file Hank Williams

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08 Okt. 2002 15:17 #17004 von Obi-Wan
Hank Williams wurde erstellt von Obi-Wan

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Born in Mount Olive West, Alabama on September 17, 1923, Hiriam King was the third child of Lon and Lillie Williams. Lon, a World War I veteran, was hospitalized during most of Hank's early life, leaving the boy's upbringing to his strong-willed mother. Small and fragile from the beginning (and afflicted with spina bifida), Hank may well have gravitated toward music as an alternative to sports. While living in Georgiana, Alabama, he befriended Rufe Payne, a black street musician known as "Tee-Tot." Years later, Hank would say that Payne had given him "all the music training I ever had," and most biographers consider Payne the source of the noticeable blues thread running through Hank's music.

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At sixteen, living in Montgomery, Williams quit school and began his music career in earnest. He made his first radio appearance on WSFA in late 1936 or early 1937, and soon became one of the station's most popular performers. He also worked beer joints and regional shows with his band, already named the Drifting Cowboys. Lillie drove the group to venues in her station wagon and collected gate money. By the early '40s, Hank was one of the biggest draws in the region, and had come to the attention of several Nashville artists and music business luminaries. But his reputation as a singer was already matched by the one he'd built for drinking and unreliability. Most considered him an unsafe bet.

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In 1943 Hank met Audrey Mae Sheppard, an Alabama country girl with a two-year-old daughter, Lycrecia, from a previous marriage. Audrey learned to play stand-up bass, well enough anyway, to play in the band, and began acting as manager. Audrey and Hank were married in December, 1944. She desperately craved a singing career, pushing for inclusion in the show at every chance. Her ambition, however, far exceeded her talent. Audrey would vie with Lillie for Hank's attention throughout the relationship. In 1946 she accompanied her husband to Nashville to meet publisher Fred Rose.

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Rose, in a partnership with Roy Acuff, ran a successful "hillbilly" publishing concern (Acuff-Rose, later a giant in the industry) and at first was interested in Williams only as a writer. (Hank had begun writing songs shortly after he started singing and playing guitar, and sold songbooks at his club appearances.) Within the year, however, Rose had made Hank's singing career a pet project, and arranged for him to record four songs for the Sterling label.

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In March 1947, in a deal engineered by Rose, Hank signed with MGM. "Move It On Over' was his first MGM release and his first Billboard chart entry. He charted again in April, 1948 with "Honky Tonkin." Back home in Montgomery, Hank seemed poised for stardom; his regional popularity was higher than ever, bolstered now by his recording success. But he had entered the low arc of a cycle that would haunt him for the rest of his days. More often than not, he showed up drunk (if at all) for live appearances, and was increasingly difficult for even his best friends to be around. Many, including Rose, gave up in frustration. Audrey filed for divorce in late April. With the big-time nearly in his grasp, Hank Williams was bottoming out.

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Hank's story could easily could have ended there, but the Williamses reconciled, the relationship with Rose was mended, and Rose set about finding an avenue for greater exposure for Williams. Decision makers at the Opry were still wary, but KWKH in Shreveport, Louisiana was interested in the emerging star for their Saturday night jamboree, the Louisiana Hayride, and Hank joined the show in August. "I'm a Long Gone Daddy" had recently reached number six, but his next four releases failed to chart, and a fifth, "Mansion On the Hill," stopped short of the top ten. KWKH's fifty-thousand watts were beamed into living rooms all across the Eastern U.S. every Saturday night, but his records were falling flat. Had he peaked? Was he, after all, only middling star material?

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Nearly fifty years later, in a world where today's icon is tomorrow's inconsequential, it is difficult to imagine a song so igniting radio listeners that it holds the top spot on the charts for sixteen weeks. No one in Hank's circle wanted him to waste time or tape on "Lovesick Blues." The song was a throwaway, they said; a piece of fluff that was more likely to damage his career than enhance it. Hank was insistent, though, and the song was given two quick passes at the end of a session. Released in February, 1949, it was number one, and more, by early May. "Lovesick Blues" was an "event"; popular beyond precedent, imagination or belief. And suddenly, Hank Williams was big. Big enough at last for the Opry.

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With success came increased creative freedom. Hank's "mainstream" songwriting and recording efforts continued to do extremely well, but he also delved into remorseful gospel themes and a series of recitations under the transparent pseudonym "Luke the Drifter." Hank the writer often seemed preoccupied with mortality and the futility of human relationships, his marriage to Audrey was now in steady decline, and those who knew him could easily see the real-life parallels in songs like "You're Gonna Change (Or I'm Gonna Leave)," and "Cold, Cold Heart." Clearly, here was a man displaying his demons for all to see. Hank didn't have to "interpret" sad songs; he had only to sing from his heart.

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For a time, fame and fortune staved off the consequences of his self destructive lifestyle. By mid-1952, however, his life was coming apart at the seams. Wracked with back pain, he was dependent on alcohol and, it is believed, morphine. Often missing or too drunk to perform at curtain time, he was fired by the Opry. Audrey again filed for divorce, and Hank headed back to Shreveport and the Hayride. In his final weeks, Hank spun hopelessly out of control. Even his marriage to pretty young Billy Jean Jones couldn't slow his headlong plunge. Sometime after midnight on New Year's Day, 1953, sleeping in the backseat of his Cadillac en route to a show, Hank Williams fulfilled the prophecy of his own "I'll Never Get Out of This World Alive."

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Three of Hank's recordings reached the top of the charts in the year following his death. By 1954, his earthly voice silenced, the fragile young man from Alabama was only a legend. But in his last few torrid years, he had changed country music forever and his musical legacy remains its cornerstone.

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<!--EDIT|Denis| 8. 10. 2002, 15:19-->

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08 Okt. 2002 15:29 #17010 von Big Hunk
Big Hunk antwortete auf Hank Williams
<span style='font-size:14pt;line-height:100%'><span style='color:purple'>Amtssprache: Deutsch!
</span></span>

Vielleicht solltest Du noch den Bezug zu Elvis herstellen, indem Du Elvis' Hank-Williams-Cover aufführst.

Mir fallen spontan ein:

"Your Cheatin' Heart"
"I Can't Help It"
"I'm So Lonesome I Could Cry"

+ die von Elvis live (an)gesungenen
Take These Chains From My Heart (hat aber Hank nicht geschrieben) und Jambalaya

Was gäbe es da noch?


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08 Okt. 2002 15:29 #17012 von Obi-Wan
Obi-Wan antwortete auf Hank Williams
Es ist das Forum "Andere Stars". Da hat der dicke Albert nichts zu suchen.

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23 Okt. 2006 14:32 #522354 von little darling
little darling antwortete auf Hank Williams
Der Musikverlag Sony/ATV behauptet, dass ein 59 Jahre altes Notizbuch von Hank Williams gestohlen wurde. Das besagte Notizbuch befindet sich jetzt in dem Besitz von zwei Sammlern.
Sony/ATV Music Publishing hat den Verlust erst bemerkt, als in der Chicago Sun-Times stand, wie die beiden Sammler das Notizbuch erworben haben. Am 20. September 2006 meldete Sony/ATV das Buch dann bei der Polizei als gestohlen.
Das Buch hat einen Wert von rund USD 250.000,00,( :kopf1: :rolling2: )da es Texte zu diversen, bisher circa 20 unveröffentlichen Songs, Hank Williams Songs enthält, die er zwischen 1947 und 1949 geschrieben hat.
Die beiden Sammler, Stephen Shutts und Robert Reynolds, berichten, dass sie das Buch in diesem Sommer von einer alten Frau gekauft haben, die aus der Gegend von Nashville, Tennessee, stammt.
Shutts und Reynolds bertreiben die Wanderausstellung "Honky Tonk Hall of Fame", mit rund 1.750 Ausstellungsstücken, darunter weiße Unterwäsche von Elvis Presley (1970) und ein Teil der Tragfläche von dem Flugzeug, mit dem Patsy Cline abgestürzt ist.
Derzeit bleibt das Buch in Besitz von Shutts und Reynolds, bis die Sache aufgeklärt ist. Keiner der beiden Männer wird verdächtigt das Buch gestohlen zu haben. Allerdings könnten sie wegen Besitzes von gestohlemen Eigentum belangt werden.
"Wir sind die eigentlichen Helden in dieser Sache", sagte Shutts in einem Interview, "Wenn wir nicht gewesen wären, wäre das Buch auf dem Müll gelandet. Keiner bei Sony/ATV hat nach dem Umzug von Acuff-Rose zu Sony/ATV (2002) auf das Buch geachtet. Nur so konnte es "verschwinden"."
Troy Tomlinson, Präsident und CEO von Sony/ATV, sagte, dass seine Firma die Angelegenheit sehr ernst nehme und verwies für weitere Fragen an die Polizei in Nashville.
Die Polizei hat die Ermittlungen aufgenommen und nach Polizeiangaben sol lSony/ATV gesagt habe, das es Hinweise für eine Beteiligung von Mitarbeitern von Sony/ATV gibt.

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23 Okt. 2006 16:17 #522393 von DumbAngel
DumbAngel antwortete auf Hank Williams
In dem Buch würde ich ja gerne mal ein bisschen rumstöbern. Obs schon irgendwelche Auszüge im Netz gibt?

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27 Okt. 2006 18:14 #523425 von Speedway
Speedway antwortete auf Hank Williams

Derzeit bleibt das Buch in Besitz von Shutts und Reynolds, bis die Sache aufgeklärt ist. Keiner der beiden Männer wird verdächtigt das Buch gestohlen zu haben. Allerdings könnten sie wegen Besitzes von gestohlemen Eigentum belangt werden.

Wußten die beiden denn daß das Buch gestohlen wurde?
Und warum können die beiden dafür belangt werden?Die beiden müßten doch nur das Buch wieder herausgeben da man an gestohlenen Sachen kein Eigentum erwerben kann.

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04 Okt. 2011 16:17 #853033 von DumbAngel
DumbAngel antwortete auf Hank Williams
Klingt interessant. Bin gespannt, was dabei rauskommt.


<a href=' articles.latimes.com/2011/oct/02/enterta...s-notebooks-20111002 ' target='_blank'>Lost notebooks

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06 Okt. 2011 16:27 #853133 von Vincent-The-Falcon
Vincent-The-Falcon antwortete auf Hank Williams
1. You've Been Lonesome, Too Alan Jackson
2. The Love That Faded Bob Dylan
3. How Many Times Have You Broken My Heart? Norah Jones
4. You Know That I Know Jack White
5. I'm So Happy I Found You Lucinda Williams
6. I Hope You Shed A Million Tears Vince Gill & Rodney Crowell
7. You're Through Fooling Me Patty Loveless
8. You'll Never Again Be Mine Levon Helm
9. Blue Is My Heart Holly Williams
10. Oh, Mama, Come Home Jakob Dylan
11. Angel Mine Sheryl Crow
12. The Sermon On The Mount Merle Haggard


<a href=' www.amazon.de/Lost-Notebooks-Hank-Williams/dp/B005F23NMK ' target='_blank'> www.amazon.de/Lost-Notebooks-Hank-W...s/dp/B005F23NMK

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06 Okt. 2011 17:17 #853136 von DumbAngel
DumbAngel antwortete auf Hank Williams
Vielen Dank für den Link !
Wieso ist dieser Jack White eigentlich bei sowas immer dabei? Und warum ist der so scheiße ?

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31 März 2014 20:32 #890147 von DumbAngel
DumbAngel antwortete auf Hank Williams
Previously Unknown Hank Williams Recordings from 1950 to ‘See the Light’ This Spring

By Kurt Wolff

If you already own the ten-CD box set The Complete Hank Williams, and think you’ve heard everything from that most legendary of country artists, a new collection set to surface this spring just might blow your mind.

Hitting stores on May 20, The Garden Spot Recordings, 1950 is a new 24-song collection featuring recordings from Williams that fans haven’t heard since they aired 64 years ago. Williams recorded these songs as part of a sponsored radio program — which was common practice at the time — and it features previously unheard versions of some of his classic songs, including “Lovesick Blues” (which he didn’t write but was his first No. 1), “Mind Your Own Business” and “Mansion on the Hill.” See the track list below.

In the liner notes to the collection, Williams biographer Colin Escott describes the context for these recordings. “Set the time machine for early morning on KSIB-AM, Creston, Iowa,” Escott writes. “February 1950. Country radio was beginning its slow transition from live music to DJ shows. Live music and DJ shows were augmented by transcribed shows. After buying 15 minutes of airtime on small-market stations, sponsors would prerecord shows with well known artists, duplicate them, and ship them out on 12 or 16-inch transcribed discs.”

And that, Escott continues “is how Hank Williams came to be on KSIB in February 1950. Sandwiched between the local ‘live’ acts, it was almost as if he were visiting with Skeets and those Radio Rascals. His sponsor was one of the nation’s largest plant nurseries, Naughton Farms, seven hundred miles south in Waxahachie, Texas. Given that Naughton was a big player in the nursery business, Hank’s shows were almost certainly shipped to many small stations, but only KSIB’s copies survived.”

And despite the fact many heard these recordings at the time, and many stations likely possessed the transcription discs at some point, they have since floundered in obscurity — even for a scholar of Escott’s stature. “Those of us who have studied Hank’s life and career had no idea that these recordings existed,” he notes.



Hank’s daughter Jett Williams echoes her thrill at hearing these newly uncovered songs. “It’s incredible to me that we’re still finding new recordings by my dad — great ones at that,” she said. “No one even suspected that these recordings existed.”


The album will be released on CD and vinyl by Omnivore Recordings, and will also be teased with a special Record Store Day EP.

The Garden Spot Recordings, 1950 track listing:

01. The Garden Spot Jingle
02. Lovesick Blues
03. A Mansion On The Hill
04. Fiddle Tune
05. I’ve Just Told Mama Goodbye
06. Closing/Oh! Susanna
07. The Garden Spot Jingle
08. Mind Your Own Business
09. Lovesick Blues
10. Fiddle Tune
11. At The First Fall Of Snow
12. Closing/Oh! Susanna
13. The Garden Spot Jingle
14. I Can’t Get You Off Of My Mind
15. I Don’t Care (If Tomorrow Never Comes)
16. Fiddle Tune
17. Farther Along
18. Closing/Oh! Susanna
19. The Garden Spot Jingle
20. I’ll Be A Bachelor ’Til I Die
21. Wedding Bells
22. Fiddle Tune
23. Jesus Remembered Me
24. Closing/Oh! Susanna

Tracks 1 – 6 taken from Naughton Farms Garden Spot Show #4
Tracks 7 – 12 taken from Naughton Farms Garden Spot Show #9
Tracks 13 – 18 taken from Naughton Farms Garden Spot Show #10
Tracks 19 – 24 taken from Naughton Farms Garden Spot Show #11



Trailer:



Source: news.radio.com/2014/03/31/previously-unk...e-light-this-spring/

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