1964 - January 12 - The Fresno Bee The Republican - pg 111
T U R N T A B l E TO Country Singers Go Hootenanny Route By Mary Campbell AP NwÂ«fcaturÂ« writer Country singers are getting together -- as they have for years at barn dances and Grand Ole Opry -- and calling the gathering a hootenanny. A l i v e performance in Bakersfield, Kern County, put on record by Capitol, is titled Country Music Hootenanny. It includes 13 country artists doing one tune each and master master of ceremonies Cousin Herb Henson of Bakersfield. Hootenanny Bluegrass Style, on Mercury has fewer artists (six) and consists of separately separately recorded songs instead of a continuing, live show. In general general the Mercury singers use a more throat straining, back country delivery while the Capitol country stars use a bit of pop treatment. Country Music Hootenanny performers are Buck Owens, Bob Morris, Rose Maddox, Buddy Cagle, the Kentucky Colonels, Johnny Bond, Joe and Rose Lee Maphis, Tommy Popularity Vote .. _ _ je. Soeur Sourire. 5. Forget Him, Rvdell. 6. Since I Fell For Vou. Welch. 7. Surfin' Bird, Trashmen. 8. Talk Back, Trembling Lips, Tillotson. Tillotson. Â». The Nitty erltty, Ellis. 10. Midnight May. Power;. Collins, Glen Campbell, Jean Shepard, Roy Nichols, Merle Travis (the one disappointment disappointment -- he does not really put enough into Midnight Special)--and Roy Clark. Hootenanny Bluegrass Style artists are Flatt and Sruggs, Earl Story, the Stanley Brothers, Brothers, Anita Carter, her mother, Maybelle Carter (doing two instrumental on the autoharp) autoharp) and Jimmy Skinner. For listeners interested in the old as well as the new, RCA has remastered 16 recordings recordings made by the famous Carter famliy in 1927, '28 and '29 and a few of the 1930s. 'Mid The Green Fields Of Virginia is of historical interest, interest, of course, since the Carters Carters had a big influence on both country and folk music. It also is amazingly enjoyable judged simply as a record to listen to now. Sara, Maybelle and A. P. Carter strum and sing, and do a little yodeling, on such songs as Keep On The Sunny Side, Bury Me Under The Weeping Willow and My Clinch Mountain Mountain Home. There is no brashness brashness here, no brass, and RCA somehow has eliminated most of the way back when reproduction. reproduction. Other new country-western albums, going from twang to smooth: Alone With You, (Capitol) finds Rose Maddox singing solos and duets with herself, songs like From A Beggar To A Queen. She has that down home twang. Buck Owens Sings Tommy Collins, (Capitol) also is a real western style offering. Best known song among those written written by Tommy Collins is If You Ain't Lovin' You Ain't Livin', There is a variety of mood, from It Tickles (a mustache) mustache) to No Love Have I. I Wrote A Song, (RCA) presents presents one of the most talented western singers, Don Gibson, doing some of the well known songs which he also wrote. Ray Charles had a million seller with I Can't Stop Lov- ing You. Gibson sings that one, plus Oh Lonesome Me, I'd Be A Legend In My Time, Give Myself A Party, Lonesome Lonesome Number One and others. The slim guy with warm hospitality in his voice, Porter Wagoner, sings Y'All Come for RCA. Wit 1 ! the Anita Ken- Singers, he also sings Company's Company's Comin', Bad News Travels Fast and one of the many country songs where the scorned "bad girl" proves to have a self sacrificing heart, Be Careful Of Stones That You Throw. Sonny James may be on Grand pie Opry but his delivery delivery is positively pop-romantic pop-romantic on Capitol's The Minute Minute You're Gone. Selections include the title song, the catchy Twenty Feet Of Muddy Water and a maudlin opus about two soldiers and the girl they both love. Tommy Brown. Teri Thornton Finally Arrives--Via Discs By Dick Kleiner NEW YORK--(NEA)--Two years ago, Teri Thornton recorded recorded an album. Nothing happened. Last year, Teri Thornton recorded another album. And with the help of nation wide exposure on NBC's Tonight show, a great deal happened. Teri suddenly is a big time singer. She thinks the television exposure helped, but she also feels that much of the reason reason for her success is that she changed in those two years. "On that first album," she says, "I was too far out, too jazzy. It wasn't commercial. So I modified my style and I honestly feel that the result is better. If course, once I'm established I'll be able to sing any way I want." Miss Thornton is one of the increasingly large number of pop stars from Detroit. She has a theory about why that city spawns so many good jazz singers and musicians. "When you grow up in Detroit," Detroit," she says, "you are always always conscious of the noise and the rhythm of the machines. machines. I always was. That beat gets into your soul. "I never heard any jazz at all until I was 16. My mother was an opera singer and my father could take music or leave it alone. When I was 16, I was driving in a car and somebody turned on the radio and I heard Woody Herman's band. I knew immediately that was the kind of beat I liked." Her career was slowed down by three children and a husband who did not want his wife in show business. Eventually, Eventually, she and her husband parted and the children did not need her so much, so she began singing again. She went to Australia, stayed six months and became one of that continent's favorite favorite singers. For a while, she was a regular on Australia's biggest television show and had her own radio program. "But, when I got back here," she says, "all that meant nothing. I had to start all over." She started all over and now she is on the threshold of the big time. Assuming she makes it, she knows exactly what is going to happen; her future is carefully mapped out. "I'm going to stay in New York for three years," she says, "and then move to California. California. I like t h e warm weather and the wide open spaces. But first, I want to make a name for myself here. Eventually, I want to get into everything -- dancing, acting, singing -- and live out there where it's always warm." Chances are that even in California she will make it warmer. Comeback Of Big Bands Looms Nearer HOLLYWOOD -- UPI -Music -Music as a media of self expression expression is as old as the first hollow log. The only difference was that some musicians did it in a big way . . . others . . . loud . . . rambunctious . . . soothing . . . and on. Today the long hairs and short hairs have bumped heads over which method will capture the public ear in the near future -- the vibrating vibrating sound of the big band or the jarring call of rock and roll. Still others claim the sound and fury of rock and roll, the Twist, and the Mashed Potato simply obscured the fact that the big bands have been around all the time. The later advocates point to the long life of music from Count Basic, Duke Ellington, Harry James, Stan Kenton, The Dorsey bands, Freddy M a r t i n , Guy Lombardo, Lawrence Welk and more. Others claim the big bands are dead but predict they will be resurrected to the dying wails of rock and roll. They point to the recent success of the Swinging Years package of Music Made Famous By Glenn Miller. The package reunites Miller alumni such as Tex Beneke, Ray Eberle, The Modernaires and Paula Kelly who stayed in the music business but had not worked together since the old Glenn Miller days. Further signs: The reformation reformation by Woody Herman's group into the big band size; a recent Disneyland Cavalcade Cavalcade of big bands featuring Gene Krupa, Les Brown, Charlie Barnet and Lionel Hampton, a p p e a r more big bands on television, in night clubs and theaters. Historically the big band success might be tied to that of Paul W h i t e m a n recognized Father Of Big Bands. The giant bands took the airways by storm with the advent of radio and the era of swing ushered in by Benny Goodman. Every top comedian and top rated variety variety show had a personal dance band. But the bubble popped -it -it may or may not have died -- but it did pop. Entertainers said it was due to lack of good musicians caused by their exodus from bands to the service . . . the high cost of road trips and the folding of many ballrooms and band locations. Most significant perhaps was the recording ban and the rise of vocalists who previously were relegated relegated to a seat on the bandstand. bandstand. Of course rock and roll addicts claim the big band is dead and will stay that way -- which puts us back where we started: Man beating on a hollow log.