Zero to 180 – Three Minute Magic
Hank Penny‘s first recording session for King Records took place at the Wurlitzer Music Company in Cincinnati sometime mid-1944. Roy Lanham — pioneering guitarist who was too “hillbilly” for the jazz crowd and too “jazzy” for country fans — would play on this session, as well as Louis Innis, it’s
When we last checked in with Nashville All-Star and pedal steel guitarist extraordinaire, Lloyd Green, he had signed with Aubrey Mayhew & Johnny Paycheck’s label, Little Darlin’. However, Green would be ready to switch labels just two years later to go with another indie, Chart. Record World April 6, 1968
Joe Goldmark is not only a musician but also a scholar, whose International Steel Guitar and Dobro Discography – “a resource book that attempts to list every steel guitar and Dobro instrumental ever recorded” – is a fascinating reference tool for those interested in Syd Nathan’s King Records legacy. Jerry
It was a bit of a sea change, prestige-wise, for Red Rhodes to go from “lowly” Crown (and I say that with affection) to Jac Holzman‘s esteemed Elektra label. Aside from 1970’s supergroup experiment with Red Rhodes, Buddy Emmons, Sneaky Pete, Jay Dee Maness, and Rusty Young – Suite Steel:
How inspiring to see that Orville J. “Red” Rhodes — the legendary steel guitarist who, by the late 1960s, was one of the most in-demand session musicians on the West Coast — got his start on budget label, Crown, whose offerings are wryly characterized by Discogs as “musical junk food
Thanks to the contributor of YouTube’s only audio clip of “Ode to Big Joe,” I now know which country singers are being affectionately parodied by The Willis Brothers in this song. Question: Can you close your eyes and identify the four music legends being spoofed? Scroll down for the answer
In this 1979 performance from TV’s Austin City Limits, Buddy Emmons (steel guitar) and Phil Baugh (electric guitar) take The Nashville Super Pickers for a test drive using the Benny Golson jazz standard, “Killer Joe,” as their vehicle: Buddy Emmons: Steel Guitar & Vocals Phil Baugh: Lead Guitar Russ Hicks:
Just as Louis Jordan’s pairing of jump blues with country-style steel guitar might have been seen as a radical move in 1947, Buddy Emmons‘ decision to feature his masterful steel guitar stylings within a modern jazz context was considered equally bold in 1963 when Mercury released groundbreaking album, Steel Guitar
I have to confess – I’ve been listening pretty closely for several decades now, and I still can’t tell what makes [insert name of “first rock & roll record” here] the first recording with the rock & roll beat, whether it be 1951’s “Rocket 88” by Jackie Brenston (backed by
DC Week (actually, fortnight) concludes its special run with a joyous instrumental romp from the Federal City’s formidable guitarslinger, Danny Gatton, joined by pioneering pedal steel virtuoso, Buddy Emmons, from their short-lived incendiary partnership, The Redneck Jazz Explosion: “Raisin’ the Dickens“ Redneck Jazz Explosion (1978) This performance of Buddy Emmons‘ composition
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