The Nightclub Years

While developing his musical theater career during the 1960's, Mr. Horton also had a very successful nightclub act. The reviews were sensational! The Houston Post said, "Robert Horton A Smash!" They went on to say, "Robert Horton is a pleasure in the Continental Room and a true rarity: He is an acting star who actually has a fine singing voice and a good nightclub show. His audience demanded an encore and he deserved it. Horton kids a little bit about his TV experiences and has a great deal of charm, but he spends most of his time singing, excellently, such songs as 'Dames,' 'I've Got You under My Skin,' 'Mame,' 'Shenandoah,' 'It Was A Very Good Year,' and many more." 
The Houston Chronicle said, "Horton has dropped his Western image and audiences love him."

A 1967 review in Variety, of Mr. Horton's nightclub show, said the following:

"Robert Horton, best known as the 'scout' on 'Wagon Train,' scores solidly

here as a red-haired Little Abnerish baritone belter. Horton perhaps will surprise
some auditors who expect the usual legit actor turned singer, with loud arrangements
to cover difficult notes. He has Broadway credits ("110 in the Shade"), knows his 
way around a supper club, and has enough confidence in his ability to hold his audience 
that he tries several soft tunes which are potential disasters if there's one table of drunks 
in the place.
"Horton does have good arrangements, and even brings off  'I've Got You Under
 My Skin' to  Tijuana beat. Best received tunes are 'Who Can I Turn To?', 'Dames,' 
'Gonna Build a Mountain,' 'Impossible Dream,' and 'Very Good Year,' soft and slow, 
with every note true.
"Horton didn't intend for the show to go 55 minutes, but patrons insisted he return 
for encores, so he did unscheduled 'Irresponsible.' He gives a little biographical patter, 
wisely held to a minimum, and makes his only bow to a TV Western background by 
pulling a revolver from his tux waistband."
Of his debut at the Flamingo Club the Las Vegas Sun said, "The rugged redhead projects an excellent image onstage, both charming and manly, as he smoothly works his way through such velvety offerings as 'Who Can I Turn To,' 'People,' 'Shenandoah,' and 'The Impossible Dream.' Betty Burris said, "He combines acting and singing to put more meaning into 'The Impossible Dream' than anyone to date." 
Joan Quarm, of the El Paso Herald Post, said of his voice that it's "a very special combination of that vibrant Johnny Mathis quality in the lower register, and a fine strong masculine upper register which recalls sunlight and trekking West, and people like Flint McCullough." And Gail Lucas, of the Citizen-Journal in Columbus, Ohio, claimed, "His singing voice is magnificent. It's strong and resonant."
Mr. Horton's reception in Sydney, Australia, was equally enthusiastic. Jock Veitch of the Sun-Herald said, "Robert Horton proves himself equally at home on the stage with a ballad, as he was on the screen with a horse," while Matt White, of the Mirror claimed, "Sydneysiders will soon know that Robert Horton is a first class vocalist." And Norman Kessell, of the Sun said "Completely individualistic, interpretation backed by a warm and well controlled voice and first class arrangements." His nightclub appearance was so well received in Australia, that it was taped for a TV special.

Bob also appeared on the very popular "Ed Sullivan Show" in 1963, '64, '67, '68, as well as having the album of the week in 1964 with "The Very Thought of You." The review by Joan Crosby, Newspaper Enterprise Assn., said "Robert Horton's 'The Very Thought of You' (Columbia) is a listening joy. Wagon Train's former scout has a fine voice which he uses expertly. There are no tricks or gimmicks here, just melodic ballads sung in a darned good voice." 
If you wait for this page to download completely , you will hear Mr. Horton sing a cut from his album, "The Very Thought of You."

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