Zero to 180 – Three Minute Magic
I suspect I am hardly the only one who finds Nora Dean‘s voice so compelling — the emotional directness and its unique, tremulous quality. Given what little is known about Dean and how infrequently her voice was committed to disc, this only adds to the intrigue. Michael Garnice, creator of
Thanks and praise to Rastawelt for posting this righteous reel-to-reel roots reggae mix: Listed below is the running order of songs for this special cross-faded set that — based on the original Jamaican release dates — that appears to have been assembled in the late 1970s: “Sun Is Shining“ The
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
It always helps to have streaming audio within arm’s reach to make music history more of a ‘multimedia’ experience. From reading Young Gifted and Black: The Story of Trojan Records by Michael de Koningh and Laurence Cane-Honeysett, for example, I have picked up a number of helpful listening tips and
Jamaican DJ Dillinger toasts each of the winners to date of the Independence Festival Song Competition in “Festival Rock,” his entry for the 8th annual event in 1973: “Festival Rock” Dillinger (1973) 1966: The Maytals with “Bam Bam” 1967: The Jamaicans with “Ba Ba Boom” 1968: Desmond Dekker & The Aces
Back in 1966 when The Wailers were three vocalists (and not a backing band for reggae music’s most famous artist), Bob Marley, Peter Tosh, and Bunny Wailer were under contract to Coxsone Dodd‘s Studio One label. Recently, after re-watching the 1992 Peter Tosh documentary, Red X, I suddenly got the urge to
Thanks again to record collector extraordinaire, Tom Avazian — underwriter of numerous Zero to 180 research initiatives (most recently, Scotland’s The Poets) — who provided a vinyl copy of 1988 UK anthology, 20 One Hit Wonders, an album that includes a strong track from a band of Birmingham musicians, The
One can be forgiven for mistaking the heartbeat bass line and the off-kilter, syncopated hand drumming in this 2-minute heavy chant as being part of the Jamaican Nyabinghi tradition. Note the special effect at song’s end — somewhat “high tech” for King in 1954: “Oooh-Diga-Gow” by Cecil Young Quartet (1954)
Keith Emerson captivated me as a grade schooler with the deep, heavy Moog sounds he conjured for Emerson, Lake & Palmer‘s “Lucky Man,” fittingly, the final track on a 4-LP box set from 1973 that got a lot of mileage in our household growing up, Superstars of the Seventies — one
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