Zero to 180 – Three Minute Magic
Fascinating that a musician of the caliber of Hank Garland (who was signed to Columbia, for cryin’ out loud) would release a companion album of sorts – Subtle Swing – to the groundbreaking (and previously discussed) Jazz Winds From a New Direction, and yet so little information to confirm its existence,
I’m guessing that Grady Martin‘s 1961 B-side “The Fuzz” influenced Les Paul to soup up his 1963 album track “Ham ‘N Grits” with a little “fuzz bass”: “The Fuzz” Grady Martin (1961) The historical consensus is that Grady Martin himself accidentally invented “fuzz bass” during a 1960 recording session for
Check out the opening fuzz bass lines on this tasty album selection – “Ham ‘N Grits” – that never got singled out for release on a Les Paul 45: “Ham ‘n Grits” Les Paul & Mary Ford (1963) Issued on 1963 Columbia album, Swingin’ South – and nowhere else. Recorded in
Podcasts are great and all, but nothing compares to the magic & excitement of live radio! A recent exchange with WPFW radio’s Andrea Bray – at Andrea’s Fine Hats in Washington, DC just over the line from Silver Spring – unexpectedly resulted in an invitation to join her on the
Zero to 180 is still trying to determine why “shoegazer” is some sort of epithet, as this subgenre of indie/modern rock is but a modern update of the psychedelic sound, as much as it might pain old-timers to hear. Violating its must-be-at-least-20-years-old policy yet again, Zero to 180 feels compelled
Who are/were The Surf Symphony — and why just the one Capitol 45? “Night of the Lions“ The Surf Symphony (1969) Wait! As it turns out, the joke’s on us: This is a “supercharged” instrumental version of the song “Night of the Lions” from Mark Eric‘s A Midsummer’s Day
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”
Post-Fern (and pre-Zero to 180), Chris Richardson would pursue a teaching degree at (pre-“The”) Ohio State University, while enjoying the process of multi-track recording on a roommate’s Fostex 4-track “mini studio.” Future Fern manager and musician-in-training, Tom Newbold, would attend the same university and once arrange for a group of
Drummer Keith Bortz of The Max – formerly Max and the Bluegills – was instrumental (so to speak) in getting permission to stage a concert in the group’s high school auditorium on a Friday afternoon in April, 1981. Students were gouged at the door — one-dollar admission! Cannot recall whether
Just when you thought you couldn’t take another version of “Steel Guitar Rag” — a song that is widely attributed to Leon McAuliffe but is actually an adaptation of Sylvester Weaver‘s “Guitar Rag” from 1927 [as noted by Deke Dickerson in his Merle Travis biography, Sixteen Tons] — this 1959
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