Various - Country & Western Hit Parade - 1959 - Dim Lights, Thick Smoke And H...

Description: 1959 - Dim Lights, Thick Smoke And Hillbilly Music Various - Country & Western Hit Parade 1-CD-Album deluxe with 72-page booklet, 32 tracks. Playing time: 84:48 minutes. 'Dim Lights, Thick Smoke And Hillbilly Music 1959'Country & Western Hit Parade 1959The words on the lips of everyone in the music industry in 1959 were 'folk music.' As 'Billboard' noted in June, 'Folkniks On March: Hill Sound Upsurge.' The catalyst was the Kingston Trio's revival of Tom Dooley, a song first recorded thirty years earlier by the country duo of Grayson & Whitter. Rarely has one record created such a far-reaching ripple-effect. In its wake, both pop and country markets embraced folk songs and faux folk songs. During 1959, ten records monopolised the #1 spot in country music; six of those were story songs with a folksy feel. In order they were: Don't Take Your Guns To Town, When It's Springtime In Alaska, The Battle Of New Orleans, Waterloo, The Three Bells and El Paso. All of those records made an equally deep impression on the pop charts.This series started with recordings from 1945 at a time when country music was known in the industry as folk music. When Elvis Presley's second LP was released in October 1956, the liner notes said, "Of commercial folk music, Presley is perhaps the most original singer since Jimmie Rodgers." Elvis was seen then as a mutant country singer. By 1959, the lines between "folk music" and "country & western" and "rock 'n' roll" were drawn. The Kingston Trio was folk in the sense that we understand it today. Elvis Presley was most definitely not folk, and neither were most of the country & western recordings emanating from Nashville, even if they shaded toward folk music for a few months in 1959.The folk music boom had one unanticipated side-effect: bluegrass music came in from the cold, even if it was no longer viewed as part of the country mainstream. In October 1959, folklorist Alan Lomax wrote an article for 'Esquire,' memorably coining the phrase "folk music with overdrive" to describe bluegrass. Of course, bluegrass as we know it today was codified by Bill Monroe in 1946, and that made it as modern as it was ancient. An Appalachian song played by a 1920s or '30s string band often sounded little like the same song played by a bluegrass group. But the folk boom was good news for bluegrass musicians, who'd had a rough time since the onslaught of rock 'n' roll and the concurrent demise of live radio. College campuses that had booked the Kingston Trio began booking bluegrass acts. Former Mercury A&R man D. Kilpatrick was running the Grand Ole Opry when Flatt & Scruggs' manager, Louise Scruggs, came to him. "Louise told me that Davidson College in North Carolina had called and wanted to schedule a performance on campus, and she wanted to know if they should do it. I said, 'What do you mean whether?' She said, 'Well, we don't want anyone laughing at us.' I said, 'They're not going to laugh at you.' It wasn't three months and they were over at Duke University. Then before long that 'Esquire' magazine article came out on them." George Wein, who'd run the Newport Jazz Festival since 1954, launched the Newport Folk Festival in 1959, and Earl Scruggs appeared there alongside the Stanley Brothers. That same year, Mike Seeger released his groundbreaking 'Mountain Music, Bluegrass Style' album and before too long bluegrass was primarily heard on LP, while country music was still singles-driven. In 1961, Bill Clifton launched the first bluegrass festival, and bluegrass as we would come to know it was reborn. The good news was that all of the genre's major practitioners were still around and still at the top of their game.In the broader industry, the dollar volume of LPs exceeded that of singles for the first time. Bigger headlines were reserved for the payola investigations. Several big names, notably Alan Freed, saw their careers crash and burn. As Congress's payola investigations began in November 1959, the headline on Charlie Lamb's Nashville-based 'Music Reporter' was "Payola Probe To Clean Up World? Boy, They've Got A Job!" And of course all Congress did was force the practise underground for a while.Two postscripts to 1959. Dolly Parton made her first record for Goldband although it went nowhere. And Paul Cohen, who had joined Decca Records at its inception in 1934 and had masterminded the label's country sessions since the mid-1940s (including most of the Decca recordings in this series), left to start his own label, Todd Records. Meanwhile, Decca celebrated its twenty-fifth anniversary in 1959, and signed several of its long-term acts, including Kitty Wells and Webb Pierce, to so-called 'lifetime contracts.' 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Price: 27.43 CAD

Location: Holste-Oldendorf

End Time: 2024-10-24T12:40:30.000Z

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