This Tuesday January 16, Shout Factory! is releasing a three-disc DVD box set of performances from ABC Networks “Hootenanny” TV series. The original show ran for 18 months between 1963 and 1964. The DVD set captures 80 performances from the series with names such as Judy Collins, Theodore Bikel, Johnny Cash, the Chad Mitchell Trio, the Tarriers (one of the first integrated groups to appear on television), Bob Gibson, Josh White Jr., Leon Bibb, Hoyt Axton, Ian & Sylvia, Miriam Makeba and many others.

The DVD’s contain some amazing performances from artists who did not normally perform on television, and there are some performances from groups that will remind the viewer of what inspired “A Mighty Wind“.

I found the discs fascinating and highly entertaining – a worthy addition to the library of anyone with an interest in the history and music of the folk revival. The history of this program mirrors the many differences and tribulations that made the folk revival such an interesting and groundbreaking period.

The years 1958 through 1965 are recognized by most folk music fans as the years of the “folk revival” here in the United States. The Kingston Trio hit the charts in early 1958 with “Tom Dooley” and the next 7 or eight years, folk songs were on the lips and in the ears of millions of people.

Television always had a strange affair with folk music. While some of the more commercial artists would find themselves appearing on variety shows, many of the names we recognize as leading the folk boom had a difficult time appearing on television. Not that it was primary motivation. Folk music was a handmade source of entertainment and those who were enjoying the style were not flocking to television – either as performers or as the audience.

Another factor that had an impact was the blacklist. Television and radio in the early 196o’s was still operating under the blacklisting policies of the McCarthy era. Television networks and advertising agencies were still afraid of the faces that would be selling products and entertainment over the public airwaves.

Not that folk music was hidden from television. In June of 1960, Cisco Houston hosted a one hour special on CBS-TV called “Folk Sound U.S.A.” with Joan Baez, John Lee Hooker and Flatt & Scruggs, Theodore Bikel and Oscar Brand also hosted programs that involved folk music. Many of the more commercial groups would find themselves on television variety specials and the Tonight Show. Even the Kingston Trio shot a pilot for situation comedy, but the final result did not make the cut.

In 1963, ABC decided to test the waters and created a weekly half hour program that they called “Hootenanny“. Fred Wientraub, owner of the Bitter End in Greenwich Village, was hired as talent consultant. The show would be hosted by Jack Linkletter, son of television icon Art Linkletter. The show was given a time slot on Saturday nights – opposite another television icon – Jackie Gleason whose show was a Saturday evening staple on CBS. The show would be filmed on location at college campuses across the country and would attempt to recreate a “hootenanny” style – a variety of performers taking their turn to sing.

Even before the first note was broadcast, word got out that ABC would be continuing the blacklist and Pete Seeger would not be invited to perform. ABC declared that Seeger wasn’t being invited because they felt he could not attract an audience, but obviously people saw through that excuse.

Joan Baez was scheduled to appear on the first show, but she made it known that if Pete Seeger would not be appearing, neither would she. ABC refused to budge and Joan stuck to her vow. ABC continued taping programs, but the word spread that Pete Seeger would not be appearing and artists started a boycott.

The folk community was divided. Many people, including Pete Seeger, saw the opportunities a show like this could afford. People who had dedicated their lives to furthering folk music realized that they had a huge potential audience.

ABC finally “relented” and offered Seeger a spot – with a condition. He would be required to sign a loyalty oath. For someone who had battled the blacklist and the House on Un-American Activies, this was not an acceptable solution.

Remarkably, even after mixed reviews and a difficult time slot, the show began to catch on. ABC decided to expand it to one hour. The struggle continued to get “name” performers, and producers decided to expand the scope by offering stand-up comics and occasional jazz performers. The DVD boxed set features some of those performances as well – a young Woody Allen and Bill Cosby are treasures. Louie Nye and Jackie Mason are a bit stiff for my tastes but it was interesting to note the style of comedy from that era – an age when comedy was going through as many changes as the music industry.

The changes did not help the program as ratings began to drop. Sponsors were not as eager to peddle their products on the program. In September 1964 the ax fell and “Hootenanny” was dropped from the ABC lineup. The supporters of the boycott, and the traditionalists who resented the “Madison Avenue” brand of folk music that was often featured, rejoiced.

“Hootenanny” was replaced by “Shindig!”, a series that would have more influence of the emerging rock music scene. Many of the production values of “Hootenanny” – the use of studio audience, camera blocking of performances, and the format would be found used in shows like “Shindig!” and other music programs yet to come. The show broke ground.

History has a way of becoming clouded with opinion as time marches on. A lot of negative opinion has been written over the years and the show is often dismissed as “second tier” quality performers with little connection to “real” folk music.

The DVD boxed set tells a different story.

Yes, there are performers that will make you cringe. I never cared for the New Christy Minstrels and that opinion still holds up after nearly 4 decades. Their performance comes across as too scripted for my taste, although I do give Barry McGuire credit for the powerful conviction that comes across in his performance. The rest of the group reminds me too much of “A Mighty Wind”.

There are a number of “collegiate” groups that appear on the DVD – The Brothers Four, The Traveler’s Three are two such groups. The cleaned up styles and set patter flew in the face of the music that traditionalists were expecting, and watching them again will not improve their opinion.

Yet some of these groups are notable for the joy they seem to be truly sharing. Watching the Rooftop Singers with the legendary Erik Darling, his childhood friend Bill Savanoe (who seems to tower over everyone in the video), and a gorgeous Lynne Taylor was a highlight of the tape for me. The interplay on “I’ve Been Working On the Railroad” turned a corny childhood ditty into an exciting musical expression of joy. Yes, it was stage and obviously rehearsed – but it does not hide the obvious pride the musicians shared in the fun music they were creating. There are a number of Rooftop Singer performances on this DVD set, and “Froggy Went a Courtin” is another example of their skill as performers.

Watching the Simon Sisters was a moving experience for me. I’ve always been a fan of Carly Simon, and the recordings I’ve heard of the Simon Sisters always bothered me because they seemed forced. The performance they gave on this DVD was the direct opposite of that. Lucy and Carly made it evident that they were siblings who loved what they were doing and on this DVD they deliver a passionate version of “Turn Turn Turn“.

The song brings up another point. While Pete Seeger may not have been present, his music and spirit was. I wonder if there was any controversy having the Simon Sisters sing one of his songs. There are stories that the censors and powers that be at ABC made some of the performers change the lyrics or not sing certain songs, but this DVD seems to show they could relax their views on occasion. The Chad Mitchell trio sang “The John Birch Society” on “Hootenanny”, but coincidentally the next day Bob Dylan was forbidden to sing his song about the John Birch Society on the Ed Sullivan show.

It should also be remembered that this show aired during the days when the Civil Rights movement was picking up momentum. Seeing an integrated group like the Tarriers must have ruffled a few feathers in parts of the country, but “Hootenanny” appeared ready to offer the stage to artists who might not have had an opportunity to perform on television before. This was the first time I saw either Clara Ward or Marion Williams. To say that their audio recordings do not do them justice is an understatement. The college audience gave thunderous applause to these great artists, and there was nothing phony about these performances. Whatever staging was done for these songs was not done for enhancement or effect, it was a natural extension of the music.

Miriam Makeba gives an inspired performance of two songs – “Love Tastes Like Strawberries” and “Umqokozo“. Josh White Jr. appears with his sister Beverly. I swear his voice has note changed one bit since 1963! It is remarkable how much he looks like his dad in this performance – the stance, shirt and style was near clone-like! Leon Bibb gave a stirring performance on “Rocks and Gravel”. Other outstanding African-American performers include the duo of Joe & Eddie.

Watching Bob Gibson was also a treat. By 1963 his crown was just beginning to tarnish as the drugs would soon overcome him – and as other artists gained prominence. Bob Gibson helped invent the persona of the “folk singer” and watching his masterful use of the camera and stage shows how he endeared himself to his audiences. He was more than a showman. One of the performances on this DVD is his classic “To Morrow“, and I think it is the best performance I’ve heard of the song.

If you like playing detective, you will have a thrill picking out some of the “background” performers present. Yes, that is Glenn Campbell playing bass guitar for Trini Lopez. The man who seemed to be playing stand-up bass for just about everyone was Bill Lee, the father of future film director Spike Lee. If your fast, you might be able to spot John Phillips with the Journeymen in his days before the Mamma’s and the Papa’s, and seeing June Carter perform with the Carter Family is an added attraction. Her future husband, Johnny Cash also shows up in the set.

The three DVD boxed set contains over 80 performances. In addition to the names I’ve already mentioned, I highly recommend the performances of Ian & Sylvia, Theodore Bikel, Doc Watson, and the Clancy Brothers with Tommy Makem.

I also think credit should be given to Jack Linkletter. He comes across as an intelligent and friendly host. He doesn’t force himself into the production as other hosts tended to do – he allowed the performers to be the stars. His manner of introducing the songs was perfect for the style. He imparted pertinent information, not claptrap.

It should be noted that the producers of this set had to use the original kinescopes. Videotape, which was relatively new in that day and age, was not preserved. A kinescope is actually a 16mm film shot of a television monitor at the time of broadcast. This was a common technique for shows of this type. Networks were not forward thinkers at the time and they would save the kinescope and if there were any videotape, they were usually recycled. Unless the program was being syndicated, films were also destroyed so kinescopes became the archival format – if they survived. Back in the early 1980’s, I worked for CBS. I remember going to the broadcast center in New York City and seeing a technician recycling a stack of 2″ videotapes of the old Captain Kangaroo series. Imagine how much of hour past is lost! Luckily kinescopes do survive of “Hootenanny” and the producers have done a nice job of restoring the program. Do not expect pristine quality but do not worry – it is very watchable.

Like other sets of this type, you won’t enjoy everything. If you truly keep an open mind and watch this without any preconceived notions, I believe you will appreciate and be entertained by most of the performances. It will also leave you wondering – “what if”. What if Pete Seeger had not been blacklisted and there was no boycott. Would the additional attraction of an audience have improved the stature of folk music? Would the “folk revival” have lasted longer? We will never know.

What we do know is that the show captured a moment in time and it also left its mark for other shows of the type. Thanks to the technology of DVD’s we can re-educate ourselves and make up our own minds on the historic legacy of “Hootenanny“.

Ron Olesko