Zero to 180 – Three Minute Magic
Dave Penny‘s opening observation in the liner notes to Doin’ The Tennessee Wig Walk — the 26-song compilation taken from Bonnie Lou‘s King years — reminds me of Roy Lanham‘s similar quandary of being too jazz for country and vice versa: Too pop to be embraced by the country community
The steel guitar, it needs to be said, was the “special sauce” in early country music of the 1940s and ‘50s. From the soaring glissando and celestial, ringing harmonics to the scorching, breakneck single-note runs and big stacked chords, whose warm, electrified sound (uniquely) spanned the audio spectrum, the steel
Billboard displayed a startling lack of judgment when it made light-hearted reference to Plessy vs. Ferguson — the 1896 United States Supreme Court decision that codified segregation — in an educational piece from 1969 that attempts to demarcate the difference in mission between the Country Music Association and the similarly-named
Judy Lynn – “America’s Western Sweetheart” – would get her one and only 45 picture sleeve, tragically enough, for this cheerful-sounding honky tonk tale in which the singer informs us she has only seconds to live before the “kindly” stranger who offered a ride at the train station prepares to
It’s not really a secret that US country & western music has had an influence on Jamaican music going all the way back to ska’s early years. Dave Katz — whose authoritative books on Jamaican music history (Solid Foundation: An Oral History Of Reggae and People Funny Boy: The Genius
“It’s country music with a sort of massive Ray Charles feeling,” explained Buddy Killen in Billboard‘s August 2, 1969 edition for a news item entitled “Budden Killen Cuts Black Chorus in Country Album“: NASHVILLE — A chorus of 40 voices from predominately Negro Tennessee A & I State University were
This full-page ad in Billboard‘s “World of Country Music” special edition gives every indication that 1967 promised to be a break-out year for Molly Bee: Billboard October 28, 1967 The previous year, inside the gatefold sleeve of 1966’s Freak Out – the groundbreaking debut double album by Frank Zappa‘s Mothers
I recently stumbled upon Ray Brack‘s “lost” piece of reporting — “New Gun-Tar Takes Aim At Non-Shooting Market” — about Cecil Null‘s handcrafted musical long gun (i.e., gun guitar – or is it guitar gun?) for Billboard ‘s June 22, 1968 edition: MADISON, Tenn. — An explosive new concept in
The Pleasant Valley Boys were considered country music’s first “A Team” of session players, whose services were highly sought by two of the top country artists in Nashville between 1947 and 1948 at the very dawn of that city’s ascendance as one of the world’s great recording capitals. When you
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