COUNTRY ACROSS IHE COUNTRYperformers migrated there, even from faraway Texas and Okla- homa, to make it in the business. Eck Robertson and Henry Gilliland were simply the first of many who came for the sole purpose of recording; when they persuaded Victor to record their fiddle tunes in 1922, commercial country music had its begin-
ning. Gene Autry lived there for a while, rooming with the Mar- vin Brothers (Frankie and Johnny) and making his first recordings. Tex Ritter came in 1928, lured first by the Broadway
stage. Within a few years, though, Ritter found regular work on New York City radio, WINS's "Cowboy Tom's Roundup," WOR's "Lone Star Rangers, and even as co-host (with RayWhitley) of "WHN Barn Dance."
Despite the trend toward field recordings in the pre-World War II years, more country discs were recorded in New York than anywhere else. The prolific Vernon Dalhart alone-some five thousand releases of nearly one thousand different songs- could account for the city's predominance! New York also was the capital of the nation's music publishing business, and of the few
gold platform pumps publishers that would handle country music in its early years most were based in and around the famous Tin Pan Alley. The venerable Shapiro Bernstein, Inc., acquired a few lucrative hillbilly copyrights; Leeds Music and Robbins Music did likewise. Biggest, though, of the New York hillbilly publishers early on was Bob Miller, Inc., founded by its namesake, a writer
grey metallic ugg boots from Memphis who penned such country classics as "Twenty One Years" and "There's a Star Spangled Banner Waving Somewhere." Miller made New York City his base throughout his professional life. Record producer turned publisher Ralph Peer founded the giant Southern Music in New York in 1928, and
orange glitter shoes an empire was born with his country and blues copyrights. Carson Robison, Kansas-born guitarist/whistler/ singer/writer and veteran of hundreds of New York recording sessions, also published is large catalog out of New York.
Even with the emergence of areas closer to home as country music centers, the lure of New York still drew some country performers in later years. Jim Robertson came from Texas, Wilf Carter from Canada, yodeler Elton Britt from Arkansas via Cal- ifornia, his duet partner (and New York disc jockey) Rosalie Allen from Alabama, and of course many others spent large parts of their careers in the Big
women's bailey button ugg boot Apple. As late as the 1950s, major labels were still holding some country recording sessions in New York, though of course much less frequently-Hank Snow, for example, cut "I Don't Hurt Anymore" there for RCA in 1954, and Marty Robbins "A White Sport Coat" there for Columbia in1957.
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