; the clue is in the title&amp;hellip; but you have to have the business for the music to get across. The story goes that The Beatles would never have made it were it not for Brian Epstein&amp;rsquo;s gentlemanly business acumen and his being able to persuade them to ditch the leather for suits and clean up their act. Andrew Loog Oldham then took the absolute opposite approach with the Rolling Stones and insisted that they dress down&amp;hellip; not dress up&amp;hellip; to be successful. Chris Blackwell&amp;rsquo;s astute marketing of The Wailers as ganja smoking revolutionaries&amp;hellip; not reggae singers&amp;hellip; enabled the group to shrug off that musical millstone and finally broke them on the international market. You can&amp;rsquo;t have one without the other but Bear Family are all about working at getting along within and without the business with a love and respect for the music, continually evolving and improving on every release. 
  &amp;ldquo;Major artists for which I did the first CD boxes like Johnny Cash&amp;hellip; like Marty Robbins&amp;hellip; like Hank Snow&amp;hellip; and some of the others&amp;hellip; the booklets are OK. They&amp;rsquo;re good but they could be better&amp;hellip; Lefty Frizzell for example&amp;hellip; but what I&amp;rsquo;m always unhappy about is all my favourite artists that I did in the early days and&amp;hellip; if I could do them now&amp;hellip; I could do a much better job on them. So an artist who is not so important gets a ten times better book than the ones in the early days. The point is at every stage I&amp;rsquo;ve always done the best I could&amp;hellip; whatever that means&amp;hellip; and it&amp;rsquo;s most certainly not the best that can be done Right? Over the years we&amp;rsquo;ve been much more perfect than I used to be in those days. Obviously you know more about it&amp;hellip; you get better connections to pictures&amp;hellip; you get better collectors as writers. So a lot of things are just better&amp;hellip; and records and CDs that I release today are more timeless. Some of the older ones are kind of strange but again that is not the point! The point is that you always have to make sure you do the best you could&amp;hellip; which I always did!&amp;rdquo;  Richard Weize 
 &amp;nbsp;And, in order to ensure that Bear Family releases not only sounded but also looked the best Richard began to employ designers who were in complete accord with his way of doing things. 
  &amp;ldquo;Well it couldn&amp;rsquo;t work with someone who hadn&amp;rsquo;t got a connection to the music. Sometimes they&amp;rsquo;ll call me and say we need an advertisement for this magazine&amp;hellip; make something hillbilly! And you can&amp;rsquo;t do something with art deco or punk lettering. You have to know what they are talking about and where to get the parts to make it hillbilly. Then the difficulty comes when you send them something that you think is hillbilly and Richard says &amp;lsquo;No that&amp;rsquo;s honky tonk!&amp;rsquo;  
  But Bear Family have always considered their packages as something not only of musical value but also with information value&amp;hellip; that you have a context for the music. Because they come from the collectors scene and they want everything they have accompanying the music so they have always calculated each project with a lot of information and a lot of booklet space.&amp;rdquo;  Mychael Gerstenberger 
 Sometimes the work is a lot more difficult than defining the difference between hillbilly and honky tonk and the artists are often involved in all manner of behind the scenes juggling to get the desired authentic effect. 
 &amp;nbsp; 
  &amp;ldquo;I&amp;rsquo;m not the only designer. There are two or three main designers. I mainly do the big box sets and the books&amp;hellip; from time to time the single CDs and the other designer does all the single CDs and CD format packages. Obviously I can&amp;rsquo;t change the concept that the writer&amp;hellip; the audio researcher&amp;hellip; the picture researcher&amp;hellip; might have been working on for ten years. But sometimes I can give it a new twist&amp;hellip; because the writer wasn&amp;rsquo;t aware that the picture researcher later came up with some brilliant photos!  
  &amp;nbsp;  
  When I retouch photographs the greatest challenge is to not look like a digital result so you try to avoid all the obvious photo-shop tools. Well&amp;hellip; you use them but you use other tricks to make it look real! There were times when I restored an old photo from 1928 or something that looked like it had been in some cowboy&amp;rsquo;s backpack for twenty years or something. Parts missing and scratches&amp;hellip; I retouched it&amp;hellip; maybe two days work&amp;hellip; and restored everything but it just looked too clean! So I took little scratches and distortions from the original and put them in on the edges so the whole thing looked like an old photo again&amp;hellip; but like an old photo fresh from the photographers shop on Main Street. When you know how it&amp;rsquo;s been done it&amp;rsquo;s weird&amp;hellip; but the end result looks wonderful.  
  &amp;nbsp;  
  My colleague Sven Uhrmann&amp;hellip; he&amp;rsquo;s the master at this. Some of his booklets look like they&amp;rsquo;ve been stored in some attic for ages. He once made a CD sampler for The Browns, a country band from America, and one of the members, Maxine Brown, sold this Bear Family CD  (&amp;lsquo;The Three Bells&amp;rsquo; BCD 15665)  on her website and she wrote to Richard to say some of her customers sent the CD back because it looks used. Because it had some little scratches on the cover and a little dirt on the edge like some old worn book cover and they thought they had got a used CD&amp;hellip; which to my mind is the highest praise for work like that!&amp;rdquo;  Mychael Gerstenberger 
 &amp;nbsp; 
 So yes&amp;hellip; the list is endless, the execution is faultless and the range of music available from Bear Family is all encompassing and comprehensively covers just about every musical genre and sub genre imaginable. A box set of Cliff Richard &amp;lsquo;On The Continent&amp;rsquo; (BCD 15903) anyone? Or how about Lonnie Donegan&amp;rsquo;s &amp;lsquo;More Than &amp;lsquo;Pye In The Sky&amp;rsquo; His Complete Recordings 1954 to 1966&amp;rsquo; (BCD 15700)? But how many do they sell? And who do they sell to? These are not questions likely to elicit any easy answers. But they are not questions that are usually asked anyway. Bear Family is a very successful business running without ever having had a business plan and, if the man who&amp;rsquo;s supposed to be looking after the finances doesn&amp;rsquo;t approve, well&amp;hellip; it doesn&amp;rsquo;t really matter anyway. 
 &amp;nbsp; 
  &amp;ldquo;You can&amp;rsquo;t do any business plans with Richard! Impossible&amp;hellip; that would mean he would have to put his editions under control and he can&amp;rsquo;t control what he&amp;rsquo;s doing. He will never accept anything like that. If you&amp;rsquo;re doing a box set and you&amp;rsquo;re told it can cost 20,000 euros and no more&amp;hellip; it&amp;rsquo;s impossible. Just not possible!   
  &amp;nbsp;  
  So sometimes you get really crazy product&amp;hellip; for instance the box set with 170 versions of the song &amp;lsquo;Lili Marleen&amp;rsquo; (&amp;lsquo;the song that went around the world&amp;rsquo;) in one box set  (BCD 16022) ! You never can sell anything like that! We have made a lot of box sets of German artists&amp;hellip; but you can&amp;rsquo;t sell German artists in box sets! At the moment Richard has a project on songs of the Spanish Civil War&amp;hellip; which  (whispers)  you can&amp;rsquo;t sell either. And it&amp;rsquo;s cost a lot of money. So there is always a struggle between economics&amp;hellip; which I represent&amp;hellip; and the music making which is Richard.&amp;rdquo;  Hermann 
 &amp;nbsp; 
 Bear Family is obviously driven by one man but it&amp;rsquo;s never been a one man band. Over the years Richard has worked with writers as distinguished as Bill Dahl, Hank Davis, Colin Escott and Martin Hawkins, eminent researchers including Nico Feuerbach, Stefan Kohne, Bill Millar and Victor Pearlin, mastering engineers such as J&amp;uuml;rgen Crasser, Doug Pomeroy and Christian Zwarg and many others. Like attracts like and one enthusiast will always be able to find common ground with another. The language barrier precluded me from the finer points of much of what was going on in the meetings but there was an overall feeling that everyone&amp;rsquo;s opinion was valid and of importance. In many ways it was easier to pick that up from the tone and the body language as opposed to what was actually being said. Richard is very obviously in charge but not in an autocratic, didactic manner. He is his own most outspoken critic. The whole process of what was going on in the kitchen over the two days was very democratic and, after seeing it all in action, it didn&amp;rsquo;t seem to be difficult. The family members are all here to talk but they&amp;rsquo;re all here to hear too and Richard always appears to be more than willing to take on board what other people had to say. 
 &amp;nbsp; 
  &amp;ldquo;So if I&amp;rsquo;m working on something I double check things&amp;hellip; and I double check things from other people as well. And people get really p*ssed off with me because they feel I should trust them. I don&amp;rsquo;t! It&amp;rsquo;s not distrust&amp;hellip; I&amp;rsquo;m just double checking! And I&amp;rsquo;m double checking myself&amp;hellip; so I&amp;rsquo;m in the same position as they are&amp;hellip; or as I am with them&amp;hellip; let&amp;rsquo;s put it that way. So it&amp;rsquo;s not different because I want to be perfect and trying to be perfect you reach 70% at the end of the day. But if you were to say &amp;lsquo;OK I&amp;rsquo;ll just do a good job&amp;rsquo; then just work the regular way then you end up with 40% to 50%. And that&amp;rsquo;s the reason that Bear Family is better than others&amp;hellip; just because I&amp;rsquo;m trying to be perfect. At the end of the day you probably know the saying &amp;lsquo;In the Country of the Blind the One-eyed Man is King&amp;rsquo; and that&amp;rsquo;s what it comes down to. So it&amp;rsquo;s just a matter of personality and double checking. And as I said I&amp;rsquo;m controlling&amp;hellip; probably five per cent I&amp;rsquo;ve done is sh*t&amp;hellip; from the early days&amp;hellip; reissues I shouldn&amp;rsquo;t have done knowing it from the day I started it&amp;hellip; but the majority is not and all the projects I&amp;rsquo;m doing are all my babies. Whoever started it and whoever signs off for it&amp;hellip; it&amp;rsquo;s always my baby. Nothing goes unnoticed by me. I&amp;rsquo;ll say &amp;lsquo;Well why didn&amp;rsquo;t you do this and why didn&amp;rsquo;t you do that?&amp;rsquo; And I double check things and I repeat myself. But I&amp;rsquo;m still double checking&amp;hellip; but sometimes it really slips. My mind&amp;hellip;sometimes I&amp;rsquo;ll wake up at night and I&amp;rsquo;ll say &amp;lsquo;have you done that?&amp;rsquo; and then I&amp;rsquo;ll make a note. Most of the time it has been done but in some cases not&amp;hellip;&amp;rdquo;  Richard Weize 
 &amp;nbsp; 
 And as the people brought up to collect, treasure and cherish records, books and compact discs grow older and run out of spending power (and power) are there any younger people stepping forward? Many of the assorted Bear Family members are young men and women and their love and knowledge of music and musical history is palpable. The tradition has been well established and looks like continuing for the foreseeable future. 
 &amp;nbsp; 
  &amp;ldquo;I think the market has changed&amp;hellip; things that worked three, four, five years ago will not work today. It&amp;rsquo;s very interesting at the moment. But you know we&amp;rsquo;re not influenced by downloads or the internet and things like that. If you have box sets like the Everly Brothers  (&amp;lsquo;1957 to 1960&amp;rsquo; BCD 15618, &amp;lsquo;1960 to 1965&amp;rsquo; BCD 16511 and &amp;lsquo;1966 to 1972&amp;rsquo; BCD 16791)  if you just have the songs on MP3 you have nothing! With a box set you have all the information&amp;hellip; you have a book&amp;hellip; you have something in your hand. That&amp;rsquo;s what someone like you and me want to have. And that&amp;rsquo;s our advantage&amp;hellip;&amp;rdquo;  Hermann 
 &amp;nbsp; 
 Everyone I spoke to shared this love of music and a justifiable pride in the achievements of Bear Family as Detlev Hoegen, managing director, who is &amp;ldquo; definitely not a record collector!&amp;rdquo;  explained. 
 &amp;nbsp; 
  &amp;ldquo;I don&amp;rsquo;t think that we are confronted with the general business problems like the major industry&amp;hellip; like independent record companies who are depending on sales of touring artists and living artists&amp;hellip; because Bear Family are not just doing CDs. We are operating the complete package from the box itself to the book with all the information, the liner notes, the pictures and to the music that&amp;rsquo;s contained on the discs&amp;hellip; it&amp;rsquo;s not just the discs. This is something that&amp;rsquo;s separating us from the rest of the reissues because our consumers are expecting us to deliver something special&amp;hellip; something that nobody else does. Meaning the box sets with the artist retrospectives&amp;hellip; sometimes covering almost their entire career or one of those series that Richard is compiling.&amp;rdquo;  Detlev Hoegen 
 &amp;nbsp; 
 Although Richard told me he felt that had now done everything that he wanted to do, apart from artists he was unable to obtain the licensing agreements for, it is highly unlikely that the Bear Family catalogue will not continue growing bigger and bigger. 
 &amp;nbsp; 
  &amp;ldquo;I can always do a lot of other things. There are some artists I would like to do but wouldn&amp;rsquo;t get a licence on. The record industry can do it themselves and other artists&amp;hellip; even if I could get a licence&amp;hellip; I wouldn&amp;rsquo;t be able to do it. Because at my age it would be too difficult to do it&amp;hellip; there would be too much pain. For example if I could do Elvis&amp;hellip; it&amp;rsquo;s impossible! I wouldn&amp;rsquo;t even dream of it. Artists like Woody Guthrie or Pete Seeger&amp;hellip; which I would like to do but there are so many difficulties&amp;hellip; then on the other hand it would be getting too difficult to do. And I don&amp;rsquo;t know people who would work with me on it who would come up to my standards.  
  &amp;nbsp;  
  No actually&amp;hellip; I would put out everything but there&amp;rsquo;s some stuff which I wouldn&amp;rsquo;t be comfortable with&amp;hellip; for example&amp;hellip; with classical&amp;hellip; some other stuff if I didn&amp;rsquo;t get any help&amp;hellip; Seventies, Eighties rock I really would need an expert on my side. Some of the punk stuff I wouldn&amp;rsquo;t feel comfortable with because I don&amp;rsquo;t know enough&amp;hellip; but basically I will do everything as long as it makes sense to me. As I said I need an expert to come with it&amp;hellip; however if the expert then turns out to be not an expert&amp;hellip; just trying to fake it&amp;hellip; or thinks he&amp;rsquo;s an expert then these things would sit for a while until I&amp;rsquo;m satisfied or until I&amp;rsquo;ve found another person.  
  &amp;nbsp;  
  You see people have different ideas of things and I have a certain standard. In some cases people talk me into things and say &amp;lsquo;You should do it&amp;rsquo; and I do it because it&amp;rsquo;s an important artist. And there are a number of those and I say &amp;lsquo;OK&amp;rsquo; and think they can do it&amp;hellip; and I always end up in the same trap. Because when they do it I suddenly realise that they can&amp;rsquo;t! And then I&amp;rsquo;m taking over on something I&amp;rsquo;m not the least interested in. And then when the project is done I know more about that artist than anyone else and I really don&amp;rsquo;t want to know!&amp;rdquo;  Richard Weize 
 &amp;nbsp; 
 But licensing agreements do not necessarily have to present a problem. Detlev explained that the music licensed to Bear Family is never signed exclusively and only covers their compilations. It&amp;rsquo;s a measure of the quality of their releases that, despite some of the material being available elsewhere, they still remain the first choice of discerning consumers. 
 &amp;nbsp; 
  &amp;ldquo;So when Richard is working on a compilation he lists all the tracks he would like to see included under the terms and conditions of the general agreement and my job&amp;hellip; for example&amp;hellip; for the forthcoming project on the Spanish Civil War is actually  finding  the licences! It&amp;rsquo;s like digging in the dust! It gets very complicated sometimes. For this project I was looking for contacts in Spain, Argentina and Chile&amp;hellip; far beyond the horizon I&amp;rsquo;m usually working on.  
  &amp;nbsp;  
  But sometimes I run into people who don&amp;rsquo;t understand&amp;hellip; especially musicians! They don&amp;rsquo;t understand what a licence is. They&amp;rsquo;ll say &amp;lsquo;What does this mean? Do I sell you everything?&amp;rsquo; And I&amp;rsquo;ll say &amp;lsquo;No. I just want to have your permission to use this particular song for this particular compilation&amp;rsquo;. And they&amp;rsquo;ll say &amp;lsquo;But what does this mean? Do you then own the masters?&amp;rsquo; And I&amp;rsquo;ll say &amp;lsquo;No&amp;hellip; you keep all the rights&amp;hellip; but for this particular reason we want to have this one song to be used on a compilation&amp;rsquo;. It can be very complicated because, really, people are very inexperienced. Sometimes you&amp;rsquo;ll never get a reply and, of course, that&amp;rsquo;s pretty frustrating when you can&amp;rsquo;t use the track.&amp;rdquo;  Detlev Hoegen 
 &amp;nbsp; 
 So what does the future hold? As time goes by it gets increasingly difficult to understand where music, as a business, is going to go. However all at Bear Family are certain of their direction and Richard still has a long way to go! 
 &amp;nbsp; 
  &amp;ldquo;The future? I&amp;rsquo;m sixty seven&amp;hellip; I have forty three years to go! That&amp;rsquo;s my future. I&amp;rsquo;ll continue until I drop dead. I&amp;rsquo;ve managed the first sixty seven years&amp;hellip; I might as well be able to handle the next forty three. Retirement is not an option.&amp;rdquo;  Richard Weize 
 &amp;nbsp; 
  &amp;ldquo;So I think there will be a market despite downloads and out of copyright and, you know, competition I think that the quality that the Bear Family is producing will justify continuing the label for as long as possible.&amp;rdquo;  Detlev Hoegen 
 &amp;nbsp; 
  &amp;ldquo;And that&amp;rsquo;s the way it goes. I really feel I&amp;rsquo;m part of this historical aspect&amp;hellip; to keep history alive&amp;hellip; which I think is important and which others just don&amp;rsquo;t do because it&amp;rsquo;s not commercially viable or valuable.&amp;rdquo;  Richard Weize 
 &amp;nbsp; 
 Bear Family gives us all hope for the future by returning to the roots. Not just the musical roots&amp;hellip; I&amp;rsquo;m not necessarily thinking about expensive boxed sets&amp;hellip; but about returning music to its rightful status as an enterprise run by people who love music for people who love music and love what they are doing. Bear Family is living proof that it can, and does, work. During my stay I thought at times that I&amp;rsquo;d passed on and was already in record collectors&amp;rsquo; heaven&amp;hellip; 
 &amp;nbsp; 
 Noel Watts 
 &amp;nbsp; 
 With grateful and sincere thanks to: L-P Anderson, Mychael Gerstenberger, Roland Heinrich, Detlev Hoegen, Birgit Niels, Hartmut Onnen, Richard Weize, Stefan Kohne. Michael &amp;lsquo;Ohlly&amp;rsquo; Ohlhoff &amp;amp; all at Bear Family Records 
 &amp;nbsp; 
  Richard Weize&amp;rsquo;s Top Bear Family Releases  
 &amp;nbsp; 
 The Female Elvis - Complete Recordings 1956 to 1960 (CD with 16 page booklet) - Janis Martin &amp;ndash; BCD 15406 
 The Outtakes Plus (CD with 36 page booklet) &amp;ndash; Janis Martin &amp;ndash; BCD 16154 
 Come Along And Ride This Train (4 CD Box Set with 32 page book) &amp;ndash; Johnny Cash &amp;ndash; BCD 15536 
 The Man In Black Volume 1 1954 to 1958 (5 CD Box Set with 36 page book) - Johnny Cash &amp;ndash; BCD 15517 
 The Man In Black Volume 2 1959 to 1962 (5 CD Box Set with 40 page book) - Johnny Cash &amp;ndash; BCD 15562 
 The Man In Black Volume 3 1963 to 1969 (6 CD Box Set with 46 page book) - Johnny Cash &amp;ndash; BCD 15588 
 The Outtakes (3 CD Box Set with 100 page booklet) - Johnny Cash &amp;ndash; BCD 16325 
 She Thinks I Still Care - The Complete United Artists Recordings 1962 to 1964 
 (5 CD Box Set with 48 page book) &amp;ndash; George Jones &amp;ndash; BCD 16818 
 Walk Through This World With Me - The Complete Musicor Recordings 1965 to 1971 (Part 1) 
 (5 CD Box Set with 48 page book) &amp;ndash; George Jones &amp;ndash; BCD 16928 
 A Good Year For The Roses - The Complete Musicor Recordings 1965 to 1971 (Part 2) 
 (4 CD Box Set with 52 page book) &amp;ndash; George Jones &amp;ndash; BCD 16929 
 White Sox, Pink Lipstick and&amp;hellip; Stupid Cupid &amp;ndash; Her Complete Recordings 1955 to 1959 
 (5 CD Box Set with 40 page book) &amp;ndash; Connie Francis &amp;ndash; BCD 15616 
 Kissin&amp;rsquo;, Twistin&amp;rsquo;, Goin&amp;rsquo; Where The Boys Are &amp;ndash; Her Complete Recordings 1960 to 1962 
 (5 CD Box Set with 32 page book) &amp;ndash; Connie Francis &amp;ndash; BCD 15826 
 West Indian Rhythm &amp;ndash; Trinidad Calypsos 1938 to 1940 (10 CD Box Set with 316 page hard back book) 
 &amp;ndash; Various Artists &amp;ndash; BCD 16623 
 Atomic Platters &amp;ndash; Cold War Music From The Golden Age Of Homeland Security 
 (5 CD Box Set with DVD and 292 page hard back book) &amp;ndash; Various Artists &amp;ndash; BCD 16065 
 Next Stop Is Vietnam &amp;ndash; The War On Record 1961 to 2008 
 (13 CD Box Set with 304 page hard back book) &amp;ndash; Various Artists &amp;ndash; BCD 16070 
 Blowing The Fuse &amp;ndash; R&amp;amp;B Classics That Rocked The Juke Box (16 CD series covering 1945 to 1960 each with 72, 84 or 88 page accompanying booklet) &amp;ndash; Various Artists &amp;ndash; BCD 16700 to BCD 16715 
 Dim Lights, Thick Smoke And Hillbilly Music (16 CD series covering 1945 to 1960 each with 72 page accompanying booklet) &amp;ndash; Various Artists &amp;ndash; BCD 16950 to BCD 16965 
                ]]>
            </content>

                            <updated>2018-03-28T00:00:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">RECORD LABEL PROFILE BEAR FAMILY RECORDS CELEBRATES 40 YEARS</title>
            <id>https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/853</id>
            <link href="https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/853"/>
            <summary type="html">
                <![CDATA[
                
                                            RECORD LABEL PROFILE BEAR FAMILY RECORDS CELEBRATES 40 YEARS
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            </summary>
            <content type="html">
                <![CDATA[
                 RECORD LABEL PROFILE BEAR FAMILY RECORDS  CELEBRATES 40 YEARS 
 PROFIL DE L&#039;&amp;Eacute;TIQUETTE DE DISQUES PROFIL DE L&#039;OURS DE LA FAMILLE DE DOCUMENTS DE FAMILLE  F&amp;Ecirc;TE SES 40 ANS 
      
 On a dit que beaucoup d&#039;artistes pr&amp;eacute;f&amp;eacute;reraient avoir un coffret Bear Family plut&amp;ocirc;t qu&#039;un Grammy. C&#039;est parce que depuis 40 ans, le catalogue de la famille Bear, qui compte maintenant 3 500 CD, 500 disques compacts, 250 coffrets et 50 DVD dans tous les genres imaginables, fait de chaque sortie un &amp;eacute;v&amp;eacute;nement. Il s&#039;agit de la King Company mondiale de r&amp;eacute;&amp;eacute;ditions qui, dans certains cas, remontent &amp;agrave; 1889. Il n&#039;y a pas de l&amp;eacute;siner sur les &amp;oelig;uvres d&#039;art, les livrets ou les couvertures rigides &amp;agrave; l&#039;int&amp;eacute;rieur de chaque bo&amp;icirc;te. L&#039;attention aux d&amp;eacute;tails est la cl&amp;eacute;. L&#039;entreprise n&#039;&amp;eacute;pargne aucune d&amp;eacute;pense pour faire exactement ce qu&#039;il faut. Si vous allez le faire : faites-le bien, dit le grand ours lui-m&amp;ecirc;me, Richard Weize, qui a cr&amp;eacute;&amp;eacute; la soci&amp;eacute;t&amp;eacute; allemande en 1975 sur la base d&#039;une pri&amp;egrave;re et d&#039;une promesse. 
 Chaque chanson sur&#039;40 Years : Bear Family Records&#039; a &amp;eacute;t&amp;eacute; enregistr&amp;eacute;e &amp;agrave; nouveau pour ce projet. Aucun d&#039;entre eux n&#039;a jamais &amp;eacute;t&amp;eacute; disponible ailleurs - et ne le sera jamais : les promesses Weize. Les 72 chansons, chacune sur le th&amp;egrave;me de l&#039;ours, sont sur trois CD. Un historique de 30 minutes de la famille Bear sur les 35 premi&amp;egrave;res ann&amp;eacute;es et 45 minutes de musique visuelle sont sur le DVD. Un somptueux livre de 308 pages &amp;agrave; couverture rigide compl&amp;egrave;te l&#039;ensemble. Le disque 3 est l&#039;endroit o&amp;ugrave; se produit le plus de rocking, et&#039;Don&#039;t Be Afraid of The Bear&#039; de Banana Seats est au m&amp;ecirc;me niveau que&#039;Don&#039;t Fear The Reaper&#039; dans mon livre. Il s&#039;agit d&#039;hommes de tr&amp;egrave;s grande puissance qui entra&amp;icirc;nent 50 000 personnes dans un stade allemand. Pour l&#039;Am&amp;eacute;rique, le plus important est Ry Cooder, qui a &amp;eacute;crit : &quot; Quand je meurs, je veux faire partie de Bear Family. 
 Ce journaliste poss&amp;egrave;de des bo&amp;icirc;tes de la famille Bear sur Jerry Lee Lewis, Everly Brothers et Dean Martin. Ce sont trois de mes biens les plus pr&amp;eacute;cieux. Quelle autre compagnie sortirait un 10-CD&#039;Jewish Music Of The Nazi Regime&#039; ? Weize dit : &quot; C&#039;est vraiment une &amp;eacute;tape importante de la musique juive. Les enregistrements sont tr&amp;egrave;s rares. Un livre de 300 pages l&#039;accompagnait. Quand nous l&#039;avons d&amp;eacute;voil&amp;eacute;, nous l&#039;avons fait au plus grand temple de Berlin ! En fait, Bear Family vient de devancer mon pr&amp;eacute;cieux coffret Killer en lan&amp;ccedil;ant un 18 CD&#039;The Complete Jerry Lee Lewis On Sun&#039; plus t&amp;ocirc;t cette ann&amp;eacute;e. En 75, Weize &amp;eacute;tait un collectionneur de musique country am&amp;eacute;ricaine, ce qui &amp;eacute;tait difficile &amp;agrave; trouver. J&#039;ai d&amp;ucirc; compter sur le r&amp;eacute;seau de radio des forces arm&amp;eacute;es am&amp;eacute;ricaines pour entendre de la musique country &amp;agrave; l&#039;&amp;eacute;poque : Weize explique. J&#039;avais aussi beaucoup d&#039;amis avec qui j&#039;&amp;eacute;changeais des cassettes et des disques. J&#039;ai d&amp;ucirc; sortir de mon chemin, et quand on doit faire cela comme seul moyen de trouver quelque chose, on le ch&amp;eacute;rit plus que s&#039;il vient &amp;agrave; vous. Contrairement &amp;agrave; aujourd&#039;hui o&amp;ugrave; tout semble &amp;ecirc;tre juste sur le dos de votre main ! Sa r&amp;eacute;serve personnelle de plus de 100 000 singles, 30 000 LP et 20 000 78 tours de force guide son principe - et son &amp;eacute;nonc&amp;eacute; de mission - selon lequel s&#039;il l&#039;aime, ses clients l&#039;aimeront aussi. Au d&amp;eacute;but, je me suis dit que cela devait fonctionner. Maintenant, si les gens n&#039;aiment pas &amp;ccedil;a, je dis &quot;rck it&quot;. Je ne peux rien y faire. Je ne peux pas concevoir quelque chose d&#039;assez bien pour le client. Il faut que ce soit assez bon pour moi. Alors, si le client l&#039;aime, c&#039;est bien aussi. James Mangold, le r&amp;eacute;alisateur de&#039;Walk The Line a dit un jour:&#039;Je n&#039;aurais pas fait ce film si je n&#039;&amp;eacute;tais pas tomb&amp;eacute; sur le coffret Johnny Cash publi&amp;eacute; par Bear Family Records. Weize cite ses bo&amp;icirc;tes sur les chanteurs country Lefty Frizzell, Jim Reeves et Don Gibson comme quelques-unes de ses meilleures &amp;oelig;uvres. Il y a tellement de bonne musique : il est enthousiaste. &quot;Nous avons une bo&amp;icirc;te de la guerre du Vietnam. Nous avons une bo&amp;icirc;te sur la fiert&amp;eacute; du public am&amp;eacute;ricain : la bombe atomique. 
 Chaque bo&amp;icirc;te s&#039;est pay&amp;eacute;e d&#039;elle-m&amp;ecirc;me. Parfois, &amp;ccedil;a prenait plus de temps, c&#039;est tout. On ne sait jamais. En ce moment, je travaille, pour l&#039;un de mes derniers projets, sur un coffret de 20 CD sur le Louisiana Hayride (l&#039;&amp;eacute;mission de radio de longue date o&amp;ugrave; Elvis a commenc&amp;eacute;). Quand le pays a commenc&amp;eacute; commercialement dans les ann&amp;eacute;es 1920 avec The Carter Family et Jimmie Rodgers : il continue, &amp;agrave; travers les ann&amp;eacute;es 1950 et 1960 quand vous avez trouv&amp;eacute; beaucoup de jeunes artistes qui enregistraient les chansons de Carter et Rodgers. De l&amp;agrave; est n&amp;eacute; Lefty qui a chant&amp;eacute; des chansons de Hank Williams, puis des artistes des ann&amp;eacute;es 1970 qui ont chant&amp;eacute; des chansons de Lefty, et ainsi de suite jusqu&#039;aux ann&amp;eacute;es 1980 quand le pays a commenc&amp;eacute; &amp;agrave; changer pour quelque chose qui n&#039;&amp;eacute;tait m&amp;ecirc;me pas ce que j&#039;appellerais de la musique country. 
 Je veux dire, bien s&amp;ucirc;r, c&#039;est son pays, mais pas le mien. Cela persiste jusqu&#039;&amp;agrave; aujourd&#039;hui. Dans les ann&amp;eacute;es 1980, les gens &amp;eacute;coutaient les Stones et les Beatles. Certainement pas Jimmie Rodgers. Ainsi, l&#039;&amp;eacute;tincelle originale de la country s&#039;estompe de plus en plus jusqu&#039;&amp;agrave; ce qu&#039;aujourd&#039;hui, alors que le country n&#039;est qu&#039;un autre (sous-genre) de la musique pop. Ce n&#039;est pas, en ce qui me concerne, de la vraie musique country. La premi&amp;egrave;re musique country que j&#039;ai entendue fut&#039;Don&#039;t Take Your Guns To Town&#039; de Johnny Cash en 1958. Avant cela, je n&#039;&amp;eacute;coutais que du rock am&amp;eacute;ricain et de la musique allemande. J&#039;ai donc commenc&amp;eacute; &amp;agrave; collectionner des pays et &amp;agrave; la fin des ann&amp;eacute;es 1960, j&#039;avais quitt&amp;eacute; l&#039;Allemagne pour l&#039;Angleterre et vendu la collection. En 1970, j&#039;ai recommenc&amp;eacute;. Cinq ans plus tard, en 1975, de retour en Allemagne, avec peu d&#039;argent et pas de projets, mais avec une femme et deux enfants, je savais que j&#039;avais d&amp;eacute;sesp&amp;eacute;r&amp;eacute;ment besoin de gagner de l&#039;argent, alors j&#039;ai pens&amp;eacute; qu&#039;une nouvelle &amp;eacute;tiquette fonctionnerait ! Aujourd&#039;hui, il est plus une figure de proue et un consultant cr&amp;eacute;atif : &quot; J&#039;ai r&amp;eacute;cemment confi&amp;eacute; l&#039;entreprise &amp;agrave; notre conseil d&#039;administration parce que... 
  l&#039;industrie de la musique aujourd&#039;hui est en train de s&#039;effondrer. Il n&#039;y a plus beaucoup de profit. Ce n&#039;est tout simplement pas la fa&amp;ccedil;on dont j&#039;aime &amp;eacute;mettre des disques. Je veux finir de travailler sur d&#039;autres coffrets que j&#039;ai commenc&amp;eacute;. Apr&amp;egrave;s cela, je vais me reposer. Je veux juste m&#039;asseoir toute la journ&amp;eacute;e sur ma chaise facile, les pieds sur la table, &amp;eacute;couter des disques, regarder des DVD et lire des livres ! Les points saillants de la nouvelle bo&amp;icirc;te incluent&#039;Did You Ever See A Bear Do The Boogie&#039; par Swamp Dogg with Canned Heat (&amp;eacute;crit ostensiblement apr&amp;egrave;s avoir vu Weize essayer de danser);&#039;Bear Cat&quot; par Lesley Schatz &amp;amp; Mike Dunbar ; Bareback Riding Cowboy&#039; par la l&amp;eacute;gende du rockabilly souterrain Ray Campi;&#039;Loaded For Bear&#039; par Narvel Felts ; Trankiegs Bear Song&#039; par Frankie Miller ; et un petit instrumental chaud appel&amp;eacute;&#039;Autumn Bears&#039; par Ian Whitcomb. Il y a aussi Baddat For Trubbel, Bob Woodruff, Johnny Trouble, Richard Bennett, Roland Heinrich, Jerry K. Green, Johnny Tillotson, Chip Taylor, Ry Cooder, Tom House, Mark Brine, The Stardust Ramblers, Chuck Mead, Bror Gunnar Jansson et Lynette &amp;amp; The LongShots, qui ont tous des pistes remarquables. &quot; 
 Barenjagd&quot; de Bela B &amp;amp; Peta Devlin avec Smokestack Lightning Beats. Il s&#039;agit d&#039;une simple chansonnette de campagne bris&amp;eacute;e en deux par l&#039;allemand guttural pour cr&amp;eacute;er un effet semblable &amp;agrave; celui de la po&amp;eacute;sie des ann&amp;eacute;es 50 entendue &amp;agrave; travers un smog de fum&amp;eacute;e de cigarette et de saxophone. En d&#039;autres termes, diff&amp;eacute;rent de tout ce que vous avez d&amp;eacute;j&amp;agrave; entendu. Attendez, non, mon pr&amp;eacute;f&amp;eacute;r&amp;eacute; est une interpr&amp;eacute;tation roots-reverent de&#039;Teddy Bear&#039; d&#039;Elvis Presley (bien s&amp;ucirc;r) de Paul Wiirges. C&#039;est justement &amp;ccedil;a, la d&amp;eacute;couverte, c&#039;est la moiti&amp;eacute; du plaisir. Entendre chaque artiste utiliser de fa&amp;ccedil;on cr&amp;eacute;ative le th&amp;egrave;me de l&#039;ours est aussi assez humoristique. Vous pouvez rire pendant que vous dansez. &amp;Agrave; 40 ans de plus.... 
  &amp;mdash; Mike Greenblatt  goldminemag.com 
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            </content>

                            <updated>2018-03-27T00:00:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Prix pour Bear Family Records - Auszeichnungen für Bear Family Records</title>
            <id>https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/854</id>
            <link href="https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/854"/>
            <summary type="html">
                <![CDATA[
                
                                            &quot;Bear Family a depuis longtemps atteint l&#039;Olympe de la présence esthétique avec ses produits.&quot; TAZ le quotidien
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                 Notre performance d&#039;enthousiasme et de passion a &amp;eacute;t&amp;eacute; reconnue &amp;agrave; l&#039;&amp;eacute;chelle nationale et internationale avec un grand nombre de prix exceptionnels. 
  Bear Familys enthusiasm and passion has been recognized both nationally and internationally with a variety of outstanding awards. 
   
 
 
 
 
   1&amp;nbsp;Echo - Ehrenpreis f&amp;uuml;r besondere Verdienste um die Musik  8 &amp;nbsp;Grammy Nominations   17 ARSC Award for Excellence in Historical Recorded Sound Research   9 mal&amp;nbsp;Preis der deutschen Schallplattenkritik   5 Awards from&amp;nbsp;The Blues Foundation   3 Awards from&amp;nbsp;IBMA International Bluegrass Music Association  
  und viele, viele mehr... &amp;nbsp;/ and much, much more  
 &amp;nbsp; 
 &amp;nbsp; 
      2018  Arthur Q. Smith: The Trouble With The Truth (Bear Family) Wayne Bledsoe &amp;amp; Bradley Reeves, album notes writers (Various Artists)   Arthur Q. Smith - The Trouble With The Truth (2-CD)    
 &amp;nbsp; 
       2017  The Knoxville Sessions, 1929-1930: Knox County Stomp Ted Olson &amp;amp; Tony Russell, album notes writers (Various Artists) 
   http://www.arsc-audio.org/awards/awards2017.html  
 &amp;nbsp; 
   2017  The Knoxville Sessions, 1929-1930: Knox County Stomp Ted Olson &amp;amp; Tony Russell, album notes writers (Various Artists)   The Knoxville Sessions 1929 - 1930, Knox Country Stomp (4-CD Deluxe Box Set)     
 &amp;nbsp; 
 &amp;nbsp; 
  Bear Family Records     The Blues Foundation -&amp;nbsp;Blues Music Awards 2016 &#039;Historical Album of the Year - Bear Family Records&#039;  Buzzin&#039; the Blues by Slim Harpo on Bear Family Records   
 &amp;nbsp; 
 &amp;nbsp; 
 &amp;nbsp; 
  2016     Ted Olson &amp;amp; Bear Family Records Grammy Nominations -&amp;nbsp;Best Album Notes 2016  BCD 17332 Tennessee Ernie Ford: Portrait Of An American Singer 1949-1960    
 &amp;nbsp; 
       2016 Bear Family Records The Blues Foundation -&amp;nbsp;&quot;The Blues Foundation Announces 37th Blues Music Award Nominees Historical Album&quot;  Buzzin&#039; the Blues by Slim Harpo on Bear Family Records    
 &amp;nbsp; 
      2015 Richard Weize European Bluegrass Music Association -&amp;nbsp;European Bluegrass Pioneer 2015 Richard Weize European Bluegrass Pioneer 2015    
       2015 Bear Family Records Grammy Nominations -Best Historical Album 2015  BCD 16095 Black Europe  https://www.grammy.com/nominees 
 &amp;nbsp; 
      2015 Bear Family Records Grammy Nominations -&amp;nbsp;Best Album Notes 2015  BCD 16946 The Other Side Of Bakersfield, Vol. 1    
 &amp;nbsp; 
      2015 Bear Family Records Grammy Nominations -&amp;nbsp;Best Album Notes 2015  BCD 17353 The Other Side Of Bakersfield, Vol. 2  https://www.grammy.com/nominees 
 &amp;nbsp; 
      2015 Mychael Gerstenberger / Bear Family Records Records IBMA International Bluegrass Music Association -&amp;nbsp;Graphic Design - Recorded Project   Complete Recordings 1936-55, Chuck Wagon Gang , Bear Family Productions   
 &amp;nbsp; 
      2015 Bear Family Records Jack Spadaro Documentary Award .&amp;nbsp;Best Documentary on Appalachia from the Appalachian Studies Association.  BCD 16083 The Johnson City Sessions 1928-1929 : Can You Sing or Play Old-Time Music?   
 &amp;nbsp; 
      2015 Bear Family Records The Blues Foundation -&amp;nbsp;The Blues Foundation Announces 36th Blues Music Award Nominees  The Roots of it All-Acoustic Blues &amp;ndash; Various Artists (Bear Family)  http://www.prnewswire.com/news-releases/the-blues-foundation-announces-37th-blues-music-award-nominees-300192620.html 
 &amp;nbsp; 
      2014 Ted Olson &amp;amp; Tony Russell &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Country  BCD 16083 Johnson City Sessions  http://www.arsc-audio.org/awards/awards2014.html 
 &amp;nbsp; 
      2014 Jeffrey P. Green &amp;amp; Rainer Lotz &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: General Recording Topics  BCD 16095 Black Europe  http://www.arsc-audio.org/awards/awards2014.html 
 &amp;nbsp; 
      2014 Bear Family Records The Blues Foundation -&amp;nbsp;Historical Album  BCD 17310 Sun Blues Box  http://blues.about.com/od/bluesawards/a/2014-Blues-Music-Awards.htm 
 &amp;nbsp; 
      2013 Bear Family Records Living Blues -&amp;nbsp;Historical Post-War  BCD 16921-24 Electric Blues  http://blues.about.com/od/bluesawards/a/Living-Blues-Awards-2014-Winners.htm 
 &amp;nbsp; 
      2013 Bear Family Records The Blues Foundation -&amp;nbsp;Historical Album  BCD 16921-24 Electric Blues  http://blues.about.com/od/bluesawards/a/Blues-Music-Awards-2013.htm 
 &amp;nbsp; 
      2012 Richard Weize ARSC Award for Excellence in Historical Recorded Sound Research ASRC Distinguished Service Award -&amp;nbsp;ASRC Distinguished Service Award to Richard Weize http://www.arsc-audio.org/awards/people.html 
 &amp;nbsp; 
      2012 Bear Family Records Grammy Nominations -&amp;nbsp;Best Historical Album 2012  BCD 16094 The Bristol Sessions    
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      2012 Bear Family Records Grammy Nominations -&amp;nbsp;Best Album Notes 2012  BCD 16094 The Bristol Sessions    
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      2012 Bear Family Records Preis der deutschen Schallplattenkritik -&amp;nbsp;Bestenliste 4/2012  &amp;ldquo;Plug It In! Turn It Up! Electric Blues Vol.1-4.&amp;rdquo; Various Artists. 12 CDs. Bear Family Records. BCD 16925/30/32/38  http://www.schallplattenkritik.de/component/content/article/562-bestenliste-4-2012 
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      2012 Bear Family Records The Blues Foundation -&amp;nbsp;Historical Album  BCD 16778 Freddie King  http://www.americanbluesscene.com/2011/12/blues-foundation-announces-2012-blues-music-award-nominees/ 
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      2010 Richard Weize IBMA International Bluegrass Music Association -&amp;nbsp;Presents the Distinguished Achievement Award In Recognition of Pioneering accomplishments that have fostered Bluegrass Music&#039;s Image and broadened its Recognition and Accessibility https://ibma.org/awards/recipient-history 
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      2010 Dave Booth &amp;amp; Bear Family Records Poretta Soul Festival -&amp;nbsp;Best Liner Notes Soul &amp;amp; Rhythm &amp;amp; Blues http://www.porrettasoul.it/old_site/old%20site/index.htm 
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      2010 Bear Family Records Preis der deutschen Schallplattenkritik -&amp;nbsp;Bestenliste 3/2010  BCD 16913-16 Sol Sajn (4 CDs)  http://www.schallplattenkritik.de/component/content/article/211-bestenliste-3-2010 
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 2009 
 Deke Dickerson &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Country  BCD 16782 Merle Haggard    
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      2009 Bear Family Records AWA, Academy of Western Artists -&amp;nbsp;Independent Record Label. to Bear Family Records http://awaawards.org/?page_id=20 
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      2009 Richard Weize &amp;amp; Bear Family Records Echo Ehrenpreis f&amp;uuml;r besondere Verdienste um die Musik. To Richard Weize &amp;amp; Bear Family Records   
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      2009 Bear Family Records Preis der deutschen Schallplattenkritik -&amp;nbsp;Jahrespreis 2009  BCD 16909-12 Jazz in Deutschland (4 CDs)  http://www.schallplattenkritik.de/component/content/article/207-jahrespreise-2009 
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      2008 Dick Spottswood &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Country  BCD 16808 Charlie Monroe    
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      2008 Bear Family Records Preis der deutschen Schallplattenkritik -&amp;nbsp;Jahrespreis 2008  BCD 16017 Burg Waldeck  http://www.schallplattenkritik.de/component/content/article/217-jahrespreise-2008 
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      2007 John Cowley &amp;amp; Donald R. Hill &amp;amp; Dick Spottswood &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Recorded: Folk, Ethnic or World  BCD 16623 West Indian Rhythm    
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      2007 Cary Ginell &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Country  BCD 16759 Red Foley  http://www.arsc-audio.org/awards/awards-past.html 
 &amp;nbsp; 
      2006 Richard Weize Belmont University - The Mike Curb College of Entertainment and Music Business -&amp;nbsp;Lifetime Achievement Award In recognition of a lifetime spent linking books to country music. Presented to: Richard Weize http://www.clickpress.com/releases/Detailed/34508005cp.shtml 
 &amp;nbsp; 
      2005 Bear Family Records Preis der deutschen Schallplattenkritik -&amp;nbsp;Jahrespreis 2005  BCD 16700-10 Blowing The Fuse (11 CDs)  http://www.schallplattenkritik.de/component/content/article/229-jahrespreise-2005 
 &amp;nbsp; 
    2005 Bear Family Records The Country Music Association (CMA), Nashville, Tennessee -&amp;nbsp;On their 30th Anniversary for their contribution to the preservation of Country Music. Nashville, Tennessee August 2005 Recognizes Bear Family Records 
 &amp;nbsp; 
       2004 Eddie Stubbs, Charles K. Wolfe, Ph.D., Bear Family Records Records IBMA International Bluegrass Music Association -&amp;nbsp;Best Liner Notes  BCD 15976 Mac Wiseman : &#039;Tis Sweet to Be Remembered https://ibma.org/awards/recipient-history 
 &amp;nbsp; 
      2003 Richard Weize Preis der deutschen Schallplattenkritik Ehrenpreis f&amp;uuml;r das Lebenswerk an Richard Weize http://www.schallplattenkritik.de/ehrenpreise/75/423 
 &amp;nbsp; 
      2002 Rainer E. Lotz &amp;amp; Horst J. P. Bergmeier &amp;amp; Ejal Jakob Eisler &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Recorded Music  BCD 16030 Beyond Recall  http://www.arsc-audio.org/awards/awards-past.html 
 &amp;nbsp; 
      2002 Colin Escott &amp;amp; Richard Weize &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Rock  BCD 16423 Roy Orbison  http://www.arsc-audio.org/awards/awards-past.html 
 &amp;nbsp; 
      1999 Richard Weize &amp;amp; Rainer E. Lotz &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Popular  BCD 16019 Lotte Lenya  http://www.arsc-audio.org/awards/awards-past.html 
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      1998 Kevin Coffey &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Country  BCD 15932 Cliff Bruner  http://www.arsc-audio.org/awards/awards-past.html 
 &amp;nbsp; 
 1998 Bear Family Records Audio Magazin -&amp;nbsp;Audio live Award 
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      1997 Ronald D. Cohen &amp;amp; Dave Samuelson &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Folk or Ethnic  BCD 15720 Songs For Political Action  http://www.arsc-audio.org/awards/awards-past.html 
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      1997 Viktor Rotthaler &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: General Popular  BCD 16009 Friedrich Hollaender  http://www.arsc-audio.org/awards/awards-past.html 
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      1997 Bear Family Records Preis der deutschen Schallplattenkritik -&amp;nbsp;Jahrespreis 1997  BCD 16009 Friedrich Hollaender  http://www.schallplattenkritik.de/component/content/article/261-jahrespreise-1997 
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      1997 Bear Family Records The Kurt Weill Prize 1997&amp;nbsp;for distinguished Scholarship about 20th Century Music Theater  BCD 16009 Friedrich Hollaender &#039;Best Research: General Popular&#039;  http://www.kwf.org/pages/1997-award.html 
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      1996 Bear Family Records Preis der deutschen Schallplattenkritik -&amp;nbsp;Vierteljahresliste 4/96  BCD 15720 Songs For Political Action  
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 1995 Bear Family Records Der Independent des Jahres -&amp;nbsp;Einzelwertung (Musik-Woche) Repertoire, Platz 2 
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  1994 Richard Weize German American Country Music Federation -&amp;nbsp;Pioneer Award Pioneer Richard Weize 
 &amp;nbsp; 
       1994 Richard Weize That Muhlenberg Sound - Be it known by these presents that Richard Weize is now and forever from this date, hencefort Honorary Thumb Picker in the vein of the four guitar legends, Kennedy Jones, Mose Rager, Ike Everly, and Merle Travis of the &#039;Home Of The Legends&#039;; and forever in their memory. 
 http://memory.loc.gov/diglib/legacies/loc.afc.afc-legacies.200003057/ 
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      1993 Eddie Stubbs &amp;amp; Walt Trott &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Country  BCD 15553 Johnnie &amp;amp; Jack  http://www.arsc-audio.org/awards/awards-past.html 
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      1993 Peter Grendysa &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Jazz or Blues  BCD 15557 Louis Jordan  http://www.arsc-audio.org/awards/awards-past.html 
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      1992 Colin Escott &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research Best Research: Country BCD 15470 Johnny Horton http://www.arsc-audio.org/awards/awards-past.html 
 1992 Richard Weize Country Music People Magazine -&amp;nbsp;Historical Album Special Award for Services to Country Music 
 &amp;nbsp; 
      1991 Colin Escott &amp;amp; Bear Family Records ARSC Award for Excellence in Historical Recorded Sound Research -&amp;nbsp;Best Research: Rock, R&amp;amp;B or Soul  BCD 15494 Carl Perkins  http://www.arsc-audio.org/awards/awards-past.html 
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      1991 Bear Family Records Preis der deutschen Schallplattenkritik -&amp;nbsp;Vierteljahresliste 1/91  BCD 15430 Jazz Festival 54/55  
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      1990 Bear Family Records W.C. Handy Award -&amp;nbsp;Vintage or Reissue Album of the Year (Foreign)  BCD 15460 &amp;amp; BCD 15500 Howlin&#039; Wolf: Memphis Days  
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 &amp;nbsp; 
 1986 Bear Family Records Goldmine -&amp;nbsp;Best 60s Artist Compilation BCD 15151-15165 The Waylon Jennings Files 
 1986 Bear Family Records Goldmine Magazine -&amp;nbsp;Best Compilation Record Label Country 
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            </content>

                            <updated>2016-02-14T00:00:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">￼￼BEAR FAMILY – Joyeux Trente-cinquième anniversaire </title>
            <id>https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/856</id>
            <link href="https://www.bear-family.fr/blog/detail/sCategory/215151084/blogArticle/856"/>
            <summary type="html">
                <![CDATA[
                
                                            ￼￼BEAR FAMILY – Joyeux Trente-cinquième anniversaire 
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            </summary>
            <content type="html">
                <![CDATA[
                 Quand j&#039;ai demand&amp;eacute; &amp;agrave; Bob Dylan, lors d&#039;une interview en 2004, si les auteurs-compositeurs-piring devraient &amp;eacute;couter ses albums pour affiner leur art, il m&#039;a r&amp;eacute;pondu avec un snappy, &quot;Non, Non, Non, Non&quot;, &quot;Si vous aimez le travail de quelqu&#039;un, l&#039;important est d&#039;&amp;ecirc;tre expos&amp;eacute; &amp;agrave; tout ce &amp;agrave; quoi cette personne a &amp;eacute;t&amp;eacute; expos&amp;eacute;e&quot;, a expliqu&amp;eacute; le plus grand auteur-compositeur de rock. Pour les admirateurs de son propre travail, Dylan sugg&amp;egrave;re &quot;d&#039;&amp;eacute;couter autant de musique folklorique que possible, en &amp;eacute;tudiant la forme et la structure de ce qui a &amp;eacute;t&amp;eacute; autour de 100 ans. Je retourne &amp;agrave; Stephen Fos- ter.&quot; Appliquant ses conseils sur l&#039;apprentissage des racines de la musique &amp;agrave; tous ceux qui veulent explorer l&#039;esprit original du rock&#039;n&#039; roll, le but devrait &amp;ecirc;tre d&#039;&amp;eacute;couter autant que possible le country pr&amp;eacute;-rock et le R&amp;amp;B - pour apprendre ce qu&#039;&amp;eacute;taient les disques magiques qui ont captiv&amp;eacute; l&#039;imagination d&#039;Elvis Presley, Chuck Berry, les Beatles, Dylan et les autres grands titans des ann&amp;eacute;es 1950 et 1960. 
 Pendant des ann&amp;eacute;es, l&#039;&amp;eacute;coute de ces disques de country et de R&amp;amp;B &amp;eacute;tait plus facile &amp;agrave; dire qu&#039;&amp;agrave; faire parce que beaucoup d&#039;enregistrements s&amp;eacute;minaux n&#039;&amp;eacute;taient plus largement disponibles et que d&#039;autres &amp;eacute;taient &amp;eacute;parpill&amp;eacute;s sur des dizaines d&#039;albums et de singles, ce qui signifiait qu&#039;il en co&amp;ucirc;terait une petite fortune pour les rassembler. Heureusement, BEAR FAMILY RECORDS est venu &amp;agrave; la rescousse avec la plus grande collection d&#039;enregistrements pr&amp;eacute;-rock R&amp;amp;B jamais sortis:&#039;Blowing The Fuse&#039;. La collection de 16 volumes d&#039;albums &amp;agrave; un seul disque contient 450 des succ&amp;egrave;s R&amp;amp;B les plus populaires de 1945 &amp;agrave; 1960. Chaque disque compte environ 28 des plus grands succ&amp;egrave;s d&#039;une ann&amp;eacute;e donn&amp;eacute;e. Collectivement, les albums permettent aujourd&#039;hui aux auditeurs de se mettre &amp;agrave; la place de millions d&#039;adolescents des ann&amp;eacute;es 1950 et d&#039;imaginer ce que c&#039;&amp;eacute;tait que d&#039;entendre cette musique passionn&amp;eacute;e et lib&amp;eacute;ratrice pour la premi&amp;egrave;re fois - des airs aussi exaltants que Shake A Hand de Faye Adam (une chanson que Dylan a chant&amp;eacute;e en concert) &amp;agrave; Hank Ballard &amp;amp; the Midnighters&#039; Saucy Work with Me Annie. La seule chose qui manque dans&#039;Blowing the Fuse&#039; est la musique country que beaucoup de musiciens de rock, en particulier Presley et Dylan, ont aussi absorb&amp;eacute; il y a des d&amp;eacute;cennies. En n&#039;&amp;eacute;coutant que la composante R&amp;amp;B du rock&#039;n&#039; roll, on n&#039;obtient pas une image compl&amp;egrave;te, mais o&amp;ugrave; trouver toutes ces chansons country ? 
 Encore une fois, BEAR FAMILY RECORDS est venu &amp;agrave; notre secours. Country &amp;amp; Western Hit Parade : Dim Lights, Thick Smoke and Hillbilly Music&#039; est une s&amp;eacute;rie de 11 volumes d&#039;albums &amp;agrave; disque unique qui pr&amp;eacute;sente les plus grands succ&amp;egrave;s country d&#039;ann&amp;eacute;e en ann&amp;eacute;e de 1945 &amp;agrave; 1955. Dans le premier volume de&#039;Dim Lights&#039;, nous pouvons entendre Tomorrow Never Comes d&#039;Ernest Tubb, une ballade d&amp;eacute;chirante qui a &amp;eacute;t&amp;eacute; class&amp;eacute;e n&amp;deg;1 en 1945 et qui est rest&amp;eacute;e un favori de la radio pendant des ann&amp;eacute;es. Un jeune Presley a s&amp;ucirc;rement entendu la chanson et l&#039;a enregistr&amp;eacute;e plus tard - tout comme il l&#039;a fait pour au moins 19 autres chansons qui sont pr&amp;eacute;sent&amp;eacute;es dans la s&amp;eacute;rie. Il est int&amp;eacute;ressant de noter que Presley a enregistr&amp;eacute; le m&amp;ecirc;me nombre de chansons de&#039;Fuse&#039;. Si vous &amp;eacute;coutez chaque s&amp;eacute;rie depuis le d&amp;eacute;but, c&#039;est un moment surprenant dans l&#039;&amp;eacute;dition 1954 de&#039;Dim Lights&#039; quand le blues et la musique country se rencontrent dans la version d&#039;Elvis Presley de That&#039;s All Right, un num&amp;eacute;ro blues d&#039;Arthur Crudup qui figurait sur l&#039;&amp;eacute;dition 1947 de&#039;Fuse&#039;. &amp;Agrave; bien des &amp;eacute;gards, la version country de Presley, SUN RECORDS de la chanson a d&amp;eacute;fini le rock&#039;n&#039; roll tel que nous le connaissons aujourd&#039;hui. Pour ceux qui s&#039;int&amp;eacute;ressent encore plus profond&amp;eacute;ment &amp;agrave; l&#039;&amp;eacute;volution du rock, le single de Presley pose la question de savoir comment il est n&amp;eacute; &amp;agrave; l&#039;&amp;eacute;t&amp;eacute; 1954. Qu&#039;est-ce que Sam Phillips, le propri&amp;eacute;taire du minuscule SUN RECORDS &amp;agrave; Memphis, qui a non seulement men&amp;eacute; &amp;agrave; la d&amp;eacute;couverte d&#039;Elvis, mais aussi de nombreux autres futurs membres du Rock and Roll Hall of Fame ? 
 Une fois de plus, BEAR FAMILY r&amp;eacute;pond &amp;agrave; nos pri&amp;egrave;res en nous donnant le regard d&amp;eacute;finitif sur SUN : une s&amp;eacute;rie de six coffrets de quatre disques contenant chaque single publi&amp;eacute; par SUN RECORDS - le tout dans l&#039;ordre chronologique. Ces sets - intitul&amp;eacute;s&#039;The Complete SUN Singles&#039; - nous ram&amp;egrave;nent aux ann&amp;eacute;es 1950 et s&#039;assoient virtuellement avec Phillips alors qu&#039;il se d&amp;eacute;place d&#039;une session d&#039;enregistrement &amp;agrave; l&#039;autre &amp;agrave; la recherche d&#039;une musique qui combine le noir et blanc du blues et du country en un son unique et lib&amp;eacute;rateur qui, selon lui, r&amp;eacute;volutionnerait le monde de la musique pop. Nous pouvons entendre ce sur quoi Phillips travaillait deux mois avant d&#039;enregistrer That&#039;s All Right with Elvis et ce sur quoi il travaillait deux mois plus tard. Dans le processus, nous pouvons &amp;eacute;galement nous &amp;eacute;merveiller de sa d&amp;eacute;couverte d&#039;autres figures du Rock and Roll Hall of Fame comme Johnny Cash et Jerry Lee Lewis, Roy Orbison et Carl Perkins. Il n&#039;est pas n&amp;eacute;cessaire d&#039;&amp;ecirc;tre un &amp;eacute;rudit musical, cependant, pour pr&amp;eacute;-pr&amp;eacute;cier les r&amp;eacute;alisations marquantes de cette maison de disques allemande au cours des 35 derni&amp;egrave;res ann&amp;eacute;es. Les centaines d&#039;albums du catalogue de l&#039;&amp;eacute;tiquette nous permettent tout simplement d&#039;appr&amp;eacute;cier les sons joyeux d&#039;un &amp;eacute;ventail &amp;eacute;tincelant d&#039;artistes country, R&amp;amp;B et rock am&amp;eacute;ricains des ann&amp;eacute;es 1940 jusqu&#039;au d&amp;eacute;but des ann&amp;eacute;es 1960. 
 &amp;nbsp; 
 Les collections BEAR FAMILY comprennent les &amp;oelig;uvres de stars telles que Jimmie Rodgers et la famille Carter, Louis Jordan et Bob Wills, Frankie Lymon et Ray Price, Waylon Jennings et Merle Haggard. Mais BEAR FAMILY, aussi, pr&amp;eacute;sente la musique d&#039;autres artistes dignes d&#039;int&amp;eacute;r&amp;ecirc;t ; des figures cultes comme Warren Smith et les Collins Kids ainsi qu&#039;un groupe d&#039;artistes si obscurs qu&#039;aucun des millions de fans de musique d&#039;aujourd&#039;hui ne reconna&amp;icirc;trait leur nom. Il faut une personne sp&amp;eacute;ciale pour produire des d&amp;eacute;cors historiques avec autant de passion - et cette personne est Richard Weize. L&#039;amour de Richard pour le rock&#039;n&#039; roll remonte aux ann&amp;eacute;es 1950 lorsqu&#039;il a entendu pour la premi&amp;egrave;re fois Bill Haley &amp;amp; the Comets&#039; (We&#039;re Gonna) Rock Around The Clock, et plus tard, il a d&amp;eacute;velopp&amp;eacute; une affection encore plus grande pour la musique country apr&amp;egrave;s avoir d&amp;eacute;couvert des artistes tels que Jim Reeves et Don Gibson. (Il ne devrait pas vous surprendre de savoir qu&#039;il a BEAR FAMILY boxed sets de- vot&amp;eacute; &amp;agrave; Haley, Gibson et Reeves). 
 &amp;nbsp; 
 Weize est un tel fan et perfectionniste qu&#039;il supervise normalement le transfert de la musique des cassettes de chambre forte sur ses disques pour s&#039;assurer d&#039;obtenir la meilleure qualit&amp;eacute; sonore possible. En &amp;eacute;crivant une histoire sur Richard en 2003 pour le Los An-Geles Times, j&#039;ai &amp;eacute;t&amp;eacute; &amp;eacute;merveill&amp;eacute; pendant pr&amp;egrave;s de trois heures par son enthousiasme et son d&amp;eacute;vouement au nom de la musique qu&#039;il aime. Mais il y a eu un moment dans la soir&amp;eacute;e o&amp;ugrave; j&#039;ai remarqu&amp;eacute; une touche de m&amp;eacute;lancolie dans sa voix. Il s&#039;inqui&amp;eacute;tait, disait-il, que le monde de la pop perdait de l&#039;int&amp;eacute;r&amp;ecirc;t pour une grande partie de la musique qu&#039;il aime. 
 &quot;&amp;Agrave; un moment donn&amp;eacute;, j&#039;ai pens&amp;eacute; que je sauvais ces choses et qu&#039;elles seraient l&amp;agrave; pour toujours &quot;, dit-il doucement. &quot;Comme les gens copient de plus en plus de DVD et que les jeunes ne s&#039;int&amp;eacute;ressent pas beaucoup &amp;agrave; l&#039;histoire, je ne sais pas si quelqu&#039;un poursuivra cette tradition. &amp;Ccedil;a me rend triste. Mais j&#039;ai certainement v&amp;eacute;cu mon r&amp;ecirc;ve. J&#039;ai fait les albums que je voulais entendre.&quot; Il s&#039;est ensuite arr&amp;ecirc;t&amp;eacute; et a ajout&amp;eacute; gentiment : &quot; Je suis fou. Je suis un fanatique, je l&#039;admets.&quot; Et c&#039;est vrai, mais beaucoup des grands visionnaires de l&#039;industrie du disque dans les ann&amp;eacute;es 1950 - Phillips de SUN RECORDS et Ahmet Ertegun d&#039;ATLANTIC RECORDS et Leonard et Phil Chess de CHESS RECORDS - &amp;eacute;taient assez fous et fanatiques pour croire que la musique rock&#039;n&#039; roll avait un avenir. L&amp;agrave; o&amp;ugrave; Phillips, Ertegun et les fr&amp;egrave;res Chess ont fait de la musique d&#039;avant-garde, BEAR FAMILY&#039;s Weize se tient &amp;agrave; leurs c&amp;ocirc;t&amp;eacute;s en h&amp;eacute;ros &amp;agrave; mes yeux parce que, de tous les hommes de disques du monde d&#039;aujourd&#039;hui, il a eu la passion et la volont&amp;eacute; de pr&amp;eacute;server cette musique pour les g&amp;eacute;n&amp;eacute;rations futures. 
 Joyeux 35e anniversaire &amp;agrave; Richard et son &amp;eacute;quipe BEAR FAMILY. Robert Hilburn Robert Hilburn a &amp;eacute;t&amp;eacute; critique de musique pop du Los Angeles Times de 1970 &amp;agrave; 2005 et est l&#039;auteur d&#039;un m&amp;eacute;moire intitul&amp;eacute;&#039;Corn Flakes with John Lennon&#039;. 
 Son site Web est ww.roberthilburnonline.com. 
                ]]>
            </content>

                            <updated>2015-03-13T00:00:00+01:00</updated>
                    </entry>

    
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