Zero to 180 – Three Minute Magic

Discoveries of a Pop Music Archaeologist

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Category: Country music

Columbia/Epic
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Curly Chalker’s Dutch-Only 45: Party Game for Steel Fanatics

Zero to 180’s summertime celebration breezes right along with this parlor game for music nerds: First, launch a new web browser and point it at 45Cat — www.45cat.com(go ahead, I’ll wait) Next, type the name of ace steel guitarist, Curly Chalker, in the search window(and press Enter) Curly Chalker  (c.

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Bob Wills & the Texas Playboys
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Gary Burton’s Tennessee Firebird

Jimmy Colvard was a teen in 1963 when he played those distinctive snapping and popping guitar sounds that helped make “Six Days on the Road” a runaway hit for Dave Dudley.  I have since learned that Colvard played guitar on a number of albums in the 1960s and 70s by

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"Blues Stay Away From Me"
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“Countrypolitan” – 1st Sightings

Paul Hemphill‘s The Nashville Sound: Bright Lights and Country Music — published in 1970 during a particularly vibrant musical era — includes this passage about the pushback against attempts to de-emphasize country’s less “polished” elements in order to increase the music’s appeal in the (more lucrative) “pop” marketplace: It isn’t

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"Hip Cat's Weddin'"
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Grandpa Jones & His Swingin’ Grandchildren’s Sole 45

Grandpa Jones‘ toe-tappin’ countrypolitan “Hip Cat’s Weddin’” is one of Zero to 180’s recent discoveries: “Hip Cat’s Weddin’”    Grandpa Jones & His Swingin’ Grandchildren     Rec. Nov, 1960 Too little has been written about Boudleaux Bryant‘s clever composition and its fetching arrangement — virtually nothing, in fact.  “I Don’t Love

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"Wild Blue Yonder"
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Lloyd Green Stumps for Baldwin

Check out the Clavinet-like sounds coming from Jerry Whitehurst‘s electric harpsichord on “Wild Blue Yonder,” side one’s closing track from Lloyd Green‘s third solo LP Day of Decision, an album that was recorded (like Stones Jazz) in one day — in this case, on June 18, 1966 at RCA Studios in Nashville: “Wild

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"(Baby You Can) Scratch My Egg"
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Rusty York’s Cincinnati Indie

Billboard, in their January 8, 1972 edition, reported this quirky news item in the Cincinnati division of their “From the Music Capitals Around the World” column: “Rusty York, who heads up the Jewel Recording Studio[s] here, learned last week that the new ‘Smash-Up Derby’ commercial [for Cincinnati-based Kenner Products], which he

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"Boogie King"
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Merle Kilgore on Starday-King

Former Starday recording artist Merle Kilgore would have an unsuccessful stint at Columbia/Epic in the mid-1960s before rejoining the fold at the newly-expanded Starday-King (the King label having consolidated with Starday upon the death of its founder/owner Syd Nathan in 1968).  Starday historian emeritus Nathan D. Gibson would interview Kilgore for 2011’s

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King Truck Driver Bluegrass 45

Fans of truck-driving country music take note:  The Stanley Brothers would record “Prayer of a Truck Driver’s Son” on September 20, 1965 in Cincinnati — a song issued by King as a B-side for “Never Again” in July, 1966: According to Gary B. Reid in The Music of The Stanley Brothers:

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"Hi-Ballin' Daddy"
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Ann Jones & Her “All-Girl” Band

Is it really true, as Country Music Archive asserts, that Ann Jones And Her Western Sweethearts “was probably the first all-girl band in C & W music”?  Bill Sachs, in his “Folk Talent and Tunes” column for Billboard, reported in the November 13, 1960 edition — Ann Jones, King recording

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"I Get the Blues When It Rains"
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1969: Bethlehem’s Last Session?

As noted in Zero to 180’s recent history of Bethlehem Records in the “Post-Syd Nathan” era (i.e., starting in 1958, when Nathan acquired 50% of the label), Ruppli’s King recording sessionography indicates that some new recording had taken place at King’s Cincinnati studios in a few instances connected to the

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