Zero to 180 – Three Minute Magic

Discoveries of a Pop Music Archaeologist

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Category: Bass-centric recordings

“Capricorn Flight”: It’s the Bass II

As with Waylon Jennings‘ deeply-felt “Abilene” or Ruby Wright’s surprisingly bass-centric  “Adios Aloha,” one cannot but feel alarmed by the depth of bottom in the opening synth notes of this charmingly analog production – recorded at Cincinnati’s Counterpart Studios, with Shad O‘Shea and Wes Boatman at the helm (get it?):

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“Games People Play”: Bassist Wakes Drummer Using Musical Chops

Session bassist extraordinaire, Carol Kaye, is certainly no stranger to the philosophical notion of “bass as bottom end.”  And yet, it was an uncharacteristically flamboyant performance that led (ironically, perhaps) to unexpected commercial success.  Songfacts has a great interview that reveals the comical back story behind Carol’s unusually baroque bass

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“Baia”: Carol Kaye as Bandleader

One weekend in late March 2009 I was listening to Bob Edwards‘ radio show while on my way to an event and had to pull over to finish listening to the rest of his interview with legendary session bassist, Carol Kaye – who is estimated to have played on more

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“Abilene”: It’s the Bass

“Abilene” was originally an album track on Bob Gibson’s 1957 album, I Come For To Sing: The song became a #1 country single for George Hamilton IV in 1963. The following year Waylon Jennings would also record “Abilene” but release it solely as an album track on his one and

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"Adios Aloha"
Zeroto180

“Adios Aloha”: Honky Tonk Internationale

In 1972 Starday-King released a country compilation LP (on their Nashville imprint) entitled, Almost Persuaded, that was strictly a ladies-only affair:  Rose Maddox, Dolly Parton, Jan Howard, Dottie West, Lois Williams, Betty Amos – and Ruby Wright.  Ruby’s playful little rocker, “Adios Aloha” — written by June Carter & Don

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