Zero to 180 – Three Minute Magic
Billboard‘s special October 19, 1968 issue devoted to ‘The World of Country Music‘ includes a 2-page article by Bill Williams – “Ladies in the Driver’s Seat” – that highlights a number of Nashville’s powerful female executives who worked without fanfare behind the scenes within the country music industry. Williams devotes
David Fricke, in his “Fricke’s Picks” column published in Rolling Stone‘s February 22, 2007 issue, hinted at a bigger story with his assessment of a Steppenwolf B-side only track from 1971 “For Madmen Only” as being “8:46 of feedback and organ drone.” First question that immediately came to mind: Could
Produced by Lee Hazlewood but arranged and conducted by Ian Freebairn Smith, “Silk ‘n’ Honey” — side one closing track of Honey Ltd.‘s sole album — is a great piece of pop music: “Silk ‘n’ Honey” Honey Ltd. 1969 Much appreciation to self-titled mag* [*link from 2013 no longer active]
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
Today Zero to 180 turns eight. Several months ago, I received a surprise phone call from writer, Steve Rosen, who informed me that he was putting together a feature article for Cincinnati Magazine that uses my “Cincinnati in Song” piece as a launching point.. Furthermore, for this piece, I was
“After making the label an important artistic nest for major jazz artists like Nina Simone, Carmen McRae, Chris Connor and Mel Tormé,” notes Discogs in a summary overview of Bethlehem Records, its founder Gustav Wildi, in 1958, “gave the major label King Records half ownership as payment for distribution, and
A Postcard From Canton [Massachusetts] celebrates the accomplishments of one of the town’s most “esteemed citizens” — and industrious tinkerers: [James Amireaux] Bazin came to examine a simple free-reed instrument when he was 23 years old. A group of men brought him a broken pitch pipe and asked him to
Musical fight! Compare the opening sequence of these two songs, and note how the second one (from 1972) closely mirrors the first one released the year before: “Music for Gong Gong” [1971] – vs. – “Horns of Paradise” [1972] “Music for Gong Gong” was selected as the A-side of the
Zero to 180 turns seven today, which means another opportunity to muddy the waters with the musical equivalent of home movies — it’s okay if you want to sit this one out. Last December 12th’s dubious dub-inspired “Mrs. Fletcher” (you might recall) was a late-year release that got buried in
One trivia bit from The Rolling Stone Rock Almanac that didn’t make it into Zero to 180’s big Summer Beach Read: April 30, 1965: The Kinks begin their first headlining UK tour, with The Yardbirds and Goldie and the Gingerbreads providing support. I have always been curious about the ‘all-girl’ beat group with such
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