Zero to 180 – Three Minute Magic

Discoveries of a Pop Music Archaeologist

Category: Blues

"Lonesome Whistle Blues"
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“Lonesome Whistle Blues”: Train = Pain

Unnamed vocalists perfectly evoke a lonely late night train whistle on Freddy King‘s mournfully swinging “Lonesome Whistle Blues“: “Lonesome Whistle Blues” Freddy King (1961) Freddy King – Guitar & vocalsSonny Thompson – PianoPhilip Paul – DrumsBill Willis – Bass This song was catchy enough (#8 R&B) to cross over into

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Advertising +/- marketing in popular music
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Muddy Waters: He’s a Pepper, Too

From reading Robert Gordon‘s excellent biography of Muddy Waters – Can’t Be Satisfied –  I learned that the former McKinley Morganfield once made a little pocket change recording a radio spot for Dr. Pepper: Is it really true – as the YouTube video clip contributor asserts – that Randy Newman

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"You Don't Love Me"
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“You Don’t Love Me”: Where Blues and Reggae Intersect

Thanks to Steve Hoffman‘s blues show on WPFW, today I was able to make the connection (as many others have done before me) that the inspiration for Dawn Penn‘s massive 1967 rocksteady hit, “No No No,” came directly from Willie Cobbs‘ hugely influential 1960 blues single, “You Don’t Love Me”

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"I'm Tore Down"
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Tore Up vs. Tore Down? Musical Retort, Possibly

On March 12, 1956 drummer and vocalist, Billy Gayles, recorded “I’m Tore Up” at Cincinnati’s King Studios backed by Ike Turner and His Rhythm Rockers: “I’m Tore Up” Billy Gayles (1956) “I’m Torn Up” received a B from Cash Box  (“an okay deck”), who characterized the song as a “middle

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"Ooh Baby"/"Wrecking My Love Life"
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“Ooh Baby”/”Wrecking My Love Life”: Bo Diddley, Song Surgeon

In a re-match of three blues heavyweights – Howlin’ Wolf, Muddy Waters, and Bo Diddley (taking Little Walter’s place) – The Super Super Blues Band from 1968 on Chess is classic stuff.  One of the blues deejays on DC’s WPFW (possibly Bill Wax) once played the album’s second track, which

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"20th Century Blues"
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Lily Tomlin’s Got the 20th Century Blues

This 45 came into our household as a result of my mom, who worked in the 1970s at a mild-mannered classical music radio station by day (WGUC) that switched over to a hard rock format at the stroke of midnight (WFIB) when it ceased programming for the broadcast day.  This

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