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Frankie McWhorter grew up in Bob Wills Country and bought his first fiddle with his cowboy wages in 1950. He played with Clyde Chesser and the Texas Village Boys and the Miller Brothers Band before being asked to join Bob Wills and the Texas Playboys. McWhorter tells stories of touring with these bands and of his hours spent listening to Wills tell his stories. He also reveals his adventures and misadventures as a working cowboy.
"If you are interested in cowboying as it really was with all its heat, dust, blood, and boredom, this remarkable book is for you."--Books of the Southwest "If you like cowboys, or if you like country fiddling, you'll enjoy Frankie McWhorter's story. . .If you like both, you're doubly in luck. If you like Bob Wills music--and who doesn't?--you'll find his recollections of Wills compelling, often funny, occasionally sad."--Elmer Kelton In this lively memoir McWhorter recalls how he manages life as a working cowboy and a professional musician. He's a member of the Western Swing Society Hall of Fame and foreman of a large ranch in the Texas panhandle. He toured with Bob Wills from 1960 to 1962 and is a frequent guest at Bob Wills Day in Turkey, Texas.
A fine, engaging, and valuable biography of a man who merged the spontaneity of country fiddling with the Big Band Sound, giving birth to Western Swing. A landmark in country music!
(Piano/Vocal/Guitar Artist Songbook). All Night Long * Bring It on down to My House * Bubbles in My Beer * Dusty Skies * Faded Love * Fat Boy Rag * Hang Your Head in Shame * I Can't Go On This Way * I Wonder If You Feel the Way I Do * I'm Gonna Be Boss * Ida Red * Keeper of My Heart * A Maiden's Prayer * My Confession * New Texas Playboy Rag * Roly Poly * San Antonio Rose * Smoke On the Water * Spanish Two Step * Stars and Stripes on Iwo Jima * Stay a Little Longer (The Hoedown Fiddle Song) * Steel Guitar Rag * Sugar Moon * Take Me Back to Tulsa * Texarkana Baby * Thorn in My Heart * We Might As Well Forget It * White Cross on Okinawa * You Don't Care What Happens to Me * You're From Texas.
Includes a wealth of fiddling lore and illustrations; a guide to buying a fiddle and bow; tips on learning and playing the fiddle; over 800 listings of books, records, fiddling and bluegrass organizations, fiddling schools and camps, violin making supplies, films, etc.; information about fiddle contests.
Merle Haggard has enjoyed artistic and professional triumphs few can match. He’s charted more than a hundred country hits, including thirty-eight number ones. He’s released dozens of studio albums and another half dozen or more live ones, performed upwards of ten thousand concerts, been inducted into the Country Music Hall of Fame, and seen his songs performed by artists as diverse as Lynryd Skynyrd, Elvis Costello, Tammy Wynette, Willie Nelson, the Grateful Dead, and Bob Dylan. In 2011 he was feted as a Kennedy Center Honoree. But until now, no one has taken an in-depth look at his career and body of work. In Merle Haggard: The Running Kind, David Cantwell takes us on a revelatory journey through Haggard’s music and the life and times out of which it came. Covering the entire breadth of his career, Cantwell focuses especially on the 1960s and 1970s, when Haggard created some of his best-known and most influential music, which helped invent the America we live in today. Listening closely to a masterpiece-crowded catalogue (including songs such as “Okie from Muskogee,” “Sing Me Back Home,” “Mama Tried,” “Working Man Blues,” “Kern River,” “White Line Fever,” “Today I Started Loving You Again,” and “If We Make It through December,” among many more), Cantwell explores the fascinating contradictions—most of all, the desire for freedom in the face of limits set by the world or self-imposed—that define not only Haggard’s music and public persona but the very heart of American culture.
High Fidelity meets Blue Highways in this gloriously offbeat quest for the true roots of Texas Swing.
North American Fiddle Music: A Research and Information Guide is the first large-scale annotated bibliography and research guide on the fiddle traditions of the United States and Canada. These countries, both of which have large immigrant populations as well as Native populations, have maintained fiddle traditions that, while sometimes faithful to old-world or Native styles, often feature blended elements from various traditions. Therefore, researchers of the fiddle traditions in these two countries can not only explore elements of fiddling practices drawn from various regions of the world, but also look at how different fiddle traditions can interact and change. In addition to including short essays and listings of resources about the full range of fiddle traditions in those two countries, it also discusses selected resources about fiddle traditions in other countries that have influenced the traditions in the United States and Canada.
(Music Pro Guides). Today, musical composition for films is more popular than ever. In professional and academic spheres, media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly, pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music, and, remarkably, only a meager few actually allow readers to see the music itself, while none of them examine landmark scores like Vertigo , To Kill a Mockingbird , Patton , The Untouchables , or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music . This is the first book since Roy M. Prendergast's 1977 benchmark, Film Music: A Neglected Art , to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores, it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture. The core thesis of Scoring the Screen is that music for motion pictures is indeed a language , developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages, it exists primarily to convey meaning . To quote renowned orchestrator Conrad Pope (who has worked with John Williams, Howard Shore, and Alexandre Desplat, among others): "If you have any interest in what music 'means' in film, get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today."
This is the story of the Light Crust Doughboys phenomenon, from their debut broadcast in 1930 to their contemporary live performances.