Zero to 180 – Three Minute Magic
David Allan Coe, intriguingly, merits four full paragraphs in Neil A. Hamilton‘s history of The 1970s — here are two of them: “Born in Ohio, Coe spent part of his youth in reform school and, in the 1960s, served time in the Ohio State Penitentiary. Here was a man to whom
I love the Mosrite ‘guitarslinger’ tradition that links Joe Maphis, Larry Collins, The Ventures, Johnny Ramone, and Kurt Cobain. Zero to 180 recently stumbled upon the fact that Mosrite had a short-lived record label — Mosrite Records – for which Joe & Rose Lee Maphis would record a couple singles,
Shame on Zero to 180 for not celebrating Red Simpson‘s musical legacy as a pioneer of the “Bakersfield Sound” until now – after his spirit has already left this mortal plane. I’m afraid Simpson’s passing might have gotten overlooked in all the media attention given to the unexpected loss of
I once played a sweet little instrumental by James Burton and Ralph Mooney on an all-truck-driving radio show, even though it’s not actually a “trucker tune” — and yet nobody called me out on it, because the song – “Corn Pickin‘ – fit like a glove. Later when I “back-announced”
My mother-in-law and her husband had a grand old time at John Prine‘s concert Saturday night at DC’s stately National Theatre. The next morning we remarked on Prine’s “country outlaw” cred (as evidenced by the turnout of the biker-American community), and I thought to myself, perhaps I could scrounge together
“Last Morning” – from Dillards LP Roots and Branches – probably best embodies the back-to-the-land ethos conveyed in both the album’s title and cover image: Last Morning – The Dillards [Pssst: Click on the triangle above to play “Last Morning” by The Dillards.] How interesting then to discover that the
In July of 1967, one month after the release of Bobbie Gentry’s Ode to Billie Joe album, Johnny Seay went into Columbia’s Nashville recording studio to record one song — a singularly strange, slightly surrealistic Southern gothic tale. Listen for the ghostly train whistle near the end of the first
One of the country “outlaws” who doesn’t always get the recognition is Shel Silverstein, who not only wrote Johnny Cash’s iconic “A Boy Named Sue” [which spawned at least one parody — Joni Credit‘s “A Girl Named Harry” released August 1969] but also many great songs for his close friend’s
People readily associate Buck Owens, Merle Haggard, and Red Simpson with the legendary Bakersfield Sound, but not enough people associate the great Wynn Stewart, as well. Wynn’s musical roll call – “You Can’t Wynn Stewart” – playfully uses the names of country music notables (e.g., “She’ll hurt your Pride, Charley
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