Bonnie Guitar, a name synonymous with groundbreaking achievements in the music industry, stands as a testament to talent, versatility, and sheer determination. Hailing from Seattle, this exceptional musician, songwriter, singer, and record executive carved a unique path, becoming one of the brightest stars to emerge from the vibrant Pacific Northwest music scene. Her career was marked by an unprecedented ability to transcend genres, effortlessly charting hits on both pop and country charts from the 1950s through the 1980s. But Bonnie Guitar’s impact extended far beyond her solo success. She was a force multiplier in the industry, contributing her instrumental prowess, keen ear for talent, and production skills to the careers of countless aspiring artists. In an era where the music industry was heavily dominated by men, Bonnie Guitar shattered barriers, leaving an indelible mark as a true pioneer.
From Redondo Beach to Music City Dreams
Born Bonnie Buckingham on March 25, 1923, in Seattle, her early life began in the coastal community of Redondo Beach on Puget Sound. Later, her family, which included five siblings, relocated to a farm near Auburn, immersing young Bonnie in a more rural setting. Music was woven into the fabric of her upbringing. Her father and uncle, Bert G. Buckingham, were both accomplished old-time fiddlers, filling their home with traditional melodies. At the age of 13, Bonnie’s musical journey took a personal turn when her two older brothers passed down their flat-top Gibson guitar to her. This simple act ignited a lifelong passion and set the stage for her remarkable career as Bonnie Guitar.
By the age of sixteen, Bonnie was already showcasing her burgeoning talent in local talent shows. Her victory at Seattle’s Rialto Theater, where she captivated the audience with Jimmie Rodgers’ classic country blues tune, “Mississippi Moon,” marked the beginning of her public performances. This early success propelled her into a musical revue, touring smaller theaters across the region during the challenging years of the Great Depression. These formative experiences were crucial in shaping her musical identity. She absorbed diverse musical influences and honed her skills as both a singer and guitarist, laying the foundation for her future versatility. By 1942, seeking a stage name that resonated with her evolving artistry, she adopted “Bonnie Lane,” her first professional moniker, signaling the start of her serious pursuit of a music career.
Mentorship and Musical Growth
Bonnie Guitar’s commitment to musical excellence led her to seek instruction from respected local teachers, including Bobby Fisher, Joe Farmer, and Al Turay. However, it was her association with Seattle’s Paul Tutmarc (1896-1972) that proved most transformative, both musically and personally. Tutmarc, who operated a music studio in downtown Seattle, became her mentor and guide. He recognized her exceptional talent and took a special interest in nurturing her abilities. Their professional relationship deepened, eventually leading to a personal one. Tutmarc divorced his wife in 1943, and in the following year, he and Bonnie married. They established their home in Renton and began performing together at venues like the Eagles Nest lounge, perched atop the Eagles Auditorium in Seattle, and later at establishments like the Elks Club and the Surf Theater Restaurant. This period of collaboration with Tutmarc was instrumental in solidifying Bonnie’s musical foundations and broadening her performance experience.
Alt text: Bonnie Guitar playing a National Electric Spanish guitar alongside Paul Tutmarc on lap steel guitar during an early performance, highlighting their country music focus.
The Tutmarcs’ musical journey took a significant turn when they joined the K-6 Wranglers, a prominent country band promoted by KVI radio’s influential country/western DJ, Buck Ritchey. This high-profile band, which at times included Jack “Oklahoma Hills” Guthrie, Woody Guthrie’s brother, was a fixture in the region’s thriving roadhouses and dancehalls and enjoyed regular radio airtime. The Tutmarcs readily embraced this opportunity, shifting their musical focus towards country music. Bonnie strummed her National Electric Spanish guitar, while Tutmarc played his Audiovox lap steel guitar, a brand he had been manufacturing since the 1930s. Despite their earlier repertoire encompassing pop, Hawaiian, light jazz, and standards, their immersion into the K-6 Wranglers solidified their presence in the country music landscape.
Early Recordings and Genre Versatility
Bonnie Guitar’s songwriting talents emerged early in her career. During her time with KVI’s K-6 Wranglers show, which aired from around 1944 to 1947, she was challenged to write a yodeling song. Her quick response, “The Two-Timin’ Yodeler,” became a listener favorite. In 1948, Morrison Records, a pioneering Seattle record company, released the Wranglers’ first 78 rpm record, featuring “The Two-Timin’ Yodeler” backed with “The Old Barn Dance.” This marked Bonnie Guitar’s first foray into recorded music.
Over the next few years, the Tutmarcs continued to record for Morrison Records, producing tracks like “Sailing Through The Sunny San Juan Isles” and “Old Montana Cowboy.” By 1950, they transitioned to Rainier Records, another local label, where they recorded country songs such as “Cowboys Serenade” and “Ain’t You ‘Shamed.” Even while deeply involved in the country scene with Tutmarc, Bonnie Guitar’s versatility shone through. She maintained a presence in other musical spheres, performing country music with Tutmarc at the Silver Dollar Tavern while simultaneously singing with big bands like the Abe Brashen Orchestra and Wyatt Howard’s Orchestra at the Town & Country Club. Further showcasing her pop inclinations, she recorded “If You Would Only Be Mine” with Norm Hoagy Orchestra for Listen Records. In 1952, Listen Records further highlighted her pop sensibilities by releasing two pop tunes, “Don’t Blame Me” and “I’m In The Mood For Love,” under the pseudonym Candy Wayne. This period underscored Bonnie Guitar’s remarkable ability to navigate and excel in diverse musical genres, a hallmark of her entire career.
Hollywood Beckons and a Pivotal Decision
In the early 1950s, as Bonnie Guitar’s career progressed, she and Paul Tutmarc welcomed a daughter, Paula, into their lives. They also built a custom-designed home overlooking Lake Union, which included space for their Paul & Bonnie’s Guitar Studio, where they imparted their musical knowledge to students. Around 1952, a local songwriter approached Bonnie to record demonstration tapes of original songs for Hollywood pitches. These tapes landed in the right hands, catching the attention of Herb Jefferies, a prominent music industry figure and former vocalist with Duke Ellington’s Orchestra. Jefferies invited Bonnie to Hollywood for an audition and potential screen test with MGM Pictures.
While Tutmarc had his own fleeting Hollywood experience decades prior, he was reportedly ambivalent about his wife’s burgeoning opportunities, possibly due to protectiveness or jealousy. Nevertheless, Bonnie, Paul, and their young daughter traveled to Hollywood. Bonnie’s talent and beauty impressed industry executives, and promising showbiz opportunities were presented to her. However, Tutmarc’s discomfort with the attention Bonnie received escalated, and he threatened to return to Seattle with their baby if she pursued the MGM screen test. Faced with this ultimatum, Bonnie Guitar made a pivotal decision, prioritizing her family and returning to Seattle. While this Hollywood foray didn’t immediately materialize into a film career, it planted a seed and foreshadowed her eventual return to California and her breakthrough in the music industry.
California Dreamin’ and the Rise of Bonnie Guitar
Back in Seattle, Bonnie Guitar didn’t abandon her musical aspirations. In 1955, she recorded another demo tape at Seattle’s Electricraft Inc. studios. This tape found its way to Malibu, California, and into the hands of record producer Fabor Robison. Robison, who owned a studio and three independent labels (Abbott, Radio, and Fabor Records) known for launching country stars like Johnny Horton and Jim Reeves, was captivated by Bonnie’s exceptional guitar playing and invited her to audition.
Determined to seize this opportunity, Bonnie Guitar signed an exclusive contract with Robison as a session player. This contract, however, contained a restrictive clause that would later create complications, preventing her from working for any other studio or label in California. Despite this limitation, this marked an exciting phase in her career. As a studio house band member, Bonnie played guitar on numerous recording sessions, absorbing invaluable recording techniques and studio expertise. She quickly progressed to becoming an assistant engineer, a remarkable achievement for a woman in that era. This hands-on experience in audio production would prove invaluable throughout her career.
Alt text: Bonnie Guitar holding her Gretsch Country Club guitar, a promotional shot emphasizing her guitar skills and association with the hit song “Dark Moon”.
Initially, Robison seemed hesitant to feature Bonnie as a solo artist. He did release a few singles on his Radio label, such as “If You See My Love Dancing” and “Hello, Hello Please Answer,” but these were sparsely produced and lacked backing bands. Despite Bonnie’s strong performances, critics recognized the need for the right material and arrangement to truly showcase her potential. The turning point came in late 1956 when Bonnie discovered “Dark Moon,” a song by Ned Miller that Robison was struggling to record with Dorsey Burnette. After persistent requests, Bonnie convinced Robison to let her record it. In a crucial agreement, she waived potential royalties for the chance to record the song her way. Produced with the “right arrangement”—featuring Bonnie on her Gretsch Country Club guitar, a bassist, and Miller playing intricate guitar figures—”Dark Moon” was released on Fabor Records in March 1957. It became an instant hit in California, signaling the arrival of Bonnie Guitar as a solo star.
“Dark Moon” and National Stardom
Robison’s strategic move to partner with Dot Records, a larger label, amplified the reach of “Dark Moon.” By March 30th, Billboard magazine heralded it as “The Biggest Smash of the Year!” Within days, “Dark Moon” catapulted onto the national pop charts, launching Bonnie Guitar into national prominence. She was summoned to New York City for a performance on CBS’s prestigious Ed Sullivan Show. Her arrival in Manhattan was a whirlwind of “pop-star” treatment, complete with limousine pickups and throngs of screaming fans. Backstage, she mingled with fellow stars, including Seattle’s own Frances Farmer. Her elegant performance of “Dark Moon” on the June 30, 1957, broadcast solidified her national breakthrough. “Dark Moon” soared to No. 6 on Billboard’s pop chart, and Bonnie Guitar embarked on tours with major acts like the Everly Brothers and Jerry Lee Lewis.
Her follow-up single, “Mister Fire Eyes,” further cemented her crossover appeal, charting on both pop (No. 71) and country charts (No. 15). She graced television screens on Dick Clark’s American Bandstand and West Coast programs like Ranch Party. Bonnie Guitar’s rising star was acknowledged when Billboard magazine named her Most Promising New Vocalist. She performed at the Grand Ole Opry in Nashville, receiving an offer for a regular spot, but she declined, prioritizing her beloved studio work over performance commitments, a decision she also made regarding Las Vegas showroom offers. However, her relationship with Robison soured when he demanded to become her personal manager, seeking control over her assets. Bonnie resisted, leading to their professional separation.
Dolton Records and Northwest Music Legacy
By late 1958, Bonnie Guitar returned to Seattle and connected with Bob Reisdorff, a promotion man at C&C Distributing with aspirations of launching his own record label. They partnered to create Dolton Records, leveraging Reisdorff’s promotional expertise and Bonnie’s production skills. Working from Joe Boles’ Custom Recording studio in West Seattle, Dolton’s debut release, “Come Softly to Me” by the Olympia doo-wop trio, the Fleetwoods, became an international sensation, reaching No. 1 on Billboard’s pop chart. Their subsequent hit, “Mr. Blue,” mirrored this success. Dolton Records continued its hot streak with hits from other Northwest teen bands like the Frantics and Little Bill and the Bluenotes, significantly shaping the Northwest music scene.
Despite Dolton’s rapid success and wealth generation, tensions arose between Bonnie Guitar and Reisdorff. While a Cash Box magazine cover in March 1960 depicted them smiling, Reisdorff reportedly resented the recognition Bonnie received for her production skills, particularly when Bill Gavin named her “Top Producer” of the year. Although Reisdorff acknowledged her studio talents, he reportedly bristled at her active role in scouting, signing, and recording local artists. Accounts even suggest Bonnie courted Jimi Hendrix’s teen band, James Thomas and his Tomcats. Internal conflicts at Dolton may have contributed to those early Hendrix recordings being released by Nolta Records instead. By 1960, these tensions led Bonnie to leave Dolton, partnering with Jerry Dennon to form Jerden Records. While Jerden released notable Northwest rock ‘n’ roll singles, it didn’t replicate Dolton’s massive success and dissolved in 1961.
RCA and Dot Records: Industry Executive and Country Star
After Jerden Records, Bonnie Guitar returned to Hollywood and achieved another groundbreaking milestone. She was hired as the head of Artist & Repertoire (A&R) for RCA Records’ country division, an unprecedented position for a woman in the industry. RCA also released her own singles, and Bonnie began to establish herself in the national country scene, touring with Eddy Arnold and performing with country legends like Johnny Cash and Willie Nelson. In 1965, she signed directly with Dot Records—this time as an artist, producer, Acting Vice President, and country A&R representative for Dot’s parent company, ABC-Paramount.
This period was exceptionally productive. Bonnie produced pop tunes for bands like the New Tweedy Brothers and Vancouver B.C.’s Original Caste, even producing her daughter Paula’s single “Freedom’s Child,” which became a West Coast hit under the name Alexys. Her own singing career experienced a resurgence, marked by a string of hits starting with 1966’s pop hit “I’m Living In Two Worlds,” and country hits like “Get You Lie The Way You Want It” and “The Tallest Tree.” Her album Miss Bonnie Guitar also charted in 1966. The Country & Western Music Academy recognized her achievements, naming her Top Female Vocalist in 1966. In 1967, she achieved her biggest hit, “A Woman’s Love,” reaching No. 4 on the charts. Further hits followed, including “Stop The Sun” and “I Believe In Love,” solidifying her status as a leading female vocalist in country music.
Later Years and Enduring Legacy
By the late 1960s, Bonnie Guitar began to shift her focus away from Hollywood and Nashville, spending more time at her ranch in Orting, Washington. She married Mario DiPiano, and they started a new chapter raising quarter horses. While the record industry remained a part of her life, with minor hits on labels like Columbia and MCA in the 1970s, her priorities evolved. The loss of her husband in 1983 led to a period of withdrawal from public life. However, she eventually returned to performing, accepting a long-term engagement at the Businessmen’s Club of the Notaras Lodge in Soap Lake, Washington, from 1983 to 1996.
In 1989, Bonnie Guitar’s pioneering contributions to the Pacific Northwest music scene were officially recognized with her induction into the Northwest Area Music Association (NAMA) Hall of Fame. Germany’s Bear Family label released a compilation CD, Dark Moon, in 1991, further preserving her musical legacy. When Seattle’s Experience Music Project (EMP) museum opened in 2000, its Northwest Passage exhibit prominently featured Bonnie Guitar’s remarkable career. Bonnie Guitar passed away on January 13, 2019, leaving behind a rich musical heritage and a powerful example of a woman who defied conventions and achieved lasting success in a male-dominated industry. Her story continues to inspire aspiring musicians, particularly female guitarists, and her music remains a testament to her enduring talent and pioneering spirit.
Alt text: Bonnie Guitar pictured later in her career, showcasing her sustained involvement and recognition within the music community.
Sources:
The K-6 Wranglers Present a Jack Guthrie Songbook (Tacoma: Western Entertainment Enterprises, ca. 1946); Warren Brier, “‘Dark Moon’ Brightens Career: Bonnie Guitar, Hometown Girl, Comes Home to Plug Records,” Seattle Post-Intelligencer, July 17, 1957; Music Vendor magazine, March 30, 1959, p. 13; “Bonnie Guitar,” Variety Magazine, February 19, 1958, p. 55; “Bonnie Guitar,” Variety Magazine, March 4, 1965, p. 83; author interviews with: Bonnie Guitar (recorded 1985 & April 14, 1989), tapes in author’s possession; Bonnie Guitar (November 16-17, 1995, videotaped by EMP at Notaras Lodge, Soap Lake); Bob Reisdorff (recorded 1988 and 1999), tapes in author’s possession; Jerry Dennon (recorded in Seattle December 3, 1988, etc.), tapes in author’s possession; Ross Anderson, “Bonnie Guitar’s ‘Last Hurrah,'” Seattle Post-Intelligencer, March 9, 1986, pp. L-1, L-5; Peter Blecha, “1989 Northwest Hall of Fame Awards: Bonnie Guitar,” The Rocket, May 1989, p. 20; Emmett Watson, “Like a Fine Wine, Bonnie Guitar’s Tunes Improve with Age,” The Seattle Times, June 20, 1989; Mary Willix, Jimi Hendrix: Voices from Home (San Diego: Creative Forces, 1995), 82; Joel Whitburn, compiler, Top Pop Singles 1955-1986 (Menomonee Falls, WI: Record Research Inc., 1983); Joel Whitburn, compiler, Top Country Singles 1944-1988 (Menomonee Falls, WI: Record Research Inc., 1989); Greg Tutmarc, email to Peter Blecha, January 13, 2019, in possession of Peter Blecha, Seattle, Washington.
Note: This entry was updated and corrected on January 13 and 31, 2019.
