“It’s country music with a sort of massive Ray Charles feeling,” explained Buddy Killen in Billboard‘s August 2, 1969 edition for a news item entitled “Budden Killen Cuts Black Chorus in Country Album“:
NASHVILLE — A chorus of 40 voices from predominately Negro Tennessee A & I State University were blended under the production of Buddy Killen here last week for an LP in country music.
The unique undertaking, described as “genuine country blues,” was performed by The A & I University Singers for Dot Records. But thus continues its strong move into country with new concepts.
“It’s country music with a sort of massive Ray Charles feeling,” said Killen, who also produces such artists as Joe Tex, Diana Trask and others for Dot. In addition, he is vice-president of Tree [Publishing] and co-owner of Dial Records.
The album will contain such country standards as “King of the Road,” “Green, Green Grass of Home,” “Make the World Go Away,” “Heartbreak Hotel,” “Forever,” “Funny How Time Slips Away,” “Skip a Rope,” “Night Light,” “Don’t Touch Me,” “Busted” and “Tips of My Fingers.“
The recording was done at Woodland Sound Studio, under the engineering supervision of Glenn Snoddy.
Killen used all of the well known country musicians on the session.
LP released in the US –
and the Netherlands
The article above cites two songs that ended up not making the final cut — “Heartbreak Hotel” and “Tips Of My Fingers” — while misidentifying Willie Nelson’s “Night Life” as “Night Light.”
Record World‘s October 11, 1969 issue would also carry a brief news item stating that Buddy Killen “has completed a new album by Tennessee’s A&I University Singers, predominantly black chorus of 40 voices.”
Billboard
August 23, 1969
Betty Hofer, who penned the album’s rear cover liner notes, likewise makes mention of “Heartbreak Hotel” — unaware that the recording would be held back from the final running order at the eleventh hour:
Although you might very well be the coolest one on your block, you’re not really with it if you think that what you’re holding here is a record album. Because you, oh, Special One are clutching an EXPERIENCE!
Furthermore, congratulations are in order for you, since you happen to be among the very first to uncover Dot’s extremely new and unique Down Home, certainly packaged to look and feel just like any other ordinary LP, but produced with the ultimate excitement of a “sound” that leaves no question about it being more than a mere record album.
Buddy Killen has herein produced and recorded a group of selected singers … 40 voices in all … from the predominantly [B]lack Tennessee A&I State University Chorus. Keeping each tune simple, he blends pure soul into simple country … and creates a complete new concept of genuine country blues via such old favorites as “Forever,” “Make The World Go Away,” “Green, Green Grass of Home,” “Heartbreak Hotel” and “King of the Road.”
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Under the Direction of Eddie T. Goins –
Engineered by Glenn Snoddy & Lee Hazen
rear cover
No musicians listed on the LP jacket
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Killen, who initially achieved success in the country field as a song plugger for Tree Publishing, broadened his musical scope in 1961 with the launch of Dial Records, where Killen would produce a number of R&B and southern soul artists, most notably Joe Tex, who remained on Dial for fifteen years before making the major label leap to Epic in 1976.
“Prod. by Buddy Killen”
One of dozens
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“Son of A Preacher Man,” the opening track on the A & I University Singers’ 1969 album, is the only selection that is available in streaming audio on YouTube:
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The previous year, Billboard‘s Bill Williams had reported that country music was “now interracial” in a page-one piece for the music trade’s August 17, 1968 issue:
“Country Music Now Interracial“
By Bill Williams
NASHVILLE — Country music, long international in aspect, is now becoming interracial as well. There are currently three Negro performers in country music – the most successful being RCA Records’ [Charley] Pride – and the feeling is one of total acceptance. Beside Pride, the latest Negroes to score in country music are Junior Norman, who has just been signed as a regular member of the WWVA “Jamboree” live Saturday night show in Wheeling, W. Va., and Welton Lane.
This crossover of the black man into country music is not unmerited; r & b performers have long adopted country music songs and the Negro has always been present at country music concerts.
The pioneer in black country was Pride, who had to prove public acceptance after the industry welcomed him. A native of Mississippi, Pride spent recent years in Montana. He was signed by Jack Johnson, former[ly] with Cedarwood Publishing, to a management contract, then introduced to independent record producer Jack Clement, who arranged to do a recording session with him.
“It was strictly experimental,” Clement said. “He had a great sound and I knew that if he made it at all he would make it big. The whole question was one of acceptance.”
Clement’s doubts were alleviated when RCA quickly signed him and his first record became a hit. Pride now consistently establishes attendance records at his personal appearances; he is particularly popular throughout Texas.
Norman is also a pacesetter, in a way. His signing to the “Jamboree” marks the first time in recent years that a Negro performer has been given regular membership on a major country music vehicle. Norman, who had been playing modern country music at Harold’s Club in Zanesville, Ohio, will appear monthly on the “Jamboree” backed by his band, the Fugitives.
Welton Lane sees a bright new future for the black country artist. A Negro with Cherokee Indian blood, Lane sings “Soul Country,” and is scheduled to become the first recording artist of a new record company formed by long-time promoter Carlton Haney. Plans are being formulated for Lane to record for Haney’s label at Columbia Studios here. Lane makes his home in the Louisville, Ky., area where he sings and plays the organ at Masterson’s Steak House.
In recent months, Lane has appeared on shows with Loretta Lynn, Carl and Pearl Butler, Merle Travis, Porter Wagoner and Bill Anderson. Anderson currently is writing a song for Lane, which he will record. Janey plans to establish Lane as a recording artist before booking him.
While Pride, Norman and Lane represent only a small fraction of the country music artists, they still constitute a strong inroad and acceptance of the black man in still another facet of the music industry. Ironically, these three men represent a *drought of more than 20 years of the black man participating in country music in a direct fashion [*actually, see Henry Glover’s writing and production work at King Records – link here and also here]. The late Judge George D. Hay “discovered” a young black bellhop playing the harmonica and put him on the “Grand Ole Opry” years ago. The youngster, DeFord Bailey, went on to become a regular into the 1940’s. His failure to learn more than two or three songs was said to have been the reason for his ultimate departure. Bailey now operates a shoe shine stand in Nashville.
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Record World
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LINK to Country Soul +/- Funk
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