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(Above: Roy Orbison performs “(Oh) Pretty Woman” on “Austin City Limits” in 1983.)

By Joel Francis
The Daily Record

The musical landscape of television was of a different world when “Austin City Limits” debuted on Public Television 35 years ago. Brief performances on late night talk shows or segments on “Don Kirshner’s Rock Concert” were the only options for fans hoping to catch a glimpse of their favorite act.

Baloons and the capital building, trademarks of the Flaming Lips and Austin City Limits.

The Rock and Roll Hall of Fame celebrates the show that put long-form performances on the air with the new exhibit “Great Music. No Limits. Celebrating 35 Years of Austin City Limits.”

“There were certainly music shows on television before, like Ed Sullivan, ‘Shindig’ or ‘Hullabaloo,’” said Jim Henke, vice president of exhibitions and curatorial affairs for the Rock Hall. “But ‘Austin City Limits’ was the first show where the performers didn’t lip synch and were provided with a platform that extended beyond just a song or two.”

The exhibit includes photographs, setlists, documents and video footage of the show’s greatest moments.

“A big part of the exhibit are the photos from the show. We have 30 or more pictures of artists ranging from B.B. King, Dolly Parton and Elvis Costello to Pearl Jam, R.E.M. and the Dave Matthews Band,” Henke said. “We also have a lot of different documents, including lots of early stuff like the proposal for underwriting the pilot episode and several handwritten memos.”

The memos show the evolution of the show’s title from “River City Country” to “Austin Space” before finally settling on the current title.

The Hag on ACL.

“We also have three setlists from Wilco’s performance where you can see which songs were added and changed before they went on,” Henke said.

“MTV Unplugged,” “Sessions at West 54th Street” and “Soundstage” are but a few of the shows Austin City Limits has inspired during its run. In 2002, the show spun off into the three-day Austin City Limits Music Festival.

“The show started out with Willie Nelson on the first episode then expanded,” Henke said. “If you look at who’s appeared since then it’s been a nice mix of artists.”

Henke pointed out recent episodes with Ben Harper sitting in with Pearl Jam and Mos Def with K’Naan as examples of the show’s continued innovation.

“The producers don’t just book established artists. They’re looking at younger artists as well,” Henke said. “Our video reel has everyone from Ralph Stanley and Bill Monroe to Damian Marley. It’s not just focused on one era or genre. I think this is not only what made the show so innovative, but has given it such longevity.”

For museum hours and ticket and general information, visit the Rock and Roll Hall of Fame Website.

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(Below: The Polyphonic Spree party on Austin City Limits in 2004.)

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 (Above: The groundbreaking “Working on a Building,” which the Swan Silvertones cut for King Records.)

By Joel Francis
The Daily Record

James Brown is certainly the best-known artist to record for Syd Nathan’s Cincinnati-based label, but King Records had forged a reputation long before Brown emerged. For a quarter century, from 1943 to 1968, King recorded some of the top performers in not only R&B, but gospel, jazz, bluegrass, rockabilly, blues and early rock and roll.

Here are some other King artists worth checking out.

Bill Doggett
Organist Bill Doggett was the biggest-selling instrumentalist on King. He joined the label after leaving Louis Jordan’s band in 1951, and recorded several sides with a trio. When the results weren’t what he’d hoped, Doggett added saxophone and guitar to the lineup and scored big hits with “Ding Dong, “Hammer Head” and “Shindig.” Doggett’s biggest success, though, was the 1956 smash “Honky Tonk.” The record sold 1.5 million copies that year, spent seven months on the chart and won several awards Doggett left King for Warner Bros. in 1960 when King owner Syd Nathan refused to increase Doggett’s royalty rate.

Swan Silvertones
Claude Jeter’s Swan Silvertone’s were the biggest gospel act to record for King. They were only with the label for five years, from 1946 to 1951. The 45 songs cut for King bridged the transition from the traditional barbershop-based style of gospel singing to a more spontaneous, emotional approach. Jeter’s duet with co-lead singer Solomon Womack on “Working on a Building” epitomized the potential of the new method and influenced future stars Al Green, Curtis Mayfield and Sam Cooke. The Slivertone’s later recordings on Specialty and Vee-Jay receive more attention, but the half-decade at King cemented the group’s sound and reputation.

Charlie Feathers
Rockabilly guitarist Charlie Feathers is one of those criminally forgotten musicians whose talent outshines his reputation. Feathers grew up in Mississippi listening to the Grand Ol Opry, but learned guitar from bluesman Junior Kimbrough. Feathers briefly recorded for Sun before coming to King in 1956. After cutting several raw, visceral rockabilly numbers that went nowhere, commercially speaking, Feathers decided to model himself after Elvis Presley. When the sanitized new records also refused to budge, a frustrated Feathers left King. He bounced around from label to label, continuing to perform until his death in 1998. In 2003, director Quentin Tarantino resurrected a couple Feathers songs for his “Kill Bill” films.

Stanley Brothers
Bluegrass legends Carter and Ralph Stanley were already stars when they signed to King in 1958. That fall, the duo released one of the genre’s landmark albums, an untitled recorded nicknamed after its catalog number, King 615. Along with old-timey mountain music, the Brothers recorded gospel and even R&B numbers, putting their stamp on Hank Ballard’s “Finger Poppin’ Time.” The Stanley Brothers reached new audiences during the folk revival of the early ‘60s, and cut their final album for King in 1965. Carter Stanley died the following year, but his Ralph kept the flame alive. In 2006, Ralph Stanley found improbable acclaim for his a cappella reading of “O Death” on the “O Brother, Where Art Thou?” soundtrack.

Little Willie John
Soul singer Little Willie John had one of the longer tenures at King, spending one third of his life on the label. Unfortunately, John only lived to 30 and all his success came early. The Detroit native was just 18 when he landed his first big hit, “All Around the World.” In the next few years, John racked up 10 more To 20 R&B hits, including his signature number, “Fever.” A has-been at 25, John struggled with alcohol and drug addiction. He was charged with manslaughter after stabbing a man to death following a concert in Seattle. In 1968, John died in prison.

(Below: “Can’t Hardly Stand It” was one of several great rockabilly songs Charlie Feathers cut for King in the 1950s.)

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