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Tex Ritter Blood On The Saddle (4-CD Deluxe Box Set)

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  • BCD16260
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TEX RITTER   Have I Stayed Away Too Long The four CDs that make up this collection...plus

Tex Ritter: Blood On The Saddle (4-CD Deluxe Box Set)

TEX RITTER   Have I Stayed Away Too Long

The four CDs that make up this collection contain what many feel is the best work Tex Ritter ever did. In nine recording sessions for Capitol Transcriptions over a period of two and a half years (1945-1947), Ritter mixed Western Swing and contemporary country songs with the traditional Cowboy ballads to which he was so closely identified to produce a wonderful compendium of West Coast country music of the era. 


 Backed by such fine musicians and friends as Merle Travis, Johnny Bond, Wesley Tuttle, Margie Ann 'Fiddlin’ Kate' DeVere and Cliffie Stone, among many others, Ritter achieves a relaxed performance seldom found in the high pressure sessions of commercial recording. As a bonus his 12 songs for World Transcriptions have been added.

Propriétés de l'article:Tex Ritter: Blood On The Saddle (4-CD Deluxe Box Set)

  • Interpret: Tex Ritter

  • Titre de l'album: Blood On The Saddle (4-CD Deluxe Box Set)

  • Genre Country

  • Label Bear Family Records

  • Année de publication 1999
  • Preiscode DI
  • Edition 2 Deluxe Edition
  • Artikelart Box set

  • EAN: 4000127162601

  • Poids en kg: 1.2
Ritter, Tex - Blood On The Saddle (4-CD Deluxe Box Set) Box set 1
01A Ridin' Old Paint/Git Along Little DoggiesTex Ritter
02Rye Whiskey (1)Tex Ritter
03A Ridin' Old Paint (take 1)Tex Ritter
04A Ridin' Old Paint (take 2)Tex Ritter
05Goodbye Old Paint (take 1)Tex Ritter
06Goodbye Old Paint (take 2)Tex Ritter
07Rye Whiskey (take 1)Tex Ritter
08Rye Whiskey (take 2)Tex Ritter
09A Ridin' Old Paint (take 3)Tex Ritter
10Sam HallTex Ritter
11Get Along Little DoggiesTex Ritter
12Thirty Three Years In PrisonTex Ritter
13Lady Killin' CowboyTex Ritter
14I'm A Do-Right CowboyTex Ritter
15Bill The Bar FlyTex Ritter
16Nobody's Darling But MineTex Ritter
17My Brown Eyed Texas RoseTex Ritter
18Take Me Back To My Boots And SaddleTex Ritter
19The Oregon TrailTex Ritter
20Answer To 'Nobody's Darling'Tex Ritter
21A Melody From The SkyTex Ritter
22The Hills Of Old WyomingTex Ritter
23We'll Rest At The End Of The TrailTex Ritter
24High, Wide And HandsomeTex Ritter
25Heading For The Big Rio GrandeTex Ritter
26Out On The Lone PrairieTex Ritter
Ritter, Tex - Blood On The Saddle (4-CD Deluxe Box Set) Box set 2
01Arizona DaysTex Ritter
02Jailhouse LamentTex Ritter
03(I'm) Hitting The Trail (For Home)Tex Ritter
04I'm A Natural Born CowboyTex Ritter
05Ride, Ride, RideTex Ritter
06Ridin' Down The Trail To AlbuquerqueTex Ritter
07Down The Colorado TrailTex Ritter
08When It's Lamplighting Time In The ValleyTex Ritter
09Singin' In The SaddleTex Ritter
10Sundown On The PrairieTex Ritter
11Viva TequilaTex Ritter
12(I Got Spurs) Jingle, Jangle, JingleTex Ritter
13SomeoneTex Ritter
14Goodbye My Little CherokeeTex Ritter
15I've Done The Best I CouldTex Ritter
16There's A New Moon Over My ShoulderTex Ritter
17Have I Stayed Away Too LongTex Ritter
18I'm Wastin' My Tears On YouTex Ritter
19There's A Gold Star In Her WindowTex Ritter
20Jealous HeartTex Ritter
21I'm Gonna Leave You Like I Found YouTex Ritter
22We Live In Two Different WorldsTex Ritter
23How Was I To KnowTex Ritter
24You Will Have To Pay (For Your Yesterday)Tex Ritter
25Long Time GoneTex Ritter
26In Case You Change Your MindTex Ritter
27It's Never Too LateTex Ritter
28How Was I To KnowTex Ritter
Ritter, Tex - Blood On The Saddle (4-CD Deluxe Box Set) Box set 3
01San Antonio RoseTex Ritter
02Try Me One More TimeTex Ritter
03Green Grow The LilacsTex Ritter
04Boll WeevilTex Ritter
05Rounded Up In GloryTex Ritter
06You Two Timed Me One Time Too OftenTex Ritter
07Blood On The SaddleTex Ritter
08The Chisholm TrailTex Ritter
09Bad Brahma BullTex Ritter
10Rye WhiskeyTex Ritter
11Billy The KidTex Ritter
12The Texas RangersTex Ritter
13I Love My RoosterTex Ritter
14The Wreck Of Number NineTex Ritter
15Froggy Went A-Courtin'Tex Ritter
16Green Grow The LilacsTex Ritter
17Night Herding SongTex Ritter
18The Pony ExpressTex Ritter
19The Phantom White Stallion Of Skull ValleyTex Ritter
20Some Sweet DayTex Ritter
21Christmas Carols By The Old CorralTex Ritter
22Love Me NowTex Ritter
23The Wreck Of Number NineTex Ritter
24The Pony ExpressTex Ritter
25Teach Me To ForgetTex Ritter
26The Pony ExpressTex Ritter
Ritter, Tex - Blood On The Saddle (4-CD Deluxe Box Set) Box set 4
01Have Told You Lately That I Love YouTex Ritter
02I Was Out Of My MindTex Ritter
03When You Leave Don't Slam The DoorTex Ritter
04From Now OnTex Ritter
05Ninety Nine Years (Is A Long Time)Tex Ritter
06Poor Unwanted HeartTex Ritter
07One Little Tear Drop Too LateTex Ritter
08Fort Worth JailTex Ritter
09I Told My HeartTex Ritter
10Ninety Nine Years (Is A Long Time)Tex Ritter
11I Forget If You'll ForgiveTex Ritter
12I Don't Want You AnymoreTex Ritter
13Cool Water (& THE DINNING SISTERS)Tex Ritter
14Trouble In Mind (& THE DINNING SISTERS)Tex Ritter
15The Roving GamblerTex Ritter
16Down In The Valley (& THE DINNING SISTERS)Tex Ritter
17You Are My Sunshine (& THE DINNING SISTERS)Tex Ritter
18My Heart's As Cold As An Empty JugTex Ritter
19I Cannot Tell A LieTex Ritter
20Double Dealin' Darlin'Tex Ritter
21Toodle-Loo My Darlin'Tex Ritter
22Bats In Your BelfryTex Ritter
23The Last MileTex Ritter
24The Prisoner's SongTex Ritter
25Don't Make Me SorryTex Ritter
26I Can't Get My Foot Off The RailTex Ritter
27The God's Were Angry With Me (& EDDIE KIRK)Tex Ritter
Tex Ritter  Have I Stayed Away Too Long  It can be argued that there has never... plus
"Tex Ritter"

Tex Ritter 

Have I Stayed Away Too Long

 It can be argued that there has never been a medium as important to the development and spread of a genre of music as radio was to country music. Beginning in the earliest stages of radio's development, country music, or 'hillbilly' as it was called in the twenties and thirties, was a staple of programming for most stations away from the large metropolitan areas. In the early days, the music came from local bands and singers performing live. In 1922, a talent manager complained "Everybody wants to get on the air. Everyone who can twang or pick or scrape a string, every person who can touch or pound a keyboard, and anyone at all who is not tongue-tied has become possessed with the idea that he must get on the radio."

As the novelty of radio began to wear off, the listeners became more discerning and programmers more sophisticated. Only the best and most talented of the local entertainers were able to stay on the air because the advertisers listened to their audience and refused to support the less talented. Then in the mid-twenties, a couple of phonograph record companies tried a daring experiment: sending producers into the South to record some of the local 'hillbilly' singers and string bands in hopes of building a market with the hillbilly folks. The immediate result was a series of sectional, or regional, hit records, as well as the emergence of country music's first superstar, Jimmie Rodgers. The long-term effect was to create a demand for the services of the more popular hillbilly performers on the stations in the larger markets causing a shortage of quality talent for local programs on stations in the smaller markets.

The obvious solution for the smaller stations was the least satisfying in the beginning; that was playing recorded music, the commercial 78rpm records. The initial problem was that the surface noise was such that the listener was instantly aware he was listening to a recording. But that was only a problem when the station was actually able to obtain a record to play. In the 1920s and 1930s, the record companies refused to license their records for broadcast. Their fear was if the audience could get it for free, they would not be so interested in buying the record, or, as the jukebox became the biggest outlet for records during the war years, wouldn't spend the money to listen to it. Many record dealers however, quickly realized that just the opposite was true. Airplay was the best method of promotion; in fact, in many towns and cities, local record dealers would give a radio station recent records, and occasionally, even pay the announcers to play them. They believed it was a legitimate form of advertising. As the record companies began to realize that airplay actually boosted sales, they generally ignored the fact that a particular station was programming using their records; but, if asked for permission, the record companies nearly always refused.

Beginning in 1922, Western Electric set out to develop a sound system for motion pictures that would fill a theater with synchronized sound. At its 1869 inception, the company provided parts and models for inventors, and, by 1881, just prior to joining the Bell System (which became AT&T in 1899), Western Electric was the largest electrical manufacturer in the United States. In the early 20th century, when a handful of companies assembled scientific researchers to expand their innovative capacities, Western Electric did so in a big way. The research branch of Western Electric's engineering department became Bell Laboratories, the greatest private research organization in the world. By 1924, Western Electric had developed a large-disc, integrated recording system and was researching sound-on-film technology. They were ready to sell to Hollywood its large-disc system to synchronize sound to film for the early 'talkies.' Western Electric and Warner Bros. formed a joint venture, the Vitaphone Corporation, to experiment in the production and exhibition of sound motion pictures.

When the optical sound-on-film process replaced the transcription disc as the standard for sound films, which it did in a few short months, some entrepreneurs felt there was a future for such transcriptions in radio. The fidelity of the transcription discs was far superior to 78rpm records—much less surface noise. Radio networks were in their infancy, and programs could be sent on these discs to stations in all parts of the country to be played at the optimum time for their individual market. NBC, among the networks, was a long time holdout in allowing its stations to reschedule broadcast times by using discs, feeling that it destroyed the integrity of the network.

The slower speed (33 1/3rpm) technology—developed by Western Electric—was first licensed by the World Broadcasting Service in 1929. By 1935, three other major transcription services were in business using the same technology, supplying programming to 350 radio stations around the country. Standard Radio Library, RCA/NBC Thesaurus, the C.P. MacGregor service, as well as World, were providing a basic library of radio shows complete in themselves (ready for local commercials) and a library of musical selections, along with a license to play them on the air. In addition, periodic issues of new discs and replacements would be provided. Also included was a continuity script written around the musical selections included in the library, and formed into individual shows. Some were three time a week, 15-minutes each; some are 30-minute 'across the board' (called 'strip' today) shows; some were for Sunday only, and some for a particular time slot. One library was all any one station would generally need. With one library, by using the continuity scripts provided, and using more than one staff announcer, as many as twenty to twenty-five different shows a week were available to any station. In the early 1930s, some stations began experimenting with the 'disc jockey' format using the transcriptions, but it would be the late 1940s before it became a common programming format. These libraries did not 'belong' to a radio station; they were leased for as long as the station paid the proper fees. The turntables used were large enough to accommodate the 16-inch discs, and they were dual speed.

Tex Ritter High Noon (4-CD)
Read more at: https://www.bear-family.com/ritter-tex-high-noon-4-cd.html
Copyright © Bear Family Records

 

 

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