|LP||4-Trk||8-Trk||R to R||Cass.||CD|
|CATALOGUE #:||--||--||--||--||??||CDP 7 92710 2|
|SESSION DATE(S):||February 1958 to 1963|
|DATE OF FIRST RELEASE / THIS RELEASE:||1990|
|The following page is a recreation of the liner notes and artwork as was presented in the package of the Capitol Records CD album, THE KINGSTON TRIO CAPITOL COLLECTOR'S SERIES.|
|BOOKLET -- page 3:|
In the Spring of 1958 the Trio recorded its first album for Capitol Records in Hollywood. We were all very excited but had no idea if the songs that we had been singing for the past several years would translate our feelings and emotions from our live performances over to electronically monitored sound. We were a "live act."
Using one microphone for our three
voices and one for the instruments (a far cry from today's
industry standards) we finished our first album in just
two days. Tom Dooley was on that album
The harmonies and instrument blends were natural to us and fortunately Capitol Records captured it all. For the first time, with the advent of the Compact Disc, this sound is recaptured in its ultimate simplicity and is truly "the sound" of the Kingston Trio.
When I listen to this CD I am
immediately transported back in time to those years. I
can see my partners' faces, see their smiles and tears,
feel them with me. I'm quite sure you will react the same
way. The Trio's charm and longevity has remained intact
because we were singing for you. You became us - we
|BOOKLET -- page 4 & 5:|
|Over the course of their career, the
Kingston Trio had a total of seventeen singles chart in
Billboard's Top 100, with ten of those reaching the Top
40, and two going all the way to the Top Ten. All
seventeen of those singles appear on this CD, along with
"Scarlet Ribbons," the Trio's first single, and
plus "The Patriot Game" and "Seasons In
The Sun," their last two singles for Capitol.
Fourteen of their LPs placed in the Billboard Top Ten as
well, with five of them going all the way to #1 and seven
staying on the charts for a year or more. The Trio
accumulated seven gold albums and received eight Grammy
nominations as well, winning twice. A rather impressive
list of credentials for a group of guys in their twenties.
Bob Shane and Dave Guard first met in 1947, while attending the same Junior high school in Honolulu, Hawaii. They didn't play together until 1950. Bob was sitting in front of the Junior Canteen one Saturday evening, picking out a Tahitian song on a four-string Martin guitar. He didn't know the lyrics to the tune he was playing, but it turned out that Dave did, and they gave their first performance together. Dave, who could sing but had never played, bought a guitar in the spring of 1951 and learned some chords from Bob in preparation for the Junior Carnival.
Dave and Bob's fathers were both in the reserves: Bob's dad in the Navy and Dave's in the Army. This gave the boys access to the pier at Fort De Russy in Honolulu. They polished their musical repertoire by listening to lounge acts in the Waikiki Beach nightclubs at night and then practicing those same tunes on the pier the next day. Dave mastered the 6-string guitar and 5-string banjo, while Bob played 6-string guitar and 4-string banjo.
Dave started college in California at Stanford University that fall, and Bob went to Menlo College just three miles away. They started playing various local clubs, using a rotating cast of other group members. A year and a half later, Nick Reynolds came along, having transferred to Menlo from the University of Arizona. Bob introduced Nick to Dave, and by Dave and Bob's senior year they were performing as a trio at fraternity parties in Newport Beach and Balboa. Besides playing 4-string guitar, Nick added congas to the group's instrumental range.
After graduating in June 1956, Dave planned to stay at Stanford to pursue a graduate degree in Business, but Bob decided to return to Honolulu and solo as an Elvis Presley impersonator. As Dave remembers, Nick still had half a year left as an undergrad at Menlo, so by the end of that summer Nick and Dave formed their own trio along with Willie Gage.
At one of their performances, a woman named Barbara Bogue just piped up from the audience and started singing along with the trio. When Willie left the group soon afterwards, Barbara became his replacement, and Joe Gannon came on board as the bass player. They now called themselves 'Dave Guard and the Calypsonians,' and would play the same beer joint, the Cracked Pot in Redwood City every night.
Dick Reinhardt, an agent and bandleader, wanted to promote them as the Calypsonians so they made a demo and auditioned at the Facks II Club in San Francisco. Nothing came of it, but they kept rehearsing. They almost got a job at a club in San Francisco's Latin Quarter for the summer of 1956, but the club folded. Then Dick found them a gig in Las Vegas for $1,500 a week, but Dave didn't want the group to take it: he was still in graduate school and didn't want to lose his draft exemption for just a few weeks work. He also felt they were not ready for Las Vegas yet, and didn't want the quartet to end up as a lounge act. When Dave turned down the Vegas booking, Reinhardt decided he didn't care to invest any more time in the group and went on to other pursuits.
In early 1957 the group consisted of Dave Guard, Barbara Bogue, Joe Gannon and Nick Reynolds, although on any given Cracked Pot evening, other singers and instrumentalists would drift in and join the group in an informal fashion. It was on one of those occasions that a young press agent named Frank Werber first heard the group. Frank had entered the nightclub circuit in 1950, hooking up with Enrico Banducci, who had just bought the Hungry i in San Francisco. Frank spent about six years under his tutelage, learning about staging and lighting, how to analyze an audience's reaction to an artist, and the ins and outs of developing a quality live performance. He struck out on his own in 1956, working as the press agent for many of the nightclubs in the North Beach area of San Francisco. Chuck Marcoux, a waiter at the Purple Onion, was the first to suggest that Frank go listen to a certain folk group that was performing at the Cracked Pot.
Frank heard the quartet perform again on a one-night stand at Facks II, and told them that if they ever got the personnel down to three, he would be willing to work with them (it was easier to find bookings for groups of three versus four members). Some time later, Dave and Nick met with Frank in his office above the Purple Onion. Since every club they worked in already had a house bass player anyway, they had come to the conclusion that perhaps it would be economically feasible to let Joe go. Barbara and Joe were in love by this time and she declared that if he went, she was going with him, so they both left. (Gannon would eventually return to the group as road manager.) Bob gave up his Elvis act in Hawaii and returned to the States in May of 1957, specifically to work with Dave and Nick again.
The group now consisted of Dave Guard, Bob Shane and Nick Reynolds (with Frank Werber as manager). They called themselves the Kingston Trio, since folk music was popular with the Ivy League schools, the guys dressed in the Ivy League style, and Kingston was the name of many towns in the Northeastern United States. Additionally, Harry Belafonte was having a big success with calypso music, which constituted about half of the Trio's repertoire, and Kingston, Jamaica was where calypso music had originated. Frank got them a booking at the Purple Onion over Memorial Day weekend 1957. Phyllis Diller had been scheduled to headline but she bowed out to play the Millionaires' Club in Dallas instead. The Rio advertised the gig by sending postcards to everyone they knew in order to ensure a sell-out crowd. The ploy worked, and they were offered a regular job at the Purple Onion beginning that Fourth of July weekend. Their original one-week engagement ended up lasting seven months!
|BOOKLET -- page 6 & 7:|
|This was the Trio's first big
break, and the guys were motivated to adhere to a
rigorous schedule of voice lessons every morning with
vocal coach Judy Davis and rehearsals at the club for the
rest of the day. Frank worked hard to turn these three
talented, if inexperienced, college students into
professional performers. He sat in the audience during
the Trio's performances, recording the sessions on a reel-to-reel
Wollensack tape recorder and taking notes on the audience's
reactions to their different routines. Frank and the guys
would then analyze all this information at the following
day's rehearsal and determine what changes were needed to
further hone their act. Even this early in their career
as the Trio, it was evident that this constant attention
to and perfecting of small details made them stand out
from other folk groups.
The Trio put together their first professional demo record from different performances done at the Purple Onion. It attracted the attention of Dot Records, but Dot only wanted to sign them to a singles deal and Werber rejected that idea. Negotiations began with Capitol Records after staff producer Voyle Gilmore heard them perform at the Purple Onion. The label finally agreed to let Trio record both singles and albums. The Kingston Trio signed a contract with Capitol, and Gilmore was assigned to the production duties for the group's first record (a position he would hold on all their subsequent Capitol albums). The Trio immediately started work on their first Capitol album, "The Kingston Trio;" it was recorded in just two days (February 6-7, 1958). The house bass player from the Purple Onion, Buzz Wheeler, played with the group on this first album. David "Buck" Wheat was later hired in August 1958 to fill the bass player position.
In early Spring 1958, Frank got the group a gig at the prestigious 'Mr. Kelly's' nightclub in Chicago - this was "the" place for breaking acts to be seen. Later that spring he also got them a six-nights-a-week gig at the Village Vanguard in New York. In fact, they were working at the Vanguard the night their first national television appearance aired: May 1, 1958 on CBS' Playhouse 90: Rumors of Evening. The Trio had recorded the single "Scarlet Ribbons (For Her Hair)," at Capitol's Studio B especially for this program. Originally recorded by Jo
Stafford, then by Harry Belafonte and Stan Wilson, it is the opening selection on this CD because it was the first single ever released by the Trio. Morty Korb played both bass and celeste only on the original single version, which appears here, and when the song was re-recorded in stereo for the "At Large" album, one of the verses heard here was omitted.
By June the Trio was back in San Francisco at the Hungry i, opening for Tom Lehrer. The group had bought a lot of their own albums for 751 each, and they sat in the club's lobby autographing them. Since Tom had packed the place, the Trio sold quite a number of albums that way. As Dave recollects, a woman named Barbara Zenger heard them perform at the Hungry i, bought "The Kingston Trio" album at the club, and decided to feature it as "album of the week" back at the Salt Lake City record store she owned with her brother.
The Trio had first heard the song 'Tom Dooley" when a man named Tom performed it at a Wednesday afternoon audition at the Purple Onion. They subsequently recorded their own version, which was featured on "The Kingston Trio." On June 19, 1958, a DJ named Paul Colburn at radio station KLUB in Salt Lake City first played "Tom Dooley" on the air. He told some disc-jockey friends of his in Boston and Miami about the song, and they received so many requests to play it over and over that eventually Capitol was persuaded to release it as a single. Since people were not willing to wait for the single to come out, record stores like Barbara Zenger's quickly sold hundreds of albums. "Tom Dooley" spent 21 weeks on the charts, reaching #I just before Christmas 1958. The song earned the Trio a Grammy for "Best Country And Western Vocal Performance of 1958" on May 10, 1959, and helped the album stay on the charts for nearly four years. The Trio recorded the song once more in April 1959 for the soundtrack of the motion picture "The Legend Of Tom Dooley," starring Michael Landon.
The Kingston Trio's second LP, "From The Hungry i," came out in January 1959, while "Tom Dooley" was still high on the charts. The album was an almost immediate best-seller, hovering just below "The Kingston Trio" on the Billboard chart. Both records sold nearly 800,000 copies and went gold by 1960. Strangely enough, Capitol never released any singles from the second album.
Frank felt that anyone who missed out on seeing the Trio live in concert had not heard the Trio at their best. Both Nick and Frank felt that the group's live performances were superior to their recordings, and agreed that material the group perfected over time in concert was stronger and more polished than cuts that had been rushed out quickly to satisfy the singles market.
"Raspberries, Strawberries," in fact, had been hastily recorded while the Trio was in Denver to cash in on the success of "Tom Dooley," but they did not fare nearly as well with this Will Holt tune. The single version was speeded up to make it sound 'hot,' with the result that it hardly sounded like the usual Trio at all. The group was upset with this version since they did not feel it captured their true emotions. When it only reached #70 on the charts in January 1959, a new version with a slower tempo and minor lyric revisions was recorded for the "Sold Out" album, released in April 1960. The 'hot' single version appears on this CD.
The Trios third album, "Stereo Concert," came out in March 1959, and featured live performances of nine Trio tunes. It had been recorded the previous October at Liberty Hall in El Paso, Texas and was the group's first stereo LP. The album sold over 200,000 copies and proved to Capitol that popular music would sell in stereo as well as mono.
The group's fourth single, "The Tijuana Jail," was recorded in stereo in New York on February 18,1959. This novelty tune by Denny Thompson was rush-released amid rumors that Harry Belafonte was also about to come out with a version. When the Trio first performed the song on national television, it was censored in both San Diego and Mexico. It was recorded at the same sessions that would yield the "At Large" LP, but would not appear on an album until "The Best Of The Kingston Trio" came out in 1962.
|BOOKLET -- page 8 & 9:|
|"At Large," the group's
fourth LP, came out in June 1959. It featured a song
called "M.T.A.," which had originally been the
campaign song for Walter O'Brien, a left-wing Boston
politician who ran for mayor in 1948. Dave had found the
tune on a Will Holt album, and it was the first Trio song
that Dave attempted any Earl Scruggs style banjo picking
on. "M.T.A." would become the Trio's second
most-requested song in concert (after "Tom Dooley,")
and it charted for 11 weeks, peaking at #15. "At
Large" was the #1 album for 15 weeks, earning the
Trio their second Grammy, for "Best Folk Performance
of 1959," and another gold record.
Recorded at Capitol's Studio B in Los Angeles. "A Worried Man" was originally an old chain gang song. Right before the Trio starts the second countdown, you can hear them sing "this is for you Shirley," in reference to manager Frank Werber's then girl-friend, Shirly Yelm. Recorded in stereo for the "Here We Go Again" album and released as a single on September 7, 1959, it charted for eleven weeks and peaked at #20. This was the last Top 20 single for the Guard-Reynolds-Shane Trio. "Here We Go Again" came out that October with a then-unheard-of advance pressing of 250,000 copies. It went on to sell over 900,000 copies, and held the #1 chart position for eight weeks. This album not only earned the group another gold record, but was one of four Kingston Trio albums in Billboard's Top Ten for the week of December 7,1959, an achievement surpassed only by the Beatles in 1964. ("Here We Go Again" was #2, "At Large" was #4, "The Kingston Trio" was #7, and "From The Hungry i" was #8.)
"Coo Coo-U" was recorded at Capitol's Studio B in Los Angeles, and released on November 9, 1959. The Trio had been singing it on their tour bus for their own amusement and decided to cut it as a single. Bass player David "Buck" Wheat and his friend Bill Loughborough collaborated on the lyrics, and Mongo Santamaria (1963's "Watermelon Man") wrote the music. Mongo also played the congas, while Willie Bobo played the timbales and did the yell. It was quite a strange song, but it did make it to the Top 100 for one week. Commercially it was a dud though, and it never appeared on any Trio albums. "Coo Coo-U" was later recorded by The Manhattan Transfer on their Extensions album.
"Sold Out," the group's sixth album, charted for eleven weeks and earned the Trio their fifth gold record in 1961. Released as a single in January 1960, "El Matador" was re-recorded as the album's lead track. (The single version appears here.) Jane Bowers wrote the lyrics but had been unable to come up with a chorus, so co-writer Irving "Lord Burgess" Burgle assisted by borrowing 'Ole' from the Mexican song "La Llorona," while Dave Guard improvised with some famous bullfighting terms.
Lee Hayes and Cisco Houston wrote the Iyrics for "Bad Man's Blunder," the last single by the Trio of Guard, Reynolds and Shane to reach Billboard's Top 40. This novelty song was from the "String Along" album which spent 10 weeks on the charts and earned the Trio another gold album award. This was the first time that Dave Guard played a 12-string guitar, which had been made especially for him by Gibson. (It was actually the first 12-string Gibson ever made.) Dave's son Tommy was born on April 20, 1960, the day this single was recorded. The unedited stereo version of "Bad Man's Blunder" is on this CD.
Dave Guard used the 12-string again on "Everglades," the second charted single from "String along" The Trio kept running into the Everly Brothers on the road, so they borrowed the intro from the Everlys' "Hey Bird Dog" for the intro to "Everglades." The last line is also a nod to the Brothers, as the Trio sings " . . . running through the trees from the Everlys . . . "
On May 11, 1961, Dave Guard announced that he was leaving the Kingston Trio, primarily because of disagreements over musical style. He wanted the Trio to concentrate on more serious and traditional folk music, while Bob and Nick wanted to continue in the more carefree vein they had been cultivating. Dave offered to continue to play whatever Trio engagements had already been booked up through that November, but it was decided to find a replacement as soon as possible.
By now Frank Werber was also managing both The Journeymen and The Cumberland Three, and so he looked to both of those groups for a possible replacement. John Stewart, leader of the Cumberland Three, ultimately got the nod. He played both guitar and five-string banjo, could write and arrange songs, and his voice was sufficiently 'different' to complement Nick and Bob's harmonies. He had been inspired by Dave since he had first met the Trio at the 1958 L.A. County Fair in Pomona, and had already contributed two original arrangements to the Trio: "Molly Dee," which ended up on the "Here We Go Again" album, and "Green Grasses."
John resigned from The Cumberland Three in June 1961 and immediately began rehearsing with the Trio. It was not certain when his first public appearance with the group would be; Dave was still performing with the Trio through August. Meanwhile, John recorded "Close Up" with Bob and Nick -- their first album as the new Kingston Trio. He finally made his onstage debut as a full-fledged member at a Santa Rosa Boys' Club fundraiser on September 16th.
Dave went on to form Dave Guard and The Whiskeyhill Singers, a more traditionally-oriented folk group which would soon include David "Buck" Wheat as well. They recorded songs for the motion picture How The West Was Won, but produced only one album on Capitol. They disbanded shortly before the scheduled release of their second album, and Dave and his family headed for Australia. There he hosted his own weekly national television show, Dave's Place, which was a solid half-hour of music, primarily gospel. After five years he moved back to the U.S., where he wrote a book called Colour Guitar on the relationship between color and music, and later taught music using principles of color theory. He has just released his first solo album in the United States and Japan, Up And In, on Ball Bearing Records.
|BOOKLET -- page 10 & 11:|
|BOOKLET -- page 12, 13 & 14:|
|The 'new' Trio's second single. "Where
Have All The Flowers Gone"' first hit the charts in
January 1962 and stayed there for seven weeks. The Trio
had first heard this Pete Seeger composition performed by
Peter, Paul and Mary in a Boston nightclub. They realized
that this "protest" (or "social
consciousness") song had great potential and took
off for New York, where they recorded it in just six
hours. It is that original single version, recorded in
the studio, which appears on this CD. They first
performed it live at The Royal Albert Hall in London, and
it became the new Trio's first Top 40 hit. John recalls
the era of Vietnam War protests, and singing the song at
the White House for then-President Lyndon Johnson: "The
fact that we could sing these lyrics to the President of
the United States and not go to jail is a chilling
testimony to recent events in the world." This song
was also recorded live at UCLA in December 1962 for the
"College Concert" album. This would be the last
LP to feature bassist David "Buck" Wheat, he
soon left to join Dave Guard and The Whiskey Hill Singers.
"College Concert" went to #3 on the charts and
sold nearly 400,000 copies, becoming the new Trio's
biggest selling LP.
May 1962 saw the release of "The Best Of The Kingston Trio." This album stayed on the charts for over two years, peaking at #7. It sold roughly 1,000,000 copies and earned the Trio their seventh and final gold record in 1964.
"Scotch And Soda" is actually from the group's first LP, "The Kingston Trio," though for some reason it was not released as a single until four years after the album came out, on April 9, 1962. The song has a history all its own: In 1954 Bob Shane and Dave Guard went to Fresno for Easter to Visit Dave's girlfriend, Katie Seaver. Katie turned out not to be at home, but her parents and 11-year-old brother entertained the boys. Mrs. Seaver played piano while her husband sang a song from their honeymoon in 1934. Four years later, Dave revised the tune for the Trio, and Bob sang it. It was subsequently covered by The Manhattan Transfer on their 1976 album, Coming Out. (And Katie's little brother grew up to be baseball great Tom Seaver.)
"Something Special" came out in July 1962 and marked the debut of the group's new bass player, Dean Reilly, who would stay with the Trio for the rest of their career. It also featured two chart-climbing singles, "Jane, Jane, Jane" and "One More Town." Bob had learned "Jane, Jane, Jane" from Stan Wilson, a respected folk singer from the Trio's early days at the Hungry i. This was the first tune Dean recorded with the group. Background orchestration was added to the track before it was included on the album, but the stereo version of the single, without the background orchestration, appears on this CD.
"One More Town" was the only song John Stewart wrote for the Trio that
made the charts (for two weeks). Released September 24, 1962 with Nick singing lead, it is not one of their better-known singles, though it was (understandably) Nick Reynolds' father's favorite Trio number.
The group's next album, "New Frontier," featured a Hoyt Axton tune called "Greenback Dollar," which John had first heard Hoyt perform at the Troubador in Hollywood. Co-written with Ken Ramsey, it was Hoyt's first songwriting success, charting for 11 weeks. The unedited stereo version from the LP, containing the word "damn" in the chorus, appears here. The single version had a guitar strum dubbed over the "damn" so the song could be played on Top 40 radio.
"Reverend Mr. Black," co-written by Billy Edd Wheeler and Jed Peters, was released in stereo in April 1963 both as a single and as the lead track on the #16 album. The song features John singing lead and Glen Campbell on six-string banjo. It spent 11 weeks on the charts, peaking at #8, and was one of the Trio's best-selling singles, second only to "Tom Dooley."
Glen Campbell's banjo playing appears again on "Desert Pete," which Billy Edd Wheeler wrote as a follow-up to "Reverend Mr. Black." Glen also sings the high harmony part in the chorus. The tune was recorded in stereo for the "Sunny Side!" album, with the single and LP versions identical. Although not as big a hit as "Reverend Mr. Black" it nevertheless spent eight weeks on the charts and helped "Sunny Side!" reach #7 on the album chart. "Desert Pete" was the Rio's last Top 40 hit, and "Sunny Side" their last Top Ten LP.
"Time To Think" gave us the group's last charting single, "Ally Ally Oxen Free." John had first heard Rod McKuen perform this tune in a small club in New York and recalls that "this particular song fit well into the 'social conscience' faction of folk music." Recorded in stereo, the song charted in the Top 100 for seven weeks.
The Trio were all big fans of The Clancy Brothers and 'lifted' one of their Irish folk songs, "The Patriot Game" for the "Time To Think" album. The song was recorded around the time of President Kennedy's assassination, giving its lyrical message an even deeper impact and significance. For the single release, John's spoken verse was remixed and put at the beginning of the song; the original album version with the spoken verse at the end is on this CD.
"Seasons In The Sun" is Rod McKuen's translation of a song by Jaques Brel. and features a memorable lead vocal by Bob. Also from "Time To Think," this was the Trio's last single for Capitol. Terry Jacks had a #1 hitwith this tune in 1974.
The Kingston Trio recorded one more album at Capitol, "Back In Town," but there were no singles released from this effort. In October 1964 the Trio moved to Decca Records, but none of the singles from their four albums there ever made the Top 100. The Trio's last LP was "Once Upon A Time," a double live album which came out on the Tetragrammaton label in the summer of 1969, almost two years after the group had disbanded.
The Trio had decided early in 1967 that it was time to bring a good thing to an end. John wanted to concentrate on writing and performing more politically-motivated songs, and Nick wanted a break from the stress of the performer's life, though Bob was still interested in continuing the Trio tradition. The group's final performance of their three-week stint at the Hungry i in San Francisco was on June 16, 1967. The last songs of their final set were "Where Have All The Flowers Gone?" and "Scotch And Soda." It is an interesting coincidence that one of the most popular folk groups of the time gave their last concert on the same day that the Monterey Pop Festival, which would introduce a whole new kind of popular music to the world (performed by such relative unknowns as Jimi Hendrix and Janis Joplin), was getting underway.
A literal 'Wlio's Who' of popular recording artists have been influenced by the Trio over the years: Lindsey Buckingham, lead guitarist of Fleetwood Mac, was greatly influenced by John Stewart's banjo playing, while Danny O'Keefe's fusion of jazz, folk and pop was based on the Trio's success performing many types of music. The Beach Boys were clearly influenced by the Trio's on-stage presence, and even went so far as to wear the same style of striped shirts the Trio wore. The Beach Boys also scored a Top Ten hit in 1966 with a cover of "Sloop John B," a track from the Trio's first album. The Indigo Girls, a much more recent entry onto the music scene, are catching the public's attention with their fusion of acoustic folk and rock, again directly influenced by the Trio's broad-based repertoire.
Many groups have been influenced by the Kingston Trio's eclectic and wide-ranging style, but perhaps none more so than the Manhattan Transfer. The Trio played many different types of music within the framework of folk and traditional American music, incorporated influences ranging from Polynesian to Irish, and made it work. The Manhattan Transfer have also been combining pop, jazz and rock into their own eclectic fusion for almost twenty years. In addition, the Transfer were also strongly influenced by the Trio's smooth, poised stage persona and the fact that neither group had a designated 'lead singer.' All member of both groups sang lead as the individual song or arrangement required.
Frank Werber continued to manage the folk-rock group We Five, whom he had been managing at the same time he was working with the Trio. He produced the group's million-selling hit, "You Were On My Mind" and worked with them on both of their A&M LP's. After the group disbanded, he opened the Trident Restaurant in Sausalito, California, which he co-owned with Bob and Nick. He is currently preparing to produce a compact disc of the best performances taped at the Kingston Trio's last stint at the Hungry i in 1967.
John Stewart went on to success as both a singer and a songwriter. His song "Daydream Believer" was a #1 hit for The Monkees in 1967 and a Top 20 hit for Anne Murray in 1979, receiving over 2,000,000 airplays. He wrote and performed "Gold" with Lindsey Buckingham and Stevie Nicks in 1979. The song charted for 18 weeks, peaking at #5. He has had numerous albums released on RCA, Capitol, and RSO Records, as well as his own label, Homecoming Records. He is presently working on a book about his experiences with the Kingston Trio, his work on Robert Kennedy's campaign, and his songwriting collaborations.
Nick Reynolds took an early retirement and moved to Oregon to raise a family. While there, he opened a movie theatre, later ran an antique business, and worked as a cattle rancher. Finally ready to re-enter the music business, he rejoined the new Kingston Trio two years ago.
Bob Shane stayed on at Decca as a solo artist and recorded four tracks for them. One of these songs, "Honey," was released in February 1968 and sold very well in two test markets, but Decca declined to promote it. Later in 1968 this song would be a #1 hit for Bobby Goldsboro, selling over 4 million copies. Disenchanted, Bob left Decca to team up with Travis Edmonson of Bud & Travis. That union did not pan out, so Bob decided to resurrect the Trio and bought the rights to the Kingston Rio name. This new version of the Kingston Rio started up in early 1969. Though there have been many personnel changes in the intervening years, The Kingston Rio of Bob Shane, Nick Reynolds and 14-year Trio veteran George Groves (on 6-string guitar and 5-string banjo) is still touring, Performing and carrying on the tradition today.
Liner notes written and researched by Robin Callot and Paul Surratt, based on interviews with Dave Guard, Nick Reynolds, John Stewart and Frank Werber.
|BOOKLET -- page 15, 16 & 17:|
Scarlet Ribbons (For Her Hair)
(E. Danzig / J. Segal) TIME: 2:29
(From The CBS TV Presentation "Playhouse 90" of Rumors Of Evening)
MILLD MUSIC, INC. ASCAP
Master #18752-Take 13 - Recorded 4/4/58 - Released 5/5/58 (Capitol 3970)
16. The Reverand Mr. Black
17. Desert Pete
|BOOKLET -- page 20:|
produced and researched by RON
compiled by PAUL SURRATT
remastered by ROB NORBURG
and LARRY WALSH
at Capitol Recording Studios,
annotation by RON FURMANEK
liner notes by ROBIN CALLOT and PAUL SURRATT
SPECIAL THANKS TO: dave guard, nick reynolds, bob shane , john stewart, frank werber, berger, ben blake, and michael ochs.
chart information courtesy of billboard and JOEL WHITBURN
this compilation was mastered from the original full trcak mono and three track master session tapes
songs remixed by BOB NORBURG, RON FURMANEK and PAUL SURRATT
all tracks "ADD" with the exception of tracks 1, 2, 3 and 12 which are "AAD."
all tracks are stereo with the exception of tracks 1, 2, 3 and 12 which are mono
Track 13, "Jane, Jane, Jane," is the single version and appears here for the first time in stereo.
all tracks were previously released on various Capitol singles and albums.
this album is dedicated to the memory of David "Buck" Wheat and Voyle Gilmore.
art direction: TOMMY STEELE - tinting RON LARSON
innerspread photography: LARRY DuPONT - design: ANDY ENGEL
photo research: BRAD BENEDICT