[78-L] More on Mitch Miller

[Michael Biel]

  On 8/3/2010 11:40 AM, David Lennick wrote:
>   Hindsight is wonderful. But if you were around in the mid 50s and listening to all kinds of music, you'll know that rock and roll WAS regarded with horror by the major record labels, even though Victor did sign Elvis and Decca already had Bill Haley, whose recordings were being produced in a style similar to those that had brought us Louis Jordan the previous decade.

Both Haley and Elvis were originally considered C&W performers.  In 
fact, the matrix numbers on Elvis' first Victor recordings included the 
"Western" indicator.  Miller just kept more control over the sound of 
Marty Robbins, another performer from the C&W field.

>   Columbia Records was highly regarded for its classical albums, its Broadway recordings (with My Fair Lady, in which Columbia had invested, who needed music that would appeal only to teenagers with 85 cents in their pockets?), jazz and country. Miller opposed rock and roll, but that was also the corporate mindset at the time. And they made up for it in time.  dl

George Avakian was an exec in charge of Columbia Pop at that time, not 
jazz.  And Haley's first session with Rock Around the Clock was produced 
by Milt Gabler.

If you listen to REAL rock station air-checks from the 50s and look at 
their published charts, you will find to your amazement that usually 
less than 25% of the records played on these formats were really what we 
now consider to be rock 'n' roll.  There was a LOT of Perry Como, Doris 
Day, Johnny Mathis, Pat Boone, Four Aces, Four Lads, Kingston Trio, and 
even Yellow Rose of Texas, and very LITTLE of Jerry Lee Lewis, Chuck 
Berry, Little Richard, etc.  We are remembering the era thru the filter 
of oldies stations in the 70s and 80s, and those Oldies But Goodies LPs,

Mike Biel  mbiel at mbiel.com

>> From: soundthink at live.com
>> To: 78-l at klickitat.78online.com
>> Date: Tue, 3 Aug 2010 08:34:34 -0700
>> Subject: [78-L] More on Mitch Miller
>>
>>
>> I think that Mitch Miller, like any other A&R man, invoked his own personal taste on his company's recording artist roster. He hated rock 'n' roll, and despite the promise of huge sales for the genre, and refused to acknowledge it by not signing Elvis Presley, Buddy Holly, and others. The Marty Robbins track "A White Sport Coat" was an attempt to placate the r 'n' r crowd with softened-up arrangements. Before this, Robbins had moved from honky tonk to hard-edged rockabilly as well. Columbia did have rockabilly songs throughout the mid-to-late '50s that weren't watered down (Collins Kids, Johnny Horton, Sid King&  the Five Strings), but I imagine Miller had no say in non-New York activities (all of those artists were recorded on the West coast, Texas, or elsewhere). I don't think even Ray Price was watered down yet during Miller's regime. I haven't been able to check locations for Columbia's harder-edged country recordings of the late '50s but I would venture a guess that none
>> were done in New York under Miller.
>>
>> Robbins was being converted to a pop singer at the time and Ray Conniff was assigned to arrange his records in 1957 and '58. Robbins had a string of hits in this vein (including "The Story of My Life," which was the first song hit for MOR composer Burt Bacharach, "Just Married," and others) but rescued himself when he joined the "western saga" trend that hit country music, beginning in 1959 with "El Paso." Country music's descent into the abyss known as "The Nashville Sound" was temporarily aborted for the next few years with western/historically themed songs like "Don't Take Your Guns to Town" (Johnny Cash), "The Battle of New Orleans" (Johnny Horton), "Big Bad John" (Jimmy Dean), and "Tennessee Stud" (Eddy Arnold).
>>
>> Cary Ginell