Kevin L. Glaser: The Great Tompall: Forgotten Country Music Outlaw
(2013/Right Side Creations) Kevin L. Glaser, English, Hardback w. dustjacket, 345 pages. The
Great Tompall: Forgotten Country Music Outlaw provides an in-depth look
at the life of one of country music's least recognized - but most
iconic and influential performers and business owners. Given
unprecedented access to Tompall, this book tells his story through his
own words and through the words of those who knew him best as the result
of many lengthy interviews.
addition to providing never-before known information about Tompall,
this book provides historical information about Nashville and gives a
glimpse of what country music was like during the 1960s up to the 1990s.
If you are a "classic" or an "outlaw" country music fan you will not
want to miss out on this highly acclaimed gem.
Video von Kevin L. Glaser - The Great Tompall: Forgotten Country Music Outlaw
Article properties: Kevin L. Glaser: The Great Tompall: Forgotten Country Music Outlaw
with Thomas Paul (Tompall) Glaser, Charles 'Chuck' Glaser, Jim Glaser: vocal; other details unknown
MGM K 14169 - master 70N 51 142
Marty Robbins had found the Glaser brothers in Nebraska and brought them to Nashville because he loved close harmony singing. Tompall, Chuck, and Jim Glaser had been recording since 1957 with very little success. Their first contract was with Robbins Records before Owen Bradley picked them up as Decca's answer to the Kingston Trio. The Glasers didn't help themselves in that they wrote or published Streets Of Baltimore, Gentle On My Mind, Sittin' In An All-Night Café, and Woman, Woman without keeping even one of those hits for themselves. Jack Clement signed them to MGM, for whom he was already producing the Stonemans. On their recordings, Clement could add all the elements that were off-limits on his Charley Pride productions: marimbas, Latin percussion, and mock-mariachi horns. In writing Gone Girl, Clement set himself the near-impossible task of finding seven lines to rhyme with gone girl. The fact that the rhymes only share assonance (ie. rhyming vowels) doesn't seem to matter greatly because the song is so engaging. Swirling and romantic, it hints at Clement's background in ballroom dancing. The Glasers' success with Clement at the helm earned them some belated recognition, including the CMA's Vocal Group of the Year award in 1970. True, it was a low competition category (in 1969, Johnny Cash and June Carter somehow qualified and won). Clement repurposed Gone Girl on his 1978 Elektra album 'All I Want To Do In Life,' and it became the title track of a 1982 Cash LP.