House of Hits: The Story of Houston's Gold Star/SugarHill Recording Studios (Brad and Michele Moore Roots Music) Read Online Free PDF
Author: Roger Wood Andy Bradley
like him built most of the early studios and manufacturing plants in Houston, Dallas, and San Antonio.
Quinn’s original pressing plant and, some years later, Gaspar Puccio’s Houston Records were among the fi rst. These were all self-reliant projects, for it was not until the early 1970s (when technological groundbreakers such as Rupert Neve began producing high-quality recording equipment in quantities to supply the needs of the burgeoning fi eld) that studio owners generally stopped designing and building their own equipment.
Since the 1930s Houston had been a particularly fertile area for country singers and dance bands, the original focus of Quinn’s involvement in the music recording business. Bill C. Malone, in Country Music, U.S.A., cites Gold Star Studios as his fi rst example of the many small recording companies that had come into being by the 1950s. Yet, despite the fact that it originally announced itself to the world via the slogan “King of the Hillbillies,” Quinn’s fl edging enterprise, as far back as 1947, was already crossing the racial barriers of the time to record African American music. Why? More so perhaps than any other city in the state, Houston was the center of a thriving black community. Hence, by the late 1940s, it was making its mark on the popular genres of blues, R&B, and gospel, with artists such as Lightnin’ Hopkins and moguls such as Robey leading the way. Despite the rigid segregation in place at the time, Quinn was, almost from the start, a major documentarian of the sounds of mid-century black Houston.
By the 1950s Quinn’s studios were also home to the Starday and D Records labels owned by Harold W. “Pappy” Daily (1902–1987), a native of Southeast Texas who became a prominent music publisher, producer, and promoter.
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Among other achievements, Daily helped to launch the recording careers of George Jones, the Big Bopper, Johnny Preston, Frankie Miller, Roger Miller, and several other members of the Country Music Hall of Fame.
Almost from the start Quinn was recording both country music by whites and blues by black performers. These two categories of roots music represent the dominant sounds of the otherwise mostly segregated white and black working classes of the era. Quinn recorded Mexican American music too.
Together these styles formed the foundation not only for the early success of the Gold Star venture but also for the larger music culture of Houston—and that of Texas in general.
However, although country and blues sensibilities best characterize the music fi rst produced by Quinn, multiple varieties of rock, jazz, zydeco, pop, Tejano, R&B, rap, classical, contemporary Christian, and other genres ultimately become part of the story too. Now well into the twenty-fi rst century, this historic studio company still exists in a structure built onto what was once his family home. Where else could such a phenomenon occur? Only in a city that has always allowed property owners to build pretty much whatever they want on their land, even if it is situated in a residential neighborhood.
And only in a city that has been a hotbed of talent for so many diff erent styles of music. And, even more to the point, only at a studio company that has long embraced a no-zoning philosophy in its approach to music recording.
Like Houston itself, the Gold Star/SugarHill complex is a sprawling, seemingly unplanned and unrestricted, multicultural place. Compared to certain high-class counterparts elsewhere, both the city and the recording facility may seem unimpressive at fi rst glance. Yet beyond their funky exteriors, both share some rare achievements and distinctions. One is tempted to say that they share a common spirit or soul, a certain intangibility.
Perhaps noted rock journalist Chet Flippo sums it up best when he de-fi nes the essence of Texas music as “crude grace.” That oxymoronic phrase may refer
Quinn’s original pressing plant and, some years later, Gaspar Puccio’s Houston Records were among the fi rst. These were all self-reliant projects, for it was not until the early 1970s (when technological groundbreakers such as Rupert Neve began producing high-quality recording equipment in quantities to supply the needs of the burgeoning fi eld) that studio owners generally stopped designing and building their own equipment.
Since the 1930s Houston had been a particularly fertile area for country singers and dance bands, the original focus of Quinn’s involvement in the music recording business. Bill C. Malone, in Country Music, U.S.A., cites Gold Star Studios as his fi rst example of the many small recording companies that had come into being by the 1950s. Yet, despite the fact that it originally announced itself to the world via the slogan “King of the Hillbillies,” Quinn’s fl edging enterprise, as far back as 1947, was already crossing the racial barriers of the time to record African American music. Why? More so perhaps than any other city in the state, Houston was the center of a thriving black community. Hence, by the late 1940s, it was making its mark on the popular genres of blues, R&B, and gospel, with artists such as Lightnin’ Hopkins and moguls such as Robey leading the way. Despite the rigid segregation in place at the time, Quinn was, almost from the start, a major documentarian of the sounds of mid-century black Houston.
By the 1950s Quinn’s studios were also home to the Starday and D Records labels owned by Harold W. “Pappy” Daily (1902–1987), a native of Southeast Texas who became a prominent music publisher, producer, and promoter.
8
h o u s e o f h i t s
Bradley_4319_BK.indd 8
1/26/10 1:12:09 PM
Among other achievements, Daily helped to launch the recording careers of George Jones, the Big Bopper, Johnny Preston, Frankie Miller, Roger Miller, and several other members of the Country Music Hall of Fame.
Almost from the start Quinn was recording both country music by whites and blues by black performers. These two categories of roots music represent the dominant sounds of the otherwise mostly segregated white and black working classes of the era. Quinn recorded Mexican American music too.
Together these styles formed the foundation not only for the early success of the Gold Star venture but also for the larger music culture of Houston—and that of Texas in general.
However, although country and blues sensibilities best characterize the music fi rst produced by Quinn, multiple varieties of rock, jazz, zydeco, pop, Tejano, R&B, rap, classical, contemporary Christian, and other genres ultimately become part of the story too. Now well into the twenty-fi rst century, this historic studio company still exists in a structure built onto what was once his family home. Where else could such a phenomenon occur? Only in a city that has always allowed property owners to build pretty much whatever they want on their land, even if it is situated in a residential neighborhood.
And only in a city that has been a hotbed of talent for so many diff erent styles of music. And, even more to the point, only at a studio company that has long embraced a no-zoning philosophy in its approach to music recording.
Like Houston itself, the Gold Star/SugarHill complex is a sprawling, seemingly unplanned and unrestricted, multicultural place. Compared to certain high-class counterparts elsewhere, both the city and the recording facility may seem unimpressive at fi rst glance. Yet beyond their funky exteriors, both share some rare achievements and distinctions. One is tempted to say that they share a common spirit or soul, a certain intangibility.
Perhaps noted rock journalist Chet Flippo sums it up best when he de-fi nes the essence of Texas music as “crude grace.” That oxymoronic phrase may refer
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