Zero to 180 – Three Minute Magic
According to Both Sides Now Publications: In late 1958, Audio Lab was formed as a budget label subsidiary to Cincinnati-based King Records. From 1959 -1962, Audio Lab released a lot of material that had never appeared in album form, including rare albums by Bullmoose Jackson, Annie Laurie, April Stevens, Lattie
Zero to 180’s sprawling history trawl “Rare & Unreleased King” made passing reference to another surf-ploitation LP issued by King Records – 1963’s Surfin’ on Wave Nine – and even threatened to make that album the focus of a future history piece … whose time has come today. Compared to Look Who’s
Hard to believe it was only 20 years or so ago I was having cheese coneys with The Cincinnati Enquirer‘s preeminent music writer Larry Nager and asking what it would take for the city to finally “own up” to its King Records history. Last week, to my utter delight and
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
Interesting to see Kelly Gordon and (especially) Shorty Rogers attempt to muscle in on the hot rod scene with a late 60s concept album — contemporaneously titled, Bug-In! — that pays musical tribute to the hot rod’s off-road counterpart, the dune buggy. Gordon and Rogers splurge on a gatefold album
Thanks to Harry Hawks‘ biographical portrait of master percussionist (& sometime vocalist) Uzziah ‘Sticky‘ Thompson for Reggae Collector’s Artists Hall of Fame, we learn that (1) ‘Sticky’ gets a shout-out in the intro to Baba Brooks’ “Girls Town Ska” from 1965 [Q: “Hey Sticks, where you going tonight?” A: “I’m
David Katz‘s biography of Lee ‘Scratch’ Perry, People Funny Boy, provides some very useful biographical details about master percussionist, Uzziah ‘Sticky‘ Thompson: For the rest of [1967], Perry worked closely with a variety of artists for [Joe] Gibbs, including future percussionist, Uzziah ‘Sticky’ Thompson, then a popular deejay known as *Cool
In the early part of this century, reissue label, Hip-O, put out a comprehensive series of James Brown single releases that were issued from 1956-1981. Historians & researchers will no doubt be studying these liner notes in decades to come as they try to organize and make sense of the
The Drifters’ original 1961 version of “Sweet for My Sweets” has a distinct Latin feel — which brings to mind a piece of writing by Dave Marsh that I found to be illuminating some years ago, still do. In his 1984 article for The Boston Phoenix – “Rock and Roll’s
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