One (George Jones and Tammy Wynette album)
One is the ninth and final studio album by American country music artists George Jones and Tammy Wynette. This album was released on June 1995 on the MCA Nashville Records label, it was Wynette's first album together in 15 years. The album was Wynette's last studio album she would record before her death in 1998. For many years the idea of a Jones/Wynette reunion had been thought unlikely; the years following their divorce had been filled with acrimony and sniping, made all the more complicated by the fact that they still performed together on occasion. "That wasn't my idea," Jones insisted in his 1996 autobiography. "In fact, I hated to work with her. It brought back too many unpleasant memories, when some fans saw us together, they got it in their heads that we were going to get back together romantically." The publication of Wynette's autobiography Stand By Your Man in 1979, which painted an ugly picture of Jones - and the made-for-TV movie that followed - did not help mollify the relationship.
Jones, who hit rock bottom in the years following the divorce, accepted the responsibility for the failure of the marriage but vehemently denied Wynette's allegations in her autobiography that he beat her and fired a shotgun at her. By the 1990s, both had been remarried for several years and both were enjoying their recognition as country music legends. While the reunion of Jones and Wynette may have been a surprise for many, there had been signs that much of the old enmity that had existed between them had faded. In 1991 they performed together with Randy Travis at the CMA Awards and in 1994 Wynette joined Jones for his duet album The Bradley Barn Sessions on a remake of their 1976 number one "Golden Ring", their collaboration on One had been no doubt motivated by commercial factors as well. Considering the history between the two and the media buzz it would generate, a reunion was an attractive, viable option. AllMusic calls One "a pleasant listen" and contends, "The main pleasure of the record is hearing George and Tammy together again after all these years, but if One is judged by their previous efforts, it looks rather thin."
George Jones' Official Website Tammy Wynette's Official Website Record Label
George Jones Salutes Hank Williams
George Jones Salutes Hank Williams is the 1960 country music studio album released in May 1960 by George Jones. The album was the ninth studio LP release, was recorded in one session; the album has been reissued multiple times since its release, including the tracks being reused on many compilations. The album was his second album release of the 1960s, is one of the best sounding albums recorded with Mercury Records. Though the album didn't chart, however, it became one of his best sellers. All of the songs included were recorded by Hank Williams at some point in his short-lived career, during this time of Jones' career, he had incorporated much of Williams singing style into his style. George Jones often would cite Hank Williams as his biggest musical influence. Jones listened to him any chance he could get, bought many of his records, he would meet Williams during a radio show on KRIC in Beaumont, Texas where a young teenage Jones secured a gig backing old-timer country duet act Eddie and Pearl.
In the liner notes to Cup of Loneliness: The Classic Mercury Years, Colin Escott quotes Jones telling his version of events to Ralph Emery: "Hank was appearing at the Blue Jean Club on the Port Arthur highway. A dee-jay on KRIC was a good friend of Hank's, so he asked Hank to come by that afternoon before the dance. I had an electric guitar. I knew he was coming by, I had learned'Wedding Bells', he gets up to the microphone with the guitar, he didn't let me kick it off. I had done all; when he started singing, I loved his singing so much. I never hit one note. My fingers just froze to the neck of the guitar." In the 1989 video documentary, Same Ole Me, Jones admits, "I couldn't think or eat nothin' unless it was Hank Williams, I couldn't wait for his next record to come out. He had to be the greatest." In his memoir, Jones recalled learning about Williams death on New Year's Day 1953 while he was serving a stint in the marines stationed in San Jose, California. After a friend showed him the headline in the paper, Jones wrote that he "lay there and bawled", adding that "Hank Williams had been my biggest musical influence.
By that thinking you could say. That's how I took him and his songs." The songs on George Jones Salutes Hank Williams feature some of the late country star's biggest hits, including "Cold, Cold Heart" and "Hey, Good Lookin'". Jones would record a second Williams tribute album in March 1962 titled My Favorites of Hank Williams. Salutes Hank Williams was recorded on April 21, 1960, at Bradley Film and Recording Studio in Nashville, TN. All the tracks were produced by Pappy Daily; the first track recorded was "Settin' the Woods on Fire," followed by "Window Shopping," and "Howlin' at the Moon." The next tracks recorded were "There'll Be No Teardrops Tonight," "Hey Good Lookin'," and "Half as Much." "Nobody's Lonesome for Me," "Cold, Cold Heart, "Why Don't You Love Me?," "Honky Tonkin'," "Jambalaya," and "I Can't Help It." In an interview with the Country Music Hall of Fame, session guitar player Jimmy Capps recalled that all 12 sides were recorded in 3 hours, with George Jones singing live, no playbacks.
Other session personnel, according to Capps, were: Jimmy Day on steel guitar, Tommy Jackson on fiddle, Buddy Killen on bass All the songs included on the album, but two, were written by Hank Williams. Williams himself, is regarded as the greatest songwriter in country music's history. Many of the songs on this album stand as a testament to the best songs including; the only songs not written by Williams was Settin' the Woods on Fire, written by Fred Rose with Ed G. Nelson, Window Shopping by Marcel Joseph; the album became one of his best sellers, is some of Jones' best recordings during his time with Mercury Records from 1957-1962. Allmusic's Stephen Thomas Erlewine writes: "George Jones Salutes Hank Williams was recorded at Mercury Records, toward the beginning of Jones' career. At this stage, George still sounded similar to Hank Williams, but he had begun to incorporate much of Williams' vocal techniques into a distinctive vocal style of his own. If Jones had recorded these songs while still at Starday, they wouldn't be as exciting as they are now -- since he had moved beyond mimicking into his own style, he's able to invest Williams' songs with grit and passion, instead of just copying Hank.
It's an affectionate, entertaining tribute, featuring some of the greatest songs in country music.." George Jones' Official Website Record Label
"Near You" is a popular song written and recorded by Francis Craig in 1947, with lyrics by Kermit Goell, that has gone on to become a pop standard. The recording by Francis Craig was released by Bullet Records as catalog number 1001, it first reached the Billboard Best Sellers chart on August 30, 1947, lasted 21 weeks on the chart, peaking at number one. On the "Most Played By Jockeys" chart, the song spent 17 consecutive weeks at number one, setting a record for both the song and the artist with most consecutive weeks in the number-one position on a US pop music chart. In 2009, hip-hop group The Black Eyed Peas surpassed Craig's record for artist with most consecutive weeks in the number-one position with the songs "Boom Boom Pow" and "I Gotta Feeling". However, their record was accomplished with combined weeks of two #1 songs - one succeeding the other in the top position. Billboard ranked it as the No. 1 song overall for 1947. In 1977, "Near You" became a number-one country hit for the duo of George Jones and Tammy Wynette, one of the more unlikely compositions the two country legends sang together.
Recorded in the winter of 1974, its atypical arrangement showed that country fans still had an appetite for any music performed by the estranged couple, country music's "First Couple" in the early seventies. In fact, it was their second consecutive #1 single since their divorce in 1975. Other recordings of the song that charted on the Billboard best seller in 1947 include: The Andrews Sisters entered the chart on October 3 and peaked at number four. Elliot Lawrence peaked at number nine; this was Lawrence's only charting hit. Larry Green peaked at number three. Two Ton Baker entered the chart at the same time as Green, peaked at number twelve, staying for five weeks. Alvino Rey peaked at number nine in its only week on the chart; this was Rey's last charting hit. In addition, "Near You" was used by Milton Berle as the closing song on his Texaco Star Theater, became his theme song for many years thereafter. Other versions include: Roger Williams recorded the song in 1958, it charted on the Billboard Hot 100 singles chart, peaking at number ten.
Jerry Lee Lewis recorded an instrumental version of the song in 1959. It has been recorded by Marlene Dietrich, Nat King Cole, Grady Martin and Andy Williams. Lyrics of this song at MetroLyrics
The 8-track tape is a magnetic tape sound-recording technology, popular in the United States from the mid-1960s to the early 1980s, when the Compact Cassette format took over. The format is regarded as an obsolete technology, was unknown outside the United States, the United Kingdom, New Zealand, West Germany and Japan; the Stereo 8 Cartridge was created in 1964 by a consortium led by Bill Lear of Lear Jet Corporation, along with Ampex, Ford Motor Company, General Motors, RCA Victor Records. It was a further development of the similar Stereo-Pak four-track cartridge introduced by Earl "Madman" Muntz, adapted by Muntz from the Fidelipac cartridge developed by George Eash. A quadraphonic cartridge version of the format was announced by RCA in April 1970 and first known as Quad-8 later changed to just Q8; the original format for magnetic tape sound reproduction was the reel-to-reel tape recorder, first available in the United States in the late 1940s, but too expensive and bulky to be practical for amateur home use until well into the 1950s.
Loading a reel of tape onto the machine and threading it through the various guides and rollers proved daunting to some casual users—certainly, it was more difficult than putting a vinyl record on a record player and flicking a switch. Because in early years each tape had to be dubbed from the master tape in real-time to maintain good sound quality, prerecorded tapes were more expensive to manufacture, costlier to buy, than vinyl records which could be stamped much more than their own playing time. To eliminate the nuisance of tape-threading, various manufacturers introduced cartridges that held the tape inside a metal or plastic housing to eliminate handling. Most were intended only for low-fidelity voice recording in dictation machines; the first tape cartridge designed for general consumer use, including music reproduction, was the Sound Tape or Magazine Loading Tape Cartridge, introduced in 1958 by RCA. Prerecorded stereophonic music cartridges were available, blank cartridges could be used to make recordings at home, but the format failed to gain popularity.
The endless loop tape cartridge was first designed in 1952 by Bernard Cousino around a single reel carrying a continuous loop of standard 1/4-inch, oxide-coated recording tape running at 3.75 in per second. Program starts and stops were signaled by a one-inch-long metal foil that activates the track-change sensor. Inventor George Eash invented a cartridge design in 1953, called the Fidelipac cartridge; the Eash cartridge was licensed by manufacturers, notably the Collins Radio Company, which first introduced a cartridge system for broadcasting at the National Association of Broadcasters 1959 annual show. Fidelipac cartridges were used by many radio stations for commercials and other short items. Eash formed Fidelipac Corporation to manufacture and market tapes and recorders, as did several others, including Audio-Pak. There were several attempts to sell music systems for cars, beginning with the Chrysler Highway Hi-Fi of the late 1950s. Entrepreneur and television set dealer Earl "Madman" Muntz of Los Angeles, however, saw a potential in these "broadcast carts" for an automobile music system.
In 1962, he introduced his Stereo-Pak four-track cartridge stereo system and tapes in California and Florida. The four tracks were divided into two "programs" corresponding to the two sides of an LP record, with each program comprising two tracks read for stereo sound playback, he licensed popular music albums from the major record companies and duplicated them on these four-track cartridges, or "CARtridges", as they were first advertised. The Lear Jet Stereo 8 track cartridge was designed by Richard Kraus while working under Bill Lear and for his Lear Jet Corporation in 1963; the major change was to incorporate a neoprene rubber and nylon pinch roller into the cartridge itself, rather than to make the pinch roller a part of the tape player, reducing mechanical complexity. Lear eliminated some of the internal parts of the Eash cartridge, such as the tape-tensioning mechanism and an interlock that prevented tape slippage. By doubling the number of tracks from 4 to 8, the recording length doubled to 80 minutes.
In 1964, Lear's aircraft company constructed 100 demonstration Stereo 8 players for distribution to executives at RCA and the auto companies. The popularity of both four-track and eight-track cartridges grew from the booming automobile industry. In September 1965, the Ford Motor Company introduced factory-installed and dealer-installed eight-track tape players as an option on three of its 1966 models, RCA Victor introduced 175 Stereo-8 Cartridges from its RCA Victor and RCA Camden labels of recording artists catalogs. By the 1967 model year, all of Ford's vehicles offered this tape player upgrade option. Most of the initial factory installations were separate players from the radio, but dashboard mounted 8-track units were offered in combination with an AM radio, as well as with AM/FM receivers. Muntz, a few other manufacturers offered 4/8 or "12-track" playe
White Lightning and Other Favorites
White Lightning and Other Favorites is the seventh studio album released by George Jones on May 26, 1959. Its title track "White Lightning" was a #1 Country hit in 1959; the album is one of the best, if not albums that Jones released in the 1950s. The album charted well, was one of the most popular country albums of 1959, it plays some of Jones' first collaboration tracks. "I'm With the Wrong One" was his second collaboration, recorded in 1956 with Jennette Hicks. "Flame in My Heart" was his third collaboration, recorded with Virginia Spurlock in 1957. In 1957, Jones signed to Mercury Records and began recording with them in Nashville, leaving the old Starday studio in Houston. White Lightning and Other Favorites was released on May 28, 1959 as a two-sided 33rpm LP. Both sides listed both ended in a Southern-Gospel tune; the oldest song included on the album was recorded at one of his last recording sessions with Starday Records in August 1956 titled: "I'm With the Wrong One," written by Jones. White Lightining"White Lightning" was released in February 1959, became a #1 hit written by a close-friend of Jones', who wrote a Top 10 for Jones the previous year.
The Big Bopper included on his only LP release. Jones asked his manager, H. W. "Pappy" Daily, if he could record it, requested that he give it to nobody else. Jones recorded the song in September 1958 at the Bradley Recording Studio in Nashville, it was released as a single three days. "That's the Way I Feel" was recorded in September 1957 and was written by Jones, like most of the tracks on the album. Jones would write or co-write 10 of the songs and all of Side 2. "Life to Go" was one of Jones best compositions, written after Jones played the Old Time Fiddlers Convention in Crockett, Texas with Jackson and Ernest Tubb. There was a prison there and, while walking around the grounds with Jackson, they began chatting with an inmate. At one point they asked him how much time he had left to serve, to which the prisoner replied, "I been here for eighteen years and still got life to go." "His remark chilled me to the bone," Jones wrote. "I had hated the prison. That man knew he'd never leave. I wanted to get that prison out of my mind.
But I couldn't." "Don't Do This To Me" was recorded on March 19, 1957 and written by Jones. "Wandering Soul" was written by Bill Dudley and Jones. "Give Away Girl" was written by Jones and Sid Kessel on March 19, 1957. "You're Back Again" was recorded and Jones and Hank Locklin, Locklin singing the backing-vocals for the track during an October 1956 session. "No Use to Cry" was written by Jones. It was included on his 1958 studio release: "Long Live King George." "Nothing Can Stop Me" was released as the b-side to I'm With Wrong One in July 1958. It was written by Roger Miller and Jones and recorded on June 5, 1957. "Flame in My Heart" was recorded with fellow Mercury artists Virginia Spurlock on March 19, 1957. It was Jones third collaboration during his 50+ year career. "Jesus Wants Me" was the last song of the album and was a southern gospel song written by Jones with Eddie Noack, was recorded on April 21, 1958. In his autobiography, Jones apologized to readers who might be disappointed that he had not provided more information in his book about his recording sessions because "I've worked so many of them too drunk to walk but not too drunk to sing.
I can't remember much about them." As he explained to Billboard in 2006, "I would say 90% of the time I would be in pretty damn good shape when I went into the studio. I did have a little sense, not a whole lot, but I would still have to have a little build-up of courage, three or four drinks throughout the session time. I don't know, it seemed to mellow you out and relax you a little more, you would feel your songs better." White Lightning would go on one of Jones' biggest #1 hits. He would perform it live throughout his career and re-recording it multiple times; the album it produced was arguably the best of Jones' LP releases during his early career. George Jones' Official Website Record Label
Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s. It takes its roots from genres such as folk blues. Country music consists of ballads and dance tunes with simple forms, folk lyrics, harmonies accompanied by string instruments such as banjos and acoustic guitars, steel guitars, fiddles as well as harmonicas. Blues modes have been used extensively throughout its recorded history. According to Lindsey Starnes, the term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. In 2009 in the United States, country music was the most listened to rush hour radio genre during the evening commute, second most popular in the morning commute; the term country music is used today to describe many subgenres. The origins of country music are found in the folk music of working class Americans, who blended popular songs and Celtic fiddle tunes, traditional English ballads, cowboy songs, the musical traditions of various groups of European immigrants.
Immigrants to the southern Appalachian Mountains of eastern North America brought the music and instruments of Europe along with them for nearly 300 years. Country music was "introduced to the world as a Southern phenomenon." The U. S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum. Historians have noted the influence of the less-known Johnson City sessions of 1928 and 1929, the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage; the first generation emerged in the early 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records in 1924, RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music The Carter Family.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. During the second generation, radio became a popular source of entertainment, "barn dance" shows featuring country music were started all over the South, as far north as Chicago, as far west as California; the most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another country musician from the Lower Great Plains who had become popular as the leader of a "hot string band," and who appeared in Hollywood westerns, his mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie".
The third generation started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods and a basic ensemble of guitar, dobro or steel guitar became popular among poor whites in Texas and Oklahoma, it became known as honky tonk, had its roots in Western swing and the ranchera music of Mexico and the border states. By the early 1950s a blend of Western swing, country boogie, honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre. Beginning in the mid-1950s, reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee.
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock. Fourth generation music included outlaw country with roots in the Bakersfield sound, country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a se
The LP is an analog sound storage medium, a vinyl record format characterized by a speed of 33 1⁄3 rpm, a 12- or 10-inch diameter, use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few minor refinements and the important addition of stereophonic sound, it has remained the standard format for vinyl albums. At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive shellac compound, employed a much larger groove, played at 78 revolutions per minute, limiting the playing time of a 12-inch diameter record to less than five minutes per side; the new product was a 12- or 10-inch fine-grooved disc made of PVC and played with a smaller-tipped "microgroove" stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes. Only the microgroove standard was new, as both vinyl and the 33 1⁄3 rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt to introduce a long-playing record for home use by RCA Victor.
Although the LP was suited to classical music because of its extended continuous playing time, it allowed a collection of ten or more pop music recordings to be put on a single disc. Such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form; the use of the word "album" persisted for the one-disc LP equivalent. The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable; the sound had to play continuously for at least 11 minutes, long enough to accompany a full 1,000-foot reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches and the speed was reduced to 33 1⁄3 revolutions per minute.
Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s. Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces. By mid-1931, all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors. Syndicated radio programming was distributed on 78 rpm discs beginning in 1928; the desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. 16-inch 33 1⁄3 rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions" beginning about 1930.
Transcriptions were variously recorded inside out with an outside start. Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next. Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence. Instead of a three-disc set having the 1–2, 3–4 and 5–6 manual sequence, or the 1–6, 2–5 and 3–4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1–4, 2–5 and 3–6; some transcriptions were recorded with a vertically modulated "dale" groove. This was found to allow deeper bass and an extension of the high-end frequency response. Neither of these was a great advantage in practice because of the limitations of AM broadcasting.
Today we can enjoy the benefits of those higher-fidelity recordings if the original radio audiences could not. Transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. Beginning in the mid-1930s, one-off 16-inch 33 1⁄3 rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, by local stations to delay the broadcast of network programming or to prerecord their own productions. In the late 1940s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. Use of the LP's microgroove standard began in the late 1950s, in the 1960s the discs were reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was small, pressed discs were a more economica