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Orchestra Estrellita – Moonlight At The Villa D'este
Label: Chroma Records - CR 117 (BIEM)
Format: 10" Vinyl, LP
Country: Italy
Genre: Classical
Style: Classical, Modern, Contemporary
Tracklist
A1 Bambocha (ChaChaCha di E. Greco-Estrel-Danpe)
A2 Milford (Moderato di Monnot-Testoni)
A3 Era Una Notte Nera (Moderato di. N Csiroli-Pinchi-Danpe)
A4 Mandolini (Mod. ALLEGRO di.D Vignali-Danpe)
B1 Piccola (Charleston di.A Pizzigani-Testoni)
B2 Cha Cha CHa Della Segretaria (ChaCHaCha di Dominguez)
B3 Luna Napoletana (Moderato di.O Gaulschky-Danpe)
B4 Biglietto Senza Ritorno (Shuffle di Keller)
B5 Oh Oh Rosy (Allegro di Rocco Granate)
Disco 33 Long Play
Arte Tipografica Italiana -Milano
Riservati Tutti I Diritti Del Produttore Foundgrafico E Del Proprietario Dell Opera Riprodotta Vietata Duplicazione. Pubblica Essecuzione. Radiodiffusione Di Questo Disco. Depositato.
RECORD PLAYS EX+ > NM
COVER IS VG+ > EX-
VIDEO IS AN EXAMPLE NOT ACTUAL
https://www.youtube.com/watch?v=RuqmHdiAgsM
https://www.youtube.com/watch?v=NphJmn9xRhY
https://www.youtube.com/watch?v=PuNYEMYNJvk
https://www.youtube.com/watch?v=MRSnkkIfR9M
----------------------------------------------
FYI
A honky-tonk (also called honkatonk, honkey-tonk, or tonk) is both a bar that provides country music for the entertainment of its patrons and the style of music played in such establishments. Bars of this kind are common in the South and Southwest United States. Many eminent country music artists, such as Jimmie Rodgers, Loretta Lynn, Patsy Cline, Ernest Tubb, Johnny Horton and Merle Haggard, began their careers as amateur musicians in honky-tonks. The modern-day, honky-tonk atmosphere has continued, with the likes of Dwight Yoakam, Turnpike Troubadours, and Mike and the Moonpies.
The origin of the term honky-tonk is disputed, originally referring to bawdy variety shows in areas of the old West (Oklahoma, the Indian Territories and Texas) and to the actual theaters showing them.
The first music genre to be commonly known as honky-tonk was a style of piano playing related to ragtime but emphasizing rhythm more than melody or harmony; the style evolved in response to an environment in which pianos were often poorly cared for, tending to be out of tune and having some nonfunctioning keys. This honky-tonk music was an important influence on the boogie-woogie piano style. Before World War II, the music industry began to refer to hillbilly music being played from Texas and Oklahoma to the West Coast as "honky-tonk" music. In the 1950s, honky-tonk entered its golden age, with the popularity of Webb Pierce, Hank Locklin, Lefty Frizzell, Ray Price, Faron Young, George Jones, and Hank Williams.
The origin of the term honky-tonk is unknown. The earliest known use in print is an article in the Peoria Journal dated June 28, 1874, stating, "The police spent a busy day today raiding the bagnios and honkytonks." The capitalization[clarification needed] of the term suggests that it may have been the proper name of the theater; it is not known whether the name was taken from a generic use of the term or whether the name of the theater became a generic term for similar establishments.
There are subsequent citations from 1890 in The Dallas Morning News, 1892 in the Galveston Daily News (Galveston, Texas) (which used the term to refer to an adult establishment in Fort Worth), and in 1894 in The Daily Ardmoreite in Oklahoma, Early uses of the term in print mostly appear along a corridor roughly coinciding with cattle drive trails extending from Dallas and Fort Worth, Texas, into south central Oklahoma, suggesting that the term may have been a localism spread by cowboys driving cattle to market. The sound of honky-tonk (or honk-a-tonk) and the types of places that were called honky-tonks suggests that the term may be an onomatopoeic reference to the loud, boisterous music and noise heard at these establishments.
One theory is that the "tonk" portion of the name may have come from the brand name of piano made by William Tonk & Bros., an American manufacturer of large upright pianos (established 1881), which made a piano with the decal "Ernest A. Tonk". The Tonk brothers, William and Max, established the Tonk Bros. Manufacturing Company in 1873, so such an etymology is possible, however these pianos were not manufactured until 1889, contemporaneous with the first occurrences of honky-tonk in print, at which point the term seems to have already been established.
An early source purporting to explain the derivation of the term (spelled honkatonk) was an article published in 1900 by the New York Sun and widely reprinted in other newspapers. The article, however, reads more like a humorous urban (or open range) legend or fable, so its veracity is questionable.
History
Jimmie Rodgers, one of the earliest honky-tonk innovators, from the 1920s-1930s
An article in the Los Angeles Times of July 28, 1929, with the headline "Honky-Tonk" Origin Told," which was probably in response to the Sophie Tucker movie musical, Honky Tonk (1929), reads: “Do you know what a honky tonk is?
Seafaring men of a few years ago knew very well, as the honky-tonks of San Francisco's Barbary Coast constituted perhaps the most vivid spots in their generally uneventful lives.
The name originated on the Barbary Coast and was applied to the low "dives" which formed so great a part of this notorious district. In these establishments, which were often of enormous size, much liquor was dispensed at the tables which crowded the floor, and entertainment of doubtful quality was given on a stage at one end of the room.
The honky tonk, as a matter of fact, was the predecessor of the present-day cabaret or night club, the principal differences being that the prices were lower and that the former establishment made no pretense of "class."
Honky-tonks were rough establishments, providing country music in the Deep South and Southwest and serving alcoholic beverages to a working-class clientele. Some honky-tonks offered dancing to music played by pianists or small bands, and some were centers of prostitution. Katrina Hazzard-Gordon wrote that the honky-tonk was "the first urban manifestation of the jook", and that "the name itself became synonymous with a style of music. Related to the classic blues in tonal structure, honky-tonk has a tempo that is slightly stepped up. It is rhythmically suited for many African-American dance."
As Chris Smith and Charles McCarron wrote in their 1916 hit song "Down in Honky Tonk Town", "It's underneath the ground, where all the fun is found."
Origins of the establishment
Although the derivation of the term is unknown, honky tonk originally referred to bawdy variety shows in the West (Oklahoma and Indian Territories and Texas) and to the theaters housing them. The earliest mention of them in print refers to them as "variety theaters" and describe the entertainment as "variety shows". The theaters often had an attached gambling house and always a bar.
In recollections long after the frontiers closed, writers such as Wyatt Earp and E.C. Abbott referred to honky-tonks in the cowtowns of Kansas, Nebraska, and Montana in the 1870s and 1880s. Their recollections contain lurid accounts of the women and violence accompanying the shows. However, in contemporary accounts these were nearly always called hurdy-gurdy shows, possibly derived from the term hurdy-gurdy, which was sometimes mistakenly applied to a small, portable barrel organ that was frequently played by organ grinders and buskers.
As late as 1913, Col. Edwin Emerson, a former Rough Rider commander, hosted a honky-tonk party in New York City. The Rough Riders were recruited from the ranches of Texas, New Mexico, Oklahoma and Indian Territories, so the term was still in popular use during the Spanish–American War.
Music
Hank Williams, an influential honky-tonker from the 1940s-1950s
The honky-tonk sound has a full rhythm section playing a two-beat rhythm with a crisp backbeat. Steel guitar and fiddle are the dominant instruments.
The first music genre to be commonly known as honky-tonk music was a style of piano playing related to ragtime but emphasizing rhythm more than melody or harmony; the style evolved in response to an environment in which the pianos were often poorly cared for, tending to be out of tune and having some nonfunctioning keys.
Honky-tonk music influenced the boogie-woogie piano style, as indicated by Jelly Roll Morton's 1938 record "Honky Tonk Music" and Meade Lux Lewis's hit "Honky Tonk Train Blues." Lewis recorded the latter many times from 1927 into the 1950s, and the song was covered by many other musicians, including Oscar Peterson.
The twelve-bar blues instrumental "Honky Tonk" by the Bill Doggett Combo, with a sinuous saxophone line and driving, slow beat, was an early rock and roll hit. New Orleans native Fats Domino was another honky-tonk piano man, whose "Blueberry Hill" and "Walkin' to New Orleans" were hits on the popular music charts.
In the years before World War II, the music industry began to refer to honky-tonk music played from Texas and Oklahoma to the West Coast as hillbilly music. More recently, the term has come to refer to the primary sound in country music, developing in Nashville as Western swing became accepted there. Originally, it featured the guitar, fiddle, string bass, and steel guitar (imported from Hawaiian folk music). The vocals were originally rough and nasal, as exemplified by the singer-songwriters Floyd Tillman and Hank Williams, but later developed a clear and sharp sound, such as that of George Jones and Faron Young. Lyrics tended to focus on working-class life, with frequently tragic themes of lost love, adultery, loneliness, alcoholism, and self-pity.
Copyrighted and released in 1941, "Walking the Floor Over You", by Ernest Tubb, his sixth release for Decca, helped establish the honky-tonk style and Tubb as one of its foremost practitioners. Tubb, from Crisp, Texas, was a fan of Jimmie Rodgers and fused Western swing, which had been using electric guitars for years, with other "country" sounds.
He took the sound to Nashville, where he was the first musician to play electric guitar on Grand Ole Opry. In the 1950s, honky tonk entered its golden age, with the popularity of Webb Pierce, Hank Locklin, Lefty Frizzell, Faron Young, George Jones, and Hank Williams. In the mid- to late 1950s, rockabilly (which melded honky-tonk country with rhythm and blues) and the slick country music of the Nashville sound ended honky-tonk's initial period of dominance.
The Rolling Stones' number-one single and gold record "Honky Tonk Women" (1969) was based on the sound of 1940s honky-tonk artists like Hank Williams and referred to the reputation of honky-tonk bars as centres of prostitution. In the 1970s, outlaw country's brand of rough honky-tonk was represented by artists such as Gary Stewart, Waylon Jennings, Willie Nelson, David Allan Coe, and Billy Joe Shaver.
-----------------------
Western music is a form of American folk music composed by and about the people who settled and worked throughout the Western United States and Western Canada. Directly related musically to old English, Scottish, and Irish folk ballads, Western music celebrates the life of the cowboy on the open ranges and prairies of Western North America. The Mexican folk music of the American Southwest also influenced the development of this genre. Western music shares similar roots with Appalachian music (also called hillbilly music), which developed in Appalachia separately from, but parallel to, the Western music genre. The music industry of the mid-20th century grouped the two genres together under the banner of country and western music, later amalgamated into the modern name, country music.
Origins
Western music was directly influenced by the folk music traditions of England, Wales, Scotland, and Ireland, and many cowboy songs, sung around campfires in the nineteenth century, like "Streets of Laredo", can be traced back to European folk songs.
Reflecting the realities of the open range and ranch houses where the music originated, the early cowboy bands were string bands supplemented occasionally with the harmonica. The harmonica, invented in the early 19th century in central Europe, arrived in North America shortly before the American Civil War, as the United States was just beginning to expand westward; its small size and portability made it a favorite among the American public and the westward pioneers.
Otto Gray, an early cowboy band leader, stated authentic Western music had only three rhythms, all coming from the gaits of the cowpony–walk, trot, and lope. Gray also noted the uniqueness of this spontaneous American song product, and the freedom of expression of the singers.
In 1908, N. Howard "Jack" Thorp published the first book of Western music, titled Songs of the Cowboys. Containing only lyrics and no musical notation, the book was very popular west of the Mississippi River. Most of these cowboy songs are of unknown authorship, but among the best known is "Little Joe, the Wrangler," written by Thorp himself.
In 1910, John Lomax, in his book Cowboy Songs and Other Frontier Ballads, first gained national attention for Western music. His book contained some of the same songs as Thorp's book, though in variant versions (most had been collected before Thorp's book was published). Lomax's compilation included many musical scores. Lomax published a second collection in 1919 titled Songs of the Cattle Trail and Cow Camp].
With the advent of radio and recording devices, the music found an audience previously ignored by music schools and Tin Pan Alley. Many Westerners preferred familiar music about themselves and their environment.
The first successful cowboy band to tour the East was Otto Gray's Oklahoma Cowboys, put together by William McGinty, an Oklahoma pioneer and former Rough Rider. The band appeared on radio and toured the vaudeville circuit from 1924 through 1936. They recorded few songs, however, so are overlooked by many scholars of Western music.
It is a common impression that Western music began with the cowboy, but this is not the case. The first "western" song was published in 1844. Titled "Blue Juniata", the song is about a young Indian maid waiting for her brave along the banks of the Juniata River in Pennsylvania (at that time, anything west of the Appalachian Mountains was considered "out West"). The song was recorded and sung by the Sons of the Pioneers over a hundred years later and is still being sung today. Subsequent "western" songs down through the years have dealt with many aspects of the West, such as the mountain men, the '49ers, the immigrants, the outlaws, the lawmen, the cowboy, and, of course, the beauty and grandeur of the West. Western music is not limited to the American cowboy.
Mainstream popularity
Throughout the 1930s and 1940s, Western music became widely popular through the romanticization of the cowboy and idealized depictions of the west in Hollywood films. Singing cowboys, such as Gene Autry and Roy Rogers, sang cowboy songs in their films and became popular throughout the United States. Film producers began incorporating fully orchestrated four-part harmonies and sophisticated musical arrangements into their motion pictures. Bing Crosby, the most popular singer of that time, recorded numerous cowboy and Western songs and starred in the Western musical film Rhythm on the Range (1936). During this era, the most popular recordings and musical radio shows included Western music. Western swing also developed during this time.
The first music genre to be commonly known as honky-tonk was a style of piano playing related to ragtime but emphasizing rhythm more than melody or harmony; the style evolved in response to an environment in which pianos were often poorly cared for, tending to be out of tune and having some nonfunctioning keys. This honky-tonk music was an important influence on the boogie-woogie piano style. Before World War II, the music industry began to refer to hillbilly music being played from Texas and Oklahoma to the West Coast as "honky-tonk" music. In the 1950s, honky-tonk entered its golden age, with the popularity of Webb Pierce, Hank Locklin, Lefty Frizzell, Ray Price, Faron Young, George Jones, and Hank Williams.
The origin of the term honky-tonk is unknown. The earliest known use in print is an article in the Peoria Journal dated June 28, 1874, stating, "The police spent a busy day today raiding the bagnios and honkytonks." The capitalization[clarification needed] of the term suggests that it may have been the proper name of the theater; it is not known whether the name was taken from a generic use of the term or whether the name of the theater became a generic term for similar establishments.
There are subsequent citations from 1890 in The Dallas Morning News, 1892 in the Galveston Daily News (Galveston, Texas) (which used the term to refer to an adult establishment in Fort Worth), and in 1894 in The Daily Ardmoreite in Oklahoma, Early uses of the term in print mostly appear along a corridor roughly coinciding with cattle drive trails extending from Dallas and Fort Worth, Texas, into south central Oklahoma, suggesting that the term may have been a localism spread by cowboys driving cattle to market. The sound of honky-tonk (or honk-a-tonk) and the types of places that were called honky-tonks suggests that the term may be an onomatopoeic reference to the loud, boisterous music and noise heard at these establishments.
One theory is that the "tonk" portion of the name may have come from the brand name of piano made by William Tonk & Bros., an American manufacturer of large upright pianos (established 1881), which made a piano with the decal "Ernest A. Tonk". The Tonk brothers, William and Max, established the Tonk Bros. Manufacturing Company in 1873, so such an etymology is possible, however these pianos were not manufactured until 1889, contemporaneous with the first occurrences of honky-tonk in print, at which point the term seems to have already been established.
An early source purporting to explain the derivation of the term (spelled honkatonk) was an article published in 1900 by the New York Sun and widely reprinted in other newspapers. The article, however, reads more like a humorous urban (or open range) legend or fable, so its veracity is questionable.
History
Jimmie Rodgers, one of the earliest honky-tonk innovators, from the 1920s-1930s
An article in the Los Angeles Times of July 28, 1929, with the headline "Honky-Tonk" Origin Told," which was probably in response to the Sophie Tucker movie musical, Honky Tonk (1929), reads: “Do you know what a honky tonk is?
Seafaring men of a few years ago knew very well, as the honky-tonks of San Francisco's Barbary Coast constituted perhaps the most vivid spots in their generally uneventful lives.
The name originated on the Barbary Coast and was applied to the low "dives" which formed so great a part of this notorious district. In these establishments, which were often of enormous size, much liquor was dispensed at the tables which crowded the floor, and entertainment of doubtful quality was given on a stage at one end of the room.
The honky tonk, as a matter of fact, was the predecessor of the present-day cabaret or night club, the principal differences being that the prices were lower and that the former establishment made no pretense of "class."
Honky-tonks were rough establishments, providing country music in the Deep South and Southwest and serving alcoholic beverages to a working-class clientele. Some honky-tonks offered dancing to music played by pianists or small bands, and some were centers of prostitution. Katrina Hazzard-Gordon wrote that the honky-tonk was "the first urban manifestation of the jook", and that "the name itself became synonymous with a style of music. Related to the classic blues in tonal structure, honky-tonk has a tempo that is slightly stepped up. It is rhythmically suited for many African-American dance."
As Chris Smith and Charles McCarron wrote in their 1916 hit song "Down in Honky Tonk Town", "It's underneath the ground, where all the fun is found."
Origins of the establishment
Although the derivation of the term is unknown, honky tonk originally referred to bawdy variety shows in the West (Oklahoma and Indian Territories and Texas) and to the theaters housing them. The earliest mention of them in print refers to them as "variety theaters" and describe the entertainment as "variety shows". The theaters often had an attached gambling house and always a bar.
In recollections long after the frontiers closed, writers such as Wyatt Earp and E.C. Abbott referred to honky-tonks in the cowtowns of Kansas, Nebraska, and Montana in the 1870s and 1880s. Their recollections contain lurid accounts of the women and violence accompanying the shows. However, in contemporary accounts these were nearly always called hurdy-gurdy shows, possibly derived from the term hurdy-gurdy, which was sometimes mistakenly applied to a small, portable barrel organ that was frequently played by organ grinders and buskers.
As late as 1913, Col. Edwin Emerson, a former Rough Rider commander, hosted a honky-tonk party in New York City. The Rough Riders were recruited from the ranches of Texas, New Mexico, Oklahoma and Indian Territories, so the term was still in popular use during the Spanish–American War.
Music
Hank Williams, an influential honky-tonker from the 1940s-1950s
The honky-tonk sound has a full rhythm section playing a two-beat rhythm with a crisp backbeat. Steel guitar and fiddle are the dominant instruments.
The first music genre to be commonly known as honky-tonk music was a style of piano playing related to ragtime but emphasizing rhythm more than melody or harmony; the style evolved in response to an environment in which the pianos were often poorly cared for, tending to be out of tune and having some nonfunctioning keys.
Honky-tonk music influenced the boogie-woogie piano style, as indicated by Jelly Roll Morton's 1938 record "Honky Tonk Music" and Meade Lux Lewis's hit "Honky Tonk Train Blues." Lewis recorded the latter many times from 1927 into the 1950s, and the song was covered by many other musicians, including Oscar Peterson.
The twelve-bar blues instrumental "Honky Tonk" by the Bill Doggett Combo, with a sinuous saxophone line and driving, slow beat, was an early rock and roll hit. New Orleans native Fats Domino was another honky-tonk piano man, whose "Blueberry Hill" and "Walkin' to New Orleans" were hits on the popular music charts.
In the years before World War II, the music industry began to refer to honky-tonk music played from Texas and Oklahoma to the West Coast as hillbilly music. More recently, the term has come to refer to the primary sound in country music, developing in Nashville as Western swing became accepted there. Originally, it featured the guitar, fiddle, string bass, and steel guitar (imported from Hawaiian folk music). The vocals were originally rough and nasal, as exemplified by the singer-songwriters Floyd Tillman and Hank Williams, but later developed a clear and sharp sound, such as that of George Jones and Faron Young. Lyrics tended to focus on working-class life, with frequently tragic themes of lost love, adultery, loneliness, alcoholism, and self-pity.
Copyrighted and released in 1941, "Walking the Floor Over You", by Ernest Tubb, his sixth release for Decca, helped establish the honky-tonk style and Tubb as one of its foremost practitioners. Tubb, from Crisp, Texas, was a fan of Jimmie Rodgers and fused Western swing, which had been using electric guitars for years, with other "country" sounds.
He took the sound to Nashville, where he was the first musician to play electric guitar on Grand Ole Opry. In the 1950s, honky tonk entered its golden age, with the popularity of Webb Pierce, Hank Locklin, Lefty Frizzell, Faron Young, George Jones, and Hank Williams. In the mid- to late 1950s, rockabilly (which melded honky-tonk country with rhythm and blues) and the slick country music of the Nashville sound ended honky-tonk's initial period of dominance.
The Rolling Stones' number-one single and gold record "Honky Tonk Women" (1969) was based on the sound of 1940s honky-tonk artists like Hank Williams and referred to the reputation of honky-tonk bars as centres of prostitution. In the 1970s, outlaw country's brand of rough honky-tonk was represented by artists such as Gary Stewart, Waylon Jennings, Willie Nelson, David Allan Coe, and Billy Joe Shaver.
-----------------------
Western music is a form of American folk music composed by and about the people who settled and worked throughout the Western United States and Western Canada. Directly related musically to old English, Scottish, and Irish folk ballads, Western music celebrates the life of the cowboy on the open ranges and prairies of Western North America. The Mexican folk music of the American Southwest also influenced the development of this genre. Western music shares similar roots with Appalachian music (also called hillbilly music), which developed in Appalachia separately from, but parallel to, the Western music genre. The music industry of the mid-20th century grouped the two genres together under the banner of country and western music, later amalgamated into the modern name, country music.
Origins
Western music was directly influenced by the folk music traditions of England, Wales, Scotland, and Ireland, and many cowboy songs, sung around campfires in the nineteenth century, like "Streets of Laredo", can be traced back to European folk songs.
Reflecting the realities of the open range and ranch houses where the music originated, the early cowboy bands were string bands supplemented occasionally with the harmonica. The harmonica, invented in the early 19th century in central Europe, arrived in North America shortly before the American Civil War, as the United States was just beginning to expand westward; its small size and portability made it a favorite among the American public and the westward pioneers.
Otto Gray, an early cowboy band leader, stated authentic Western music had only three rhythms, all coming from the gaits of the cowpony–walk, trot, and lope. Gray also noted the uniqueness of this spontaneous American song product, and the freedom of expression of the singers.
In 1908, N. Howard "Jack" Thorp published the first book of Western music, titled Songs of the Cowboys. Containing only lyrics and no musical notation, the book was very popular west of the Mississippi River. Most of these cowboy songs are of unknown authorship, but among the best known is "Little Joe, the Wrangler," written by Thorp himself.
In 1910, John Lomax, in his book Cowboy Songs and Other Frontier Ballads, first gained national attention for Western music. His book contained some of the same songs as Thorp's book, though in variant versions (most had been collected before Thorp's book was published). Lomax's compilation included many musical scores. Lomax published a second collection in 1919 titled Songs of the Cattle Trail and Cow Camp].
With the advent of radio and recording devices, the music found an audience previously ignored by music schools and Tin Pan Alley. Many Westerners preferred familiar music about themselves and their environment.
The first successful cowboy band to tour the East was Otto Gray's Oklahoma Cowboys, put together by William McGinty, an Oklahoma pioneer and former Rough Rider. The band appeared on radio and toured the vaudeville circuit from 1924 through 1936. They recorded few songs, however, so are overlooked by many scholars of Western music.
It is a common impression that Western music began with the cowboy, but this is not the case. The first "western" song was published in 1844. Titled "Blue Juniata", the song is about a young Indian maid waiting for her brave along the banks of the Juniata River in Pennsylvania (at that time, anything west of the Appalachian Mountains was considered "out West"). The song was recorded and sung by the Sons of the Pioneers over a hundred years later and is still being sung today. Subsequent "western" songs down through the years have dealt with many aspects of the West, such as the mountain men, the '49ers, the immigrants, the outlaws, the lawmen, the cowboy, and, of course, the beauty and grandeur of the West. Western music is not limited to the American cowboy.
Mainstream popularity
Throughout the 1930s and 1940s, Western music became widely popular through the romanticization of the cowboy and idealized depictions of the west in Hollywood films. Singing cowboys, such as Gene Autry and Roy Rogers, sang cowboy songs in their films and became popular throughout the United States. Film producers began incorporating fully orchestrated four-part harmonies and sophisticated musical arrangements into their motion pictures. Bing Crosby, the most popular singer of that time, recorded numerous cowboy and Western songs and starred in the Western musical film Rhythm on the Range (1936). During this era, the most popular recordings and musical radio shows included Western music. Western swing also developed during this time.
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