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Chicago Tribune Magazine February21, 1982
Chicago Tribune MagazineFebruary 21, 1982
TheTheTheTheKingstonKingstonKingstonKingston TrioTrioTrioTrio Lives!Lives!Lives!Lives!
25 years later, one of theoriginals carries on -- butsomething's not quite thesame.By Eric Zorn
WhereWhereWhereWhere havehavehavehave allallallall thethethethe youngyoungyoungyoungmenmenmenmen gone,gone,gone,gone,LongLongLongLong timetimetimetime passing?passing?passing?passing?WhereWhereWhereWhere havehavehavehave allallallall thethethethe youngyoungyoungyoungmenmenmenmen gone,gone,gone,gone,LongLongLongLong timetimetimetime ago?ago?ago?ago?
The clean-cut, well-scrubbed boys in theKingston Trio seemed to step right out ofthe college classroom onto the covers ofthe nationâs magazines and to the top ofthe pop music charts. They blitzed thecountry in the late 1950s and early 1960s,jamming them in at almost 300 concertstops a year and virtually monopolizingthe airwaves.
For almost five years, theyovershadowed all other pop groups inAmerica. Five of their first six albums hitNo. 1 on the charts, and they left behinda legacy of hit songs that remainingrained in the memories of millions ofmusic lovers: "Tom Dooley," "WhereHave All the Flowers Gone?" "M.T.A.,""Scotch and Soda," "Greenback Dollar,""Tijuana Jail," and "El Matador." Theirenormous commercial success launchedthe celebrated urban folk music revival ofthe â5Os, inspired an entire generation offolksingers and instrumentalists, and sochanged the course of popular music thattheir impact is widely felt to this day.
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Chicago Tribune Magazine February21, 1982
They are still here, in body as well asspirit: Tonight, at a suburban Chicagobanquet hall on one of the coldestweekends of the year, the Kingston Trioâ or, more precisely, a remnant of theKingston Trio â is playing to an audienceof middle-aged business people, mothersand fathers. They have paid $17.50 for aprime rib dinner and a chance torecapture some of the exuberance theyfelt more than 20 years ago. Up on stageare three well-worn men, two in beards,playing country-rock versions of thesongs that made folk music famous.Because the Trio faded so quickly andthoroughly in modern memory, theiraudience seems unsure: Are these reallythe same frisky boys, the Pied Pipers ofpop, who captured the nationâsimagination a quarter of a century ago?
One member of the band is bald,anotherâs overweight, and the thirdâs hairis unmistakably gray. What was once adisarmingly simple singing group is nowbacked up by a crashing drum combo,electric viola, and the pasteurizedthrobbing of an electric bass. This slickensemble of six musicians in mod,casual clothes now travels the countrypassing as the Kingston Trio â originalgroup member Bob Shane, two singersfrom Nashville, and three accomplishedcountry/bluegrass session men. Theypeddle their latest record â "notavailable in any store" â endure theweary travails of one-night stands, andautograph the cracked dust jackets onalbums issued before the days of stereo.
They bank on their audienceremembering the famous name, theiroverwhelming popularity, and the ethnicfolk tradition that wedged its way into ourmusical mainstream.
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Chicago Tribune Magazine February21, 1982
They trust that the men and women inthe audience will feel like collegefreshmen again and not remember orrecognize what is missing and what theyand the Kingston Trio have lost.
The story of Bob Shane and the 25 yearsof the Kingston Trio is a truly Americantale of dramatic successes, dismalfailures, and memories and fantasiesmilked for every last dollar they areprepared to yield. Itâs a story of freshnessgrown stale and shabby; of an idea thatone manwill not let die.
HangHangHangHang downdowndowndown youryouryouryour headheadheadhead .Tom.Tom.Tom.Tom Dooley.Dooley.Dooley.Dooley.HangHangHangHang downdowndowndown youryouryouryour headheadheadhead andandandand cry.cry.cry.cry.
In November, 1958, a version of theancient West Virginia murder balladabout Tom Dooley, a Civil War veteranrun amok, rose rapidly to the top of thepop music charts. Its ascent launchednot just the Kingston Trio, but also thefolk revival that turned mainstream musicaway from teen be-hop and put six-stringguitars on millions of laps. The clean-cutcollegians who looked and sounded likethree fraternity boys entertaining at aparty did for traditional and folk musicwhat rock and roll did for rhythm andblues: They brought it out of the cellarand made it fun, cool, young, andmiddle-class American.
Ultimately, of course, their popularity waseclipsed by the Beatles and the secondwave of rock and roll in 1963. As musicand the recording industry becameincreasingly complex, the Trio, with theiruncomplicated harmonies, plaininstrumentation, and bastardizedversions of old favorites, began to seemrather naive and frivolous.
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Chicago Tribune Magazine February21, 1982
While they may have been an easygroup to criticize, The Kingston Trioâsdramatic success is nevertheless directlyor indirectly responsible for the sound ofcontemporary entertainers Bob Dylan;James Taylor; Judy Collins; Crosby, Stillsand Nash; the Eagles; John Denver;Linda Ronstadt; The Grateful Dead;Fleetwood Mac; and many more.
They were "it" in the late â50s â themelding of beauty and simplicity. Somespeculate that a similar group mightspark a revival in acoustic folk music, Inthe â80s: After all, Simon and Garfunkeldrew half a million people to a reunionconcert last summer In New YorkâsCentral Park, Peter Paul and Mary areback on the major concert circuit, and the1982 version of the Kingston Trio showssigns of making a comeback after manyyears of uphill toil. But these signs of lifecould also indicate that the time is rightfor a wave of 1960s nostalgia to follow inpredictable sequence after the â50snostalgia craze in the beginning of thelast decade.
Just as with all music groups that hit itreally, really big, the Trio in the late â5Oshappened to be the right group in theright place at exactly the right time: ElvisPresley was In the Army, Buddy Hollywas dead, Chuck Berry was linked toscandal, and it looked like rock musicwas going to die a-borninâ. "Leave It toBeaver" and "Father Knows Best" wereTV hits, and the popular alternatives toteen music were monochromatic,honey-throated soloists such as PatBoone and Perry Como.
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Chicago Tribune Magazine February21, 1982
By no means did the trio of Bob Shane,Nick Reynolds, and Dave Guard invent anew kind of folk music, nor were they thefirst to have a hit record with a traditionalsong. The Weavers with Pete Seegersold 2.5 million copies of "Goodnight,Ireneâ, in 1952, prompting a mini-revivalthat aborted when Seeger was linked tofar-Left politics and refused to cooperatewith the House Un-American ActivitiesCommittee. In fact, most of folk musicbefore 1958 âas sung by the likes ofSeeger, Woody Guthrie, Harry Belafonte,and Burl lves.â was seen as foreign,boring, intellectual, or somehowsubversive.
Into the funky San Francisco folk musicmilieu of 1956-57 came Dave Guard andthe Calypsonians, an informal contingentof musicians from nearby StanfordUniversity and the Menlo College ofBusiness Administration.
They performed a mixed bag of ethnicfolk songs at student hangouts forpretzels, beer, and attention. One manwho paid especially close attention to thesassy, spirited Calypsonians was FrankWerber, a public relations agent who,storybook-style, saw in the group thepromise of success and a boost to hisfaltering career.He convinced Guard, a lanky,22-year-old Stanford intellectual whowore Japanese sandals, horn-rimmedglasses, and T-shirts, to shrink the groupto three men and change its image andname. The first incarnation of theKingston Trio â so named to soundvaguely Ivy League cumCaribbean âincluded Guard, his high schoolacquaintance Bob Shane, who hadreturned to Hawaii after college to try hishand at Elvis impersonations, andShaneâs Menlo buddy Nick Reynolds.
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Chicago Tribune Magazine February21, 1982
Guard and Shane had attendedPunahou High School together inHonolulu where they performed in talentshows, worked up a popular comedydiving routine, and sang on the beachesfor tourists. Though the press dutifullyreported that the two were "schoolchums" it was really more an alliance ofconvenience: Shane was the dashing,sexy, naturally talented singer who foundin music a sure way to attract attention,and Guard was the brains andpersonality of the operation. Underneath,each man resented and competed withthe other. Those who know the two say itwas this dynamic interaction that madethe Trio great at the same time that itdestined them to break apart after a shorttime.
Little Nick Reynolds, half a foot shorterand a year older than Guard and Shane,was the loud, witty catalyst whoseon-stage antics thrashing the tenor guitaror conga drums made the Trio exciting towatch: When he performed, he looked asthough he was having the time of his life.
Shaping this raw material, their newmanager Frank Werber workedPygmalion-style to make professionalsout of amateurs. Before they ever madetheir debut as the Kingston Trio, Werberassembled his charges in a crampedBay-area loft and drilled them like afootball team in every aspect of theirstage show, sent them off to a prominentvocal coach for intensive instruction, anddressed them in their trademark stripedshirts with button-down collars, khakipants, and penny loafers.
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Chicago Tribune Magazine February21, 1982
Despite their clean image, the boys werenot entirely wholesome. On stage theywere goofy, rakish, and relaxed,cheerfully telling corny jokes aboutdrinking and making it with girls. Guard,as the between-numbers interlocutor,added a touch of class with his deadpaninsertion of long words, foreign phrases,and droll puns. The act was polished togive it an exuberant, spontaneous, yetvery sincere air.
Their one-week tryout in 1957 at SanFranciscoâs Purple Onion, a "discoveryclub," became a seven-month commandperformance when young, hip crowdsjammed the small club night after night.Werber subsequently took his chargeson the road, testing them in diversemarkets such as Las Vegas casinos andMr. Kellyâs nightclub in Chicago, eachtime with uniform success. CapitolRecords released "The Kingston Trio" inthe summer of 1958, an album that drewnational attention after two disk jockeysat station KLUB in Salt Lake City took afancy to "Tom Dooley" and hooked theirlisteners on the tune. Its popularityspread like a fire and rose to the top ofthe Billboard singles chart in November.
The Trio caught on fast with the young,white middle-class primarily becausethey were so easy to identify with. Theirsongs were easy folk melodies requiringonly a few guitar chords, and their vocalharmonies were smooth parallel thirds.Their entire routine didnât seem to requireany mysterious talents to reproduce:Look, up on the stage, Itâs your brotherâŠitâs your boyfriend ⊠itâs you!
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Chicago Tribune Magazine February21, 1982
Musically, Shane, Reynolds, and Guardtogether were nothing special. Thoughthey sang passably well â oftencrowded barroom-style around onemicrophone â The bedrock of their actwas their eclectic repertoire that Includednot just buried American treasures andbanjo bangers but sea shanties. Calypsosongs, European ballads, and a heavydose of sprightly Latin melodiesaugmented by a good deal of gratuitousshrieking and pounding of drums.
While the Trio was turning the masses onto a broad variety of folk music by makingit palatable, they were turning off true folkmusicians. Their act was too smooth andpolished for those who believed in thevisceral integrity of tradition. Wickedparodies of "Tom Dooley" surfaced,including one by the Country Gentlemen,a hard-core bluegrass ensemble, thatridiculed the Trioâs Yankee accents,chorale harmonies, and mild banjo licks.
By far the Trioâs worst transgressionagainst folk decency was the way theystole obscure songs from obscuresources, secured a copyright and thenraked in publishing royalties. Whensongs were already in the public domainand couldnât be appropriated, theycompromised the lyrics in order to get apiece of the action. The legendary"M.T.A.," for instance, used to be "TheWreck of the Old 97," an olddeath-on-the-railroad ballad, until it wasrewritten as the humorous ditty about aman named Charlie trapped in theBoston subway system during a rate hike,unable to exit for want of an extra nickel."All My Trials" became "All My Sorrows"and Guard rewrote the Carter Familyclassic, "Worried Man Blues," into a songabout adultery.
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Chicago Tribune Magazine February21, 1982
BobbyBobbyBobbyBobbyââââssss inininin thethethethe LivingLivingLivingLiving room,room,room,room, holdingholdingholdingholdinghandshandshandshandsWithWithWithWith Sue.Sue.Sue.Sue.NickieNickieNickieNickieââââssss atatatat thatthatthatthat bigbigbigbig frontfrontfrontfront doordoordoordoor ââââboutboutboutbout totototocomecomecomecome onononon through.through.through.through.WellWellWellWell IIIIââââmmmmherehereherehere inininin thethethethe closet,closet,closet,closet, Oh,Oh,Oh,Oh, Lord,Lord,Lord,Lord, whatwhatwhatwhatShallShallShallShall IIII do?do?do?do?WeWeWeWeâââârererere worriedworriedworriedworried now,now,now,now, butbutbutbut wewewewe wonwonwonwonââââtttt bebebebeWorriedWorriedWorriedWorried Long.Long.Long.Long.
Has the nation forgotten? The KingstonTrio pioneered the lucrativecampus-concert circuit, pushed 7-Up onTV, played the White House, collectedGrammy. awards, hit the charts with 23albums, inspired imitators Peter Paul andMary, the Highwaymen, the Tokens, theLimelighters, the Tarriers, the BrothersFour, and others, and started a nationaldemand for guitars that put the majormanufacturers 2œ years behind In theirorders.
Teenagers polled in the late â50s namedthe Trio their favorite group, though allthree men were married to glamorousyoung women; Look magazinepostulated that these straight-arrowfolksingers were ringing the death knell ofthe Devilâs rock and roll. They succeededwhere Pete Seeger and others had, in ameasure, failed, by fusing the Americanpopular and folk traditions.
"The Weavers gathered a lastingfollowing on the campuses, but notelsewhere," says Joe Hickerson, head ofthe Archive of Folk Culture at the Libraryof Congress. "They inspired groups likethe Trio, who were able to delivertraditions to the mainstream. It went fromthat into rock, and even acid rock. In thatway (the urban folk revival] didnât reallyfizzle out, it just dispersed."
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Chicago Tribune Magazine February21, 1982
IIII dondondondonââââtttt givegivegivegive aaaa damndamndamndamn aboutaboutaboutabout aaaa greenbackgreenbackgreenbackgreenbackdollar.dollar.dollar.dollar.SpendSpendSpendSpend itititit fastfastfastfast asasasas IIII can.can.can.can.
Though each man involved gives aslightly different account of whathappened next, the basic facts are these:As with so many other musical groups,success strained relationships within theKingston Trio. They became a huge,diversified corporation with investmentsin real estate, publishing, landdevelopment, and restaurants. To keepthe operation rolling, the boys signed ademanding three-albums-a-year contractwith Capitol, a pace that quickly drainedtheir reserve of songs. Guard, who did allthe musical arrangements and was thecreative impulse of the group, recognizedthey were headed down an artisticcul-de-sacAs talented imitators in the"gee-maybe-I-could-do that" music fieldstarted cropping up, Guard saw that theTrio, not blessed with huge raw talent,needed to be innovative to stay in thevanguard of popular tastes. Reynoldsand Shane, both more happy-go-luckythan their intense, determined leader,saw no reason to tamper with success.
During this period of interpersonalalienation, an executive in the TrioCorporation was nabbed embezzling$127,000. Werber, Reynolds, and Shanedidnât want to prosecute, and Guard, whowas asking himself, "Is there an honestman in the whole business?" resigned indisgust. "It was entirely a matter ofprinciple," he says today. "There aresome things one just does not put upwith."
Shaneâs version of why Guard left: "Heâsan ass."
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Either way, Guard took a $300,000 cut ofthe Trio operation and formed theWhiskeyhill Singers, a harsher, moreexperimental folk quartet that foldedquickly. He then moved his two childrenand pregnant wife to Australia, where hestarred in a folkie television show,developed his own method of teachingguitar by using a color wheel transposedupon a 12-tone scale, and worked as astudio musician and sheep rancher.Stateside, Shane, Reynolds, and Werberhardly missed a beat. After a series ofauditions, they picked singer-songwriterJohn Stewart, a fan who had just turned21, to fill Guardâs shoes and join thehottest group in the country. "He lookedand sounded like Dave," remembersWerber. "Alter a while, the public didnâteven know the difference."
Though the second-generation KingstonTrio never had a gold album or a No. 1single, there was plenty of energy left inthem: Since Shaneâs wet, mossy voicewas "the rock upon which the church wasbuilt," as Stewart says, the change inpersonnel didnât hurt the sound of thegroup at all, and their stage-routines wereso pat by then that Guard was hardlymissed.
With Stewart, the Trio relied more formaterial on contemporary Americansongwriters than on the exotic, foreignsources that supplied them in Guardâsday.
The consequence of this watering-downof their act was that they becameincreasingly indistinguishable from themyriad of less-imaginative groups, suchas the Brothers Four, that had followedtheir lead into folk-pop. Worse still for theTrio was that the world began to change:
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President Kennedy was assassinated,and American youth becameIncreasingly concerned with civil rightsand air deepening Involvement in theVietnam war. Successful musicians sangto the discontent and increased socialconsciousness of college students. TheTrio couldnât and didnât want to answerthe call to activism, and so became alifeless anachronism, a self-parody. Theyplayed to smaller and smaller crowds,and were happy in 1965 to get an albumto number 126 on the charts.
"It was over long before we decided tobreak up," remembers John Stewart."Like the wife whose husband is cheatingon her, we were the last to know."
So in June, 1967, after 10 years, 26albums, 280 songs, and 24 million ingroup profits, the Kingston Trio finallyrecognized that it was all over. Theyplayed a farewell engagement at SanFranciscoâs Hungry I. After the very lastconcert the Trio, still in short hair andstriped shirts, drove out to watch theopening night of the Monterey PopFestival. There they saw Jimi Hendrix,Janis Joplin, Simon and Garfunkel, andthe Who.
TheyTheyTheyTheyâââârererere riotingriotingriotingrioting inininin Africa.Africa.Africa.Africa.TheyTheyTheyTheyâââârererere starvingstarvingstarvingstarving inininin Spain.Spain.Spain.Spain.ThereThereThereThereââââssss hurricaneshurricaneshurricaneshurricanes inininin Florida.Florida.Florida.Florida.AndAndAndAnd TexasTexasTexasTexas needsneedsneedsneeds rain.rain.rain.rain.
While Nick Reynolds retired to PortOrford, Ore., to start a ranch and a newlife, John Stewart and Bob Shaneembarked on solo careers. Stewart hassince been a very mild success. He hasproduced a dozen albums in the last 15years, not one of which mentions his pastassociation with the Trio on the linernotes.
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A few of Stewartâs songs â notably"Gold" and "Daydream Believer"â havebeen hits for other artists, and he recentlycompleted a tour as the opening act forrock singer Stevie Nicks.
Shane was quite sure heâd do better thanthat. In 1987, at age 33, heâd been starmaterial ever since high school, and hiswas the raw talent that kept the Triogoing for 10 years even though he wasnever a well-known personality. But acombination of bad luck and poorpromotion doomed him [he recorded"Honey" Just months before BobbyGoldsborough made a No. 1 hit of anamazingly similar version], and he wasforced to give up the idea of making it onhis own.
By 1969 he had five children and plentyof silver in his hair but not enough in hispocket. He knew that while crowds mightnot come to hear Bob Shane, therewould always be at least a few old fanswho would turn out to see theworld-famous Kingston Trio. Accordinglyhe "reactivated" the group by leasing thename from a corporation that stillincluded Werber and Reynolds andadding unknown musicians, newinstruments, and a new sound.
"The New Kingston Trio" used a pedalsteel guitar, piano, drums, fiddle, electricbass, and almost anything sacrilegious afolk buff could think of; their overwroughtvocals sounded like the Association andother pop groups. The effort was adisaster that Shane is loath to discusseven today. "It was wrong," is all hewants to say.
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Werber complains it was a constant effortin those days to keep on top of the NewKingston Trio about good taste, quality,and the dignity of the name as theyshifted personnel [at least nine men havecalled themselves Trio members throughthe years] in search of a winningcombination. Eventually Sharerecognized that the public didnât reallywant anything "new" out of the trio, sofive years ago he bought the old nameoutright for half a million dollars, settledon ex-session men George Grove andRoger Gambill, and tried again.
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For a long time the pathos continued.Even with the old name and the oldsongs, the Trio played to minusculecrowds. They recorded an album in 1978â "Aspen Gold" â that was nearlyimpossible to find in stores. All in all, theyseemed destined to end up whereanother group of men calling themselvesthe Kingston Trio had started out 25years ago: nowhere.
In the past year Shaneâs group hasenjoyed a modest growth in popularity,playing larger venues such as PoplarCreek in suburban Chicago and earningstanding ovations for the golden oldiesthat comprise 80 percent of each show.They are currently pushing an album ofreconstituted hits called "25 YearsNon-Stop" and preparing to tape theirown cable television special forShowtime.
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Shane likes to argue that the presentgroup is "better" than the originalKingston Trio. With drums added therhythm is stronger, after all, and itâs hardto dispute that Gambill and Grove are theslickest, smoothest Trio musicians yet.
Both sidemen are cheerful, outgoing,down-to-earth types in their 30s whoknow a good thing when they see it.Theyâre on the gravy train, and all theyhave to do is re-create easy harmoniesand Instrumental breaks on the 40 songs[all in English] that this group knows. Itâslike infield practice. Todayâs betweennumbers stage patter is a bit morecoarse and a bit less inspired than whenShane, Reynolds, and Guard bouncedaround the country in 1960. Jokes focuson how many strings the band membersbreak when they play, how old they are,and what drugs they use. The innocenceis gone. The freshness is gone. Sexualhumor and mutual cajolery that were cuteon crew-cut young men all dressed alikeare unbecoming when delivered bymiddle-aged men who are so obviouslypretending.
John Stewart and Nick Reynolds tactfullydecline any lengthy comment on Shaneâsgroup. "When you add drums, an electricguitar, and a fiddler, you make itsomething that it wasnât before," Stewartsays simply. Ex-manager Frank Werbercalls It "a sham" and "a rip-off"; and DaveGuard, while expressing his fondness forGambill and Grove, says that the soundof todayâs poseurs makes him "physicallyill."
The contrast between Shane and Guardtoday, the boys who once were cloneswith no more than an inch of hair on theirheeds, is striking.
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Chicago Tribune Magazine February21, 1982
Shane leads a scrappy life on the road, isthe original good-time Charlie alwaysready for an impromptu party, and smilesfrom behind tinted spectacles. His faceshows lines of age beyond his 48 years.Guard, now a vegetarian follower ofSwami Muktananda, the "guruâs guru" inIndia, lives quietly In Los Altos, outsideSan Francisco, and hardly looks a dayover 35.
He returned from Australia in 1968 andworked with Stewart Brand to put out the"Whole Earth Catalog." He hassubsequently taught his guitar theory tohundreds of students in the Bay Area,Survived a 1979 operation for skincancer and a divorce, written severalbooks on traditional mythology, producedrecordings of a Hawaiian guitarist, andeven performed a few folk tunes withgroups here and there.BackBackBackBack totototo backbackbackbackbellybellybellybelly totototo belly.belly.belly.belly.WellWellWellWell IIII dondondondonââââtttt givegivegivegive aaaadamndamndamndamnCauseCauseCauseCause IIII donedonedonedone thatthatthatthat already.already.already.already.
Guard is obviously itching to get back intothe music scene. He was a key force inthe recent reunion concert of original Triomembers that will air on public televisionMarch 13 at 10 p.m. on WTTW-Channel11. Those who tried to convince theoriginal trio to sing together for the firsttime in 2l years had to overcome thefollowing obstacles:ᅵ The inertia of Nick Reynolds, who is
comfortable and happy with his newfamily on the ranch in Oregon andhas "nothing to prove."
ᅵ The reluctance of John Stewart tocompromise his status as a soloperformer after a 14-year effort toshed his identity as a formermember of the Trio.
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ï¿œ Bob Shaneâs bitterness towardGuard and Reynolds, and his fearthat a lot of attention on the reunionwould confuse the public as to theidentity of todayâs newest KingstonTrio.
Nevertheless, the November concert atSix Flags Magic Mountain amusementpark in Valencia, Calif., came off withouta hitch. At rehearsals the boys, who areno longer boys, agreed to set theirdifferences aside for the week andconcentrate on putting on a good showwhich, by all accounts, they did.
One result of the landmark concert isrenewed Interest by Stewart, Reynolds,and Guard in forming a trio of their ownand maybe cutting a few records. Theyâdactually be the Kingston Trio without thename, and, they insist, without those oldsongs. "It would have the old fun spirit;the life," muses. Guard.
"We would try to make it what theKingston Trio was in the glory days: aprogressive group, not a nostalgia act."
This is only talk of course, and it maynever be more than that. "Stewart,Reynolds and Guard," as they would callthemselves, would never get Bob Shaneto join them. Heâs making plenty ofmoney and having fun on the road 35weeks a year. Furthermore, heâs fiercelyloyal to Gambill and Grove, withoutwhom he would not have a Trio at all.
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Chicago Tribune Magazine February21, 1982
At the suburban banquet hall outsideChicago, â on one of the coldest nightsof the winter, three singers stroll onstagewithout a single warm-up note in thedressing room. Their backup bandcranks out an eerie version of the themefrom "The Good, the Bad, and the Ugly."
People In the audience, many of whomhave grown old along with the KingstonTrio, seem to applaud as much forthemselves as for the group as theyrecognize the songs of the early daysand the charm of the â60s behind thedistinctly 1980s lounge-rockaccompaniment.
Some in the crowd seem to believe thisband performs a public service bykeeping the candle flickering. Some thinkthis is a good way to recapture a youththat seems so bright in memory. Someask themselves, If they were In BobbyShaneâs position, with a name and someold songs that still make people cry,would they do what he is doing?
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