Zero to 180 – Three Minute Magic
One can be forgiven for mistaking the heartbeat bass line and the off-kilter, syncopated hand drumming in this 2-minute heavy chant as being part of the Jamaican Nyabinghi tradition. Note the special effect at song’s end — somewhat “high tech” for King in 1954: “Oooh-Diga-Gow” by Cecil Young Quartet (1954)
Catchy King instrumental — and what is that instrument, exactly? Sounds like a blend of organ and harmonica, most likely: “New Annie Laurie” by Gene Redd (1960) [streaming audio unavailable on YouTube, sadly] “New Annie Laurie” seems an obvious attempt by King to “cash in” on the fresh organ retooling
The Five Keys, during their short stint with King Records, carried out three recording sessions between 1959 and 1960 that yielded two long-playing releases for the label. King would release both albums — the group’s self-titled album (King 688) and Rhythm & Blues Hits – Past and Present (King 692)
“Man Came Down From the Mountain” — the B-side to Carolyn Blakey‘s one and only 45 for King Records — captures the mood and feeling of 1970 in ways that words (“hippy soul“) fail to capture. “Man Came Down From the Mountain” Carolyn Blakey (1970) According to Discogs.com contributor 1stVerse:
This other one-off recording from 1957 – released on King subsidiary label, Federal – establishes a Cincinnati-New Orleans connection via musical artist, Little Mummy (i.e., Marvin Gauthreaux): “Where You At Jack” Little Mummy (1957) “Where You At Jack” and its flip side “Oh Baby Please” were both recorded in New
Lord BooBoo‘s lone single release on King Records would end up being the calypso singer’s entire recorded output! Michel Ruppli’s 2-volume King discography reports that Lord BooBoo laid down these two tracks – “De Knife, De Fork, De Spoon” b/w “No Man and Woman Get Along” – in New York
I suspect Gene Rosenthal will roll his eyes at the obviousness and artlessness of this observation, but let history officially note: In 1966, when Eric Clapton and company were reviving Skip James‘ “I’m So Glad” for Cream’s debut album (which enjoyed worldwide distribution – even Saudi Arabia, unofficially), Rosenthal
Zero to 180 isn’t above recycling old tricks, like posting a “vintage” high-resolution image as a shameless distraction ploy to stall for time, while it finishes pulling together over fifty years of history celebrating Gene Rosenthal and his Silver Spring-based independent music operation, Adelphi Records. The same December, 1979 issue
NOTICE! This is a majorly revamped version of a piece from the summer of 2016 — with enhanced content — to be followed in close succession by a suitably elaborate history of Gene Rosenthal and Adelphi Records. although sandwiched in between will be a history spotlight on Track’s Chief Engineer,
The Soulful Strings evoke the magic of falling snow — thanks to Dorothy Ashby‘s harp — on their classic instrumental track, “Snowfall“: “Snowfall” by The Soulful Strings (1968) Discogs helps us appreciate how The Soulful Strings were able to create an identifiable sound despite only playing other people’s material: “The
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