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The Kingston Trio - The Musical Institiution Goes On Try to recall the time... the late 1950s through early 60s. While post WW2 prosperity and optimism had reached its zenith, the American culture seemed poised to leave the past behind and progress into the new and progressive era that was obviously on the horizon. Although recalled by many as an idyllic era of innocence, these years also witnessed events and trends, both here and abroad, that confirmed the changes that were coming. Popular music charts, often an indicator of social change and direction, displayed a curious blend of the nostalgic bands, singers and styles that had been popular in the 1940s and early 50s intermingled novelty tunes and the new Rock 'n Roll bands, singers and hit songs. Though these contrasting musicals styles dominated radio, television and jukeboxes around the country, the American popular scene was about to experience an incredible effect from a most unlikely source. The thriving economy in post-WW2 America quickly gave way to labor reform and attempted de-unionization of many U.S. workers. This trend, coupled with the global politics of the "Cold War" cultivated an underlying sense of fear and insecurity among our citizens. The stage was set for acceptance of a new generation of socially conscious singers and songwriters. In the coffee houses and nightclubs of the day, the new American flok songs from artists such as Woody Guthrie and The Weavers were finding a grassroots audience throughout the late 40s and early 50s. Their songs of patriotisim such as "This land is your land" and "If I Had a Hammer" mixed with themes of protest at the plight of the common laborer either introduced or re-introduced the flok music style to many in this country. Though The Weavers had a national hit with "Goodnight Irene" in 1950, their songs of protest eventually saw them accused of being Communists, landing them a spot on the infamous "Black List". While this groundwork for the coming folk music revival was being laid, a young man from Hawaii named Bob Shane was spending much of his time on the beach with a ukulele, learning songs of the Polynesian Islands from yachtsmen and Hawaiian friends. Shane recalls, "My father was a successful distributor of toys and sporting goods. As it was planned that I would eventually take over the family business, I pursued music and entertaining purely for fun. |
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While attending Honolulu's Punahou School - the oldest private school west of the Rockies - Shane met fellow folk musician Dave Guard. The duo performed songs by The Weavers until graduation split them up. Both attended college in California - Shane at Menlo and Guard at Stanford. During his junior year in college, Shane met yet another folk musician named Nick Reynolds, and, as in High School, formed a folk duo to perform at parties and school functions. Occasionally, Dave Guard would make the trip over from Stanford and the duo became a trio. While they didn't know it at the time, this little trio was destined to change popular music history. *** The incredible success of The Kingston Trio marked the official start of the folk music revival. While it is accepted that the earlier folk artists such as The Weavers were the pioneers of the movement, they were never to enjoy the recognition or commercial success that The Kingston Trio achieved. However, many of The Kingston Trio's contemporaries - such as The Limeliters, The Brothers Four, Chad Mitchell and The Smothers Brothers - were able to find their own audience amid the nations seeming unquenchable thirst for folk music... a desire whetted by The Kingston Trio. *** Given the time that has passed and the personnel changes in the band, one might erroneously surmise that today's Kingston Trio is simply a nostalgic tribute to their music of the past. |
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Additionally, the onstage humor and spontaneity that made the original Kingston Trio so endearing to live audiences remains intact. "In today's concert market," comments Bob Shane, "there is a tremendous demand for our type of acoustic music, and not just from those who remember The Kingston Trio. With more story songs, I think we could attract listeners even among young children. All the audience wants is for us to sing a song, tell a story, and make it good." Shane, who , by the way, played plectrum banjo on many of the early Trio recordings, is an avid collector of Martin guitars. "I like Martin guitars and take a different one on every tour. On the 40th anniversary , they produced a trio of instruments (guitar, tenor guitar and long-neck five-string banjo) that were based on our original instruments... I got the first set. Martin is also introducing a 'Bob Shane' model, which was copied from the original D-28 that I recorded all of our hits on... I recently got the original guitar back. I've also found quite a market for buying and selling guitars, banjos and ukuleles on eBay... there is an incredible demand for anything related to The Kingston Trio. Recently, Dave Guard's original Vega 'Pete Seeger' model banjo came up for sale on eBay... my cousin bought it. If we'd sell that banjo with my original Martin D-28 and Nick's original Martin tenor guitar as a set, I guarantee the price would be over $250,000.00!" During their 45-year history, using only acoustic guitars and banjos, singing simple yet memorable melodies, The Kingston Trio revolutionized popular music and reawakened America's interest in its musical heritage. Their success was a bridge between relatively obscure folk artists that preceded them and pop phenomenon such as Bob Dylan, Joan Baez and Peter, Paul and Mary which were to follow. As the group's only founding member still performing, a logical question would be "Will there ever be a "Kingston Trio" without Bob Shane"? "Yes... as long as the new group is true to the music, it will go on." |
