Dave Penny‘s opening observation in the liner notes to Doin’ The Tennessee Wig Walk — the 26-song compilation taken from Bonnie Lou‘s King years — reminds me of Roy Lanham‘s similar quandary of being too jazz for country and vice versa:
Too pop to be embraced by the country community and too hillbilly to appeal to city-slickers, Bonnie Lou’s King releases occupy that small niche of early rural rockers that eschewed hillbilly boogie and ended up creating something unique.
King EP
(1956)
Notice, for instance, how “Daddy-O” from 1955 is propelled by a rhythm & blues handclap on the off-beat, while also remixed to include a “smattering of clarinet“:
“Daddy-O“
Written by Charlie Gore, Buford Abner & Louis Innis
Recorded Sep. 14, 1955 at King Studios
When Billboard debuted its Top 100 pop chart on November 12, 1955, listed at the #50 position, lo and behold, was “Daddy-O,” a member of the inaugural class.
Dave Penny helpfully informs us —
Such pop-slanted cross-overs resulted in King switching Bonnie from the 1000 country series on the maroon label to the main blue label 4000 series in late 1955 with “Daddy-O.”
shift from maroon to blue label
“Bonny” Lou
Penny adds that “Bonnie Lou’s performance had what it took to appeal to the teenagers of 1955 middle America – and to their European counterparts 25 years later, when it became a big hit in the rock ‘n’ roll clubs.”
In the US, “Daddy-O” was a #28 pop hit that enjoyed a twelve-week run on the Top 100 chart of Billboard, who reported the record to be “breaking out in areas as widely scattered as Baltimore, New York, Pittsburgh, Cleveland, Cincinnati and Chicago” in its November 5, 1955 issue. “Daddy-O,” a recording Bonnie Lou declared to be “ahead of its time” per Penny’s liner notes (and which may possibly include Otis Williams on backing vocals) notably, was issued three times within the space of three months.
Ad for 2nd issue of “Daddy-O” 45
Billboard‘s Oct. 29, 1955 issue
“America’s Fastest Growing POP Line”
Three weeks after this Billboard ad (above) was published, King issued a third 45 release of “Daddy-O,” however replacing “Dancing In My Socks” with Henry Glover‘s “Miss The Love” as the new flip side [see 45Cat]. Lowell Music – publisher of “Dancing In My Socks” – was said to be displeased by this decision, as reported in Billboard‘s December 17, 1955 issue.
Ponder, too, the bluesy guitar riffing and doo wop-flavored choral backing on “One Track Love” released the following year and note how Henry Glover‘s production likewise stands apart from much of country music at that time:
AUDIO = “One Track Love“
Published by Jay & Cee
Recorded June 7, 1956 at King Studios
Hagerstown, Maryland’s Herald-Mail, regardless, reported “One Track Love” – written by Henry Glover and Louis Innis – to be one of its ‘Hillbilly Hits‘ in its January 5, 1957 edition. Billboard‘s July 14, 1956 edition, meanwhile, would consider “One Track Love” to be one of the “New Pop Records” in its singles review:
A solid side. Flavor of this one is primarily country blues, but the appeal will surely be pop as well. Fine performance.
Sheet Music
Released in the UK on EMI subsidiary label, Parlophone, Bonnie Lou’s single would receive a playful poke in the pop platter reviews of Stoke-on-Trent’s Evening Sentinel for its October 13, 1956 edition:
Mayfair police will be happy at the title of Bonnie Lou‘s new number: “No Rock ‘n’ Roll To-night,” a slow lament. “One Track Love” on the back of Parlophone R 4215 goes full speed ahead, however.
Among Bonnie Lou‘s various collaborations with Henry Glover, “I Want You” — recorded December 8, 1956 in New York City — is a particularly charming confection that breezily straddles a number of stylistic boundaries. Cash Box, unsurprisingly, reviewed this single within its Pop Records Review section:
AUDIO = “I Want You“
Written by Dorian Burton
Recorded December 8, 1956 in New York City
Attached to the YouTube audio (above) is one comment (below) from a passionate fan who articulates why this recording is not only criminally overlooked but also far-sightedly multi-genre:
When you score a novelty hit (such as “I Want You”, by Bonnie Lou, should have been in 1957), it is bound to follow two diametrically opposed routes. It either: 01. Becomes a smash, for it piques the curiosity of each and everyone lending it a sympathetic ear, or; 02. Falls into oblivion/obscurity, for it is so innovative, and so ahead-of-its-time, that only a handful of people can truly appreciate its inherent beauty. This song seems to have followed the second pathway. (I may be erred.) Sad. For us. This song featured elements of: 01. Country; 02. Doo-Wop; 03. Latin (with background, leit-motif chords reminiscent of the Cuban song “El Manicero“); 04. Yodeling 05. [Jazz instrumental break] Etc.
“I Want You” was written by prolific country/R&B songsmith, Dorian Burton, who also penned “(It’s True) I’m In Love With You” for Jo Ann Campbell and co-wrote “A Tear Fell” for Teresa Brewer, as well as “I Can’t Love You Enough” with/for LaVern Baker, among many other songs.
Take note of the opening bass lines for 1957’s “Runnin’ Away” — similar in vein to “Fever” but with hand claps instead of finger snaps — followed by some bluesy piano riffing, plus a vocal group singing a chorus of “doo wop, doo wop, doo wop” that may or may not be Otis Williams And His Charms. Released as the flip side of “Teen Age Wedding,” “Runnin’ Away” ended up being reviewed (rightly, tellingly) in Cash Box‘s Pop Record Reviews section.
AUDIO = “Runnin’ Away“
Written by Louis Innis and Henry Glover
Recorded June 6, 1957 at King Studios
Bonnie Lou’s infectious delivery of a lyric about runnin’ away from heartbreak and trouble brings to mind Nancy Sinatra‘s wistfully upbeat pop productions with Lee Hazlewood from ten years in the future. “Runnin’ Away” — which takes inspiration from “Singing The Blues,” notes Cash Box‘s singles review — was pressed into service as a B-side, unfortunately, and never got the promotion it deserved. This lost (pre)-countrypolitan classic is in need of renewed consideration.
“Runnin’ Away“
New Zealand 78
(“A King Recording“)
“Runnin’ Away” is a vinyl-only track (i.e., not yet anthologized on compact disc) that can also be found on 1958 King compilation LP, Bonnie Lou Sings.
1955’s “Miss The Love” — a “rhythm ballad” produced for crossover appeal — features textbook “uptown” flourishes, such as steel guitar chimes and alternating male/female “pop” choruses, as well as tinkly, Floyd Cramer-esque piano lines.
AUDIO = “Miss The Love“
Written by Henry Glover
Recorded May 9, 1955 at King Studios
Cash Box‘s January 7, 1956 singles review:
Bonnie Lou, currently riding high with “Daddy-O,” has a potent follow-up disk in this catchy bounce novelty originating from the rock and roll catalog. Clever arrangement of a terrific novelty that could be a big hit.
Billboard‘s singles review taken from January 7, 1956 issue:
The appealing rhythm-ballad, originally kicked off in the r.&b. field by Otis Williams on DeLuxe, has an infectious tempo, and Bonnie Lou sells it with verve and charm.
“Old Faithful And True Love” — another track recorded at the May 9, 1955 King Studios session produced by Henry Glover — is distinguished by a pronounced rhythm, pop piano touches, and a buoyant gospel backing vocal that doesn’t sound particularly country-ish until Jerry Byrd‘s (best guess) soaring steel guitar arrives midway through.
AUDIO = “Old Faithful And True Love“
Written by Charles Singleton & Rose Marie McCoy
Recorded May 9, 1955 at King Studios
Australia 78
Billboard‘s June 11, 1955 singles review is something of a good news/bad news scenario:
King’s country and western yodeling canary tries her vocal wings on a pop r.&b.-styled rhythm tune with good results. However, her c.&w. following may not cotton to the switch.
Doo-wop influences really come to the fore on “Drop Me A Line,” yet another song recorded at the May 9, 1955 King Studios session overseen by Henry Glover.
AUDIO = “Drop Me A Line“
Written by Bubber & Hazel Johnson
Jay & Cee
Would you be surprised to learn that Billboard and Cash Box would both review “Drop Me A Line” within the pages of their respective Pop Record Reviews for the week ending June 11, 1955?
Cash Box
June 11, 1955
Reviewed with the likes of Gordon Jenkins, Tommy Edwards & Al Hibbler, et al.
“A sensational and super-commercial new piece of material is beautifully handled by Bonnie Lou. Song is one of the best to come along in quite a while and could make Bonnie a big star. An all-around top grade waxing.“
That same June 11, 1955 edition of Cash Box deems “Drop Me A Line” a Pop Best Bet. Billboard‘s June 11, 1955 review, likewise, describes this side as “another pop-styled disk.”
Consider, too, the muted trumpet and handclaps on the offbeat (once again) that drive Bonnie Lou’s early hit, 1953’s “Tennessee Wig Walk” – her third King 45 release, which did well in the UK, where it is said to have spent nine weeks inside the top ten. According to one 78 RPM contributor, on 5 Feb 1954, “Tennessee Wig Walk” reached Number 4 in the NME charts.
AUDIO = “Tennessee Wig Walk“
Written by Larry Coleman & Norman Gimbel
Recorded May 18, 1953 at King Studios
UK 10-inch
AUDIO = “Pa-Paya Mama“
Written by George Sandler, Larry Coleman & Norman Gimbel
Norway 78
“med orkester“
Billboard‘s October 3, 1953 issue
POP SINGLES REVIEW:
Bonnie Lou, a gal with an impressive set of pipes, reads the Latiny opus with a gay brightness. Backing has an infectious beat, and the side could pull spins and sales. This gal can happen pop-wise, as well as country.
AUDIO = “Huckleberry Pie“
Written by Blackie Crawford & Louis Innis
US 10-inch
Billboard‘s May 1, 1954 issue
POP SINGLES REVIEW:
The thrush has a bright novelty here, and she sells it with a lilt. If the market is ready for the tongue-twisters again, this could grab action.
AUDIO = “Tennessee Mambo“
Written by Erwin King
Netherlands 78
Billboard‘s December 11, 1954 issue
POP SINGLES REVIEW:
With the aid of vocal and instrumental backing, including maracas and all, Bonnie Lou makes a big, pleasant production out of this engaging piece of material. Her many fans in both the pop and country fields will enjoy it.
AUDIO = “Tweedle Dee“
Written by Winfield Scott
Denmark 78
Billboard‘s February 5, 1955 issue
POP SINGLES REVIEW:
The thrush comes thru with an attractive reading of the current hit, over a bright backing by a male chorus and ork. It’s rather late, but it could get a small share of the coin.
AUDIO = “Chaperon“
Written by Buford Abner, Charlie Gore & Louis Innis
New Zealand 78
Billboard‘s March 3, 1956 issue
POP SINGLES REVIEW:
Multi-voiced tracking sounds like a Patti Page job as Miss Bonnie bewails the presence of the chaperone when she and the fellah want to be alone. Definitely in the teen-age groove.
AUDIO = “Little Miss Bobby Sox“
Written by Buford Abner, Charlie Gore & Louis Innis
US 10-inch
Billboard‘s March 24, 1956 issue
POP SINGLES REVIEW:
If the average “teen queen” fits this description, things are really in tough shape. However, with its timely angle, the disk is likely to get some attention from the gal’s fans.
AUDIO = “Lonesome Lover“
Written by Earl Shuman, Alden Shuman & Marshall Brown
Australia 78
Billboard‘s May 5, 1956 issue
POP SINGLES REVIEW:
The way the singer swings this cute and catchy material is charming. Bonnie Lou has been building a following, and the fans ought to find this to their taste.
AUDIO = “Kit ‘n’ Kaboodle“
Written by Beverly Ross & Julius Dixon
US “bio disc”
Billboard‘s April 13, 1957 edition
POP SINGLES REVIEW:
This one swings in a bright country style but the sharp, multi-track reading has strong pop appeal. Good juke wax and one of the gal’s better efforts.
AUDIO = “Teen Age Wedding“
Written by Ben Weisman & Sylvia Dee
Canada 78
Billboard‘s July 1, 1957 edition
POP SINGLES REVIEW:
Well-constructed rock and roll ballad that carries thru an appealing teen theme. Thrushing is more than acceptable, and plugging could sell this.
*
Bonnie Lou would take some heat, however, for compilicity in pushing the traditional boundaries of country music. Cincinnati Post‘s long-time columnist, Mary Wood, profiled “the singer with the split musical personality” for the newspaper’s January 25, 1956 edition in a piece – “Off-Beat or Up-Beat, Bonnie Lou’s a Winner” – that was marked by a fair amount of good-natured finger wagging:
EXCERPT
On [WLW’s Midwestern] Hayride, Bonnie is strictly a “country” gal, but on her records she’s becoming one of the jivin’-est pop singers in the juke box brigade, with tunes like “Daddy-O” and “Miss the Love.”
“I’m a confused girl,” says Bonnie. “My heart’s with the hillbillies, but my bank account loves those record sales.
The reason Bonnie has switched from hillbilly to pop songs — on records, that is — is the teen-agers.
“They buy the records and the ones they buy are the upbeat tunes,” says Bonnie. “Take that new song, ‘See You Later Alligator.’ The words don’t make sense but it’s bouncy and the kids love it.”
“The people at King always got the songs for the artists. They told us what to record. King had a lot of country and rhythm & blues artists then, you see, and sometimes both black and white would play on the sessions.
Bonnie Lou (1987) quoted –
It was so hard to keep the records country.“
–
*
Dave Penny’s liner notes for Doin’ The Tennessee Wig Walk
“Pioneering singer who became one of the first country artists to cross over into rock ‘n’ roll,” begins Non Baxter‘s obituary of Bonnie Lou in the December 11, 2015 edition of UK’s The Independent. Baxter’s biographical tribute also provides hard-to-obtain sales numbers for both “Tennessee Wig Walk” and “Seven Lonely Days” — each disc purportedly selling “around 750,000 copies.” Billboard would readily acknowledge that “Seven Lonely Days” was “already a hit in the pop field” in its “country & western” singles review.
Born Mary Joan Kath in Towanda, Illinois, we also learn that Bonnie Lou had initially gained fame on KMBC’s Brush Creek Follies radio program as “Sally Carson,” whose backing group was named The Rhythm Rangers. Renamed “Bonnie Lou” due to prior contractual commitments, the yodeling star would go on to become a radio and television fixture in Cincinnati and the Ohio Valley on WLW’s Midwestern Hayride show, as well as Six Star Ranch, The Paul Dixon Show, Bob Braun’s 50-50 Club, Jamboree, and The Good Morning Show.
Bonnie Lou, who has appeared several times on WSM’s Grand Ole Opry stage, also waxed a version of “Two-Step Side Step,” a song authored by Murry Wilson — father of the three Beach Boys brothers, Brian, Dennis, and Carl — at the same May 18, 1953 King Studios session that produced “Tennessee Wig Walk.”
“Two Step Side Step“
CINCINNATI — EXPORTER of CULTURE
“Bonnie Lou Dreams of Royalty
Yodeler Is Big Hit As Recording Artist in the British Isles”
By James Devane
The Cincinnati Enquirer
March 10, 1955
EXCERPT
Bonnie Lou, Channel 5’s yodeler, has been dreaming lately of curtsying before Queen Elizabeth, or at least Princess Margaret. She thinks her dream has a good chance of coming true, too.
Bonnie, also known as Mrs. Glenn Ewins, is a recording artist as well as a television entertainer. Her platters sell passably well in the United States, but in the British Isles they pass over music-store counters as fast as the discs of the biggest names in the business. That’s why Bonnie’s been dreaming.
Since such Bonnie Lou recordings as “Tennessee Wig Walk” and “Two-Step Side Step” hit the thoroughfares of London and the highlands of Scotland, she’s received urgent requests to make personal appearances on the isle. “But they wouldn’t pay me enough,” says Bonnie.
The yodeler decided to wait until she’d become a big enough attraction abroad so she and her husband could travel there in style and come home with money in the band besides. Now the time seems near, for Bonnie has beat Georgia Gibbs into London with her recording of “Tweedle Dee.” “You should see the mail I’m getting,” she reports happily …
Just how internationally famous Bonnie has become recently was brought home to the Ewins family when Glenn received a letter from a friend he’d made in Australia during the war. “All we hear is this same American singer,” the Australian wrote, “Who in the world is Bonnie Lou?”
In 1953, when “Seven Lonely Days” hit the top spot on the Netherlands hit parade, Bonnie Lou was subsequently photographed wearing traditional Dutch clothing.
EPILOGUE
Bonnie Lou:
The People’s Choice
Randy McNutt Remembers
In 2009, writer/historian/music producer Randy McNutt had organized a panel discussion in conjunction with the release of his new book, King Records of Cincinnati, that was to include the “retired Channel 5 country music singer,” Bonnie Lou Okum, along with Steven Halper, nephew of the King Records founder, and Carl Edmondson, music producer famous for Lonnie Mack‘s 1960s sessions at King Records. Bonnie Lou, however, was feeling unwell on the day she was to appear at Cincinnati’s Joseph-Beth Booksellers, but as Randy McNutt recalls via email —
Bonnie did come. She dragged herself out of the house as a favor to me. She was in bad health when that King book of mine came out. She could hardly walk. But when she came into the bookstore, everyone was stunned. She was on my panel. I credit her for selling about 150 copies of the book that night. That’s all the store had ordered. They had to take orders from people that night. I signed every book, and it took a long time because people came up to me who had known me from recording. Even my high school math teacher came.
I had known Bonnie for some years. I once featured her in a book I did back in the ’80s. Bonnie was a beautiful person. I never heard anyone ever say a negative thing about her. With Bonnie, what you saw is what you got. She sent me a Christmas card every year with wonderful messages. She was funny and unpretentious. Around here, she was a big radio and TV star for decades. She was hilarious on Paul Dixon‘s show.
Years ago, a guy I knew in DC (worked for the Interstate Commerce Commission) begged me to introduce him to Bonnie. I said hey I can’t do that. He came into town on his way to Memphis, and we ate dinner. We knew nothing. I called her and said my friend wants to meet you but I know it’s a big imposition. She told me to meet her at a pancake restaurant over on Colerain Avenue at 10 a.m. on a Saturday. The guy didn’t know anything about it. In walks Bonnie. The whole place went silent as she walked down the aisle. Then applause broke out. My friend dropped his jaw.
Those outside the Ohio Valley may be surprised to learn that Paul Dixon provided the inspiration (along with Steve Allen) for the career path of David Letterman, who — as he admitted to WVXU’s John Kiesewetter years later — was also fond of Dixon’s musical sidekick.
F I F T I E S – F O O D – H I S T O R Y
Bonnie Lou’s Classic Cookery
An occasional column in Crestline, Ohio’s Crestline Advocate during the 1950s – WLW “Stars” Menu Magic – provided a forum for the radio station’s on-air talent to share favorite kitchen recipes with their listening public. Bonnie Lou’s 24 Hour Salad, included in the newspaper’s August 6, 1953 edition, has been reprinted below — a public service from the tireless staff at Zero to 180.
Bonnie Lou‘s 24 Hour Salad
- 1 large can (No. 2-and-a-half) pineapple chunks
- 2 cups white or tokay grapes
- 1 pound marshmallows
Mix the above ingredients together after drainking the juice off the pineappple and cutting the marshmallows into medium-size pieces.
Then make a dressing of –
- 4 egg yolks beaten or 2 whole eggs and 1 egg yolk
- Juice of one lemon
- 1/2 cup cream
Cook ingredients for the dressing until thick. Then add one-half pint whipped cream, mix with the fruit, grapes and marshmallows, and let stand for 24 hours.
LINK to Countrypolitan +/- Country pop
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