Zero to 180 – Three Minute Magic

Discoveries of a Pop Music Archaeologist

Category: Mexican +/- mariachi pop

"Juanita Jones"
Zeroto180

Juanita Jones — In The Driver’s Seat At ASCAP?

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

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"Mambo Mexicano"
Zeroto180

King’s Budget Subsidiary Label

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

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"Chili Beans"
Zeroto180

Felix & His (Cash-in) Guitar

“Cerveza” by Boots Brown (see previous post about rock/pop’s Latin roots) was only one of the more obvious attempts to cash in on the runaway success of “Tequila” by The Champs in 1958.  “Chili Beans” by Felix & His Guitar also does a great job of appropriating that familiar riff

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"Johnny Zero"
Zeroto180

“Johnny Zero”: Reduced to Nothing

Recorded by Merle Kilgore in early November, 1963 at Columbia Recording Studio in Nashville and released January 1964 as a single by MGM: “Johnny Zero“ Merle Kilgore (1963) Does Merle Kilgore sound like Johnny Cash because they were such good friends, or were Merle and Johnny good friends because their

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"Bob" (1967)
Zeroto180

“Bob”: The Willis Brothers, Not Weird Al

“Bob” is the title track of a Willis Brothers album released on the Starday label in 1967 (actually, the full album title is ‘Bob’ And Other Songs To Make The Juke Box Play). The song is written from the perspective of Bob’s wayward pal, who playfully chides him for choosing

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"Adios Aloha"
Zeroto180

“Adios Aloha”: Honky Tonk Internationale

In 1972 Starday-King released a country compilation LP (on their Nashville imprint) entitled, Almost Persuaded, that was strictly a ladies-only affair:  Rose Maddox, Dolly Parton, Jan Howard, Dottie West, Lois Williams, Betty Amos – and Ruby Wright.  Wright’s playful little rocker, “Adios Aloha” — written by June Carter and Don

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"Cerveza"
Zeroto180

Pop & Rock’s Latin Roots: “Cerveza”

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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"Louie Louie"
Zeroto180

“Louie Louie”: Languid, Listless

One year after Stu Phillips recorded a spectacularly soporific reading of “Tired of Waiting for You,” The Sandpipers released a similarly sluggish take on the garage rock classic, “Louie Louie” — it, too, makes me laugh: “Louie Louie“ The Sandpipers (1966) 45Cat’s BeatleJohn likewise warns listeners that this recording is

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"Fastest Guitar Alive"
Zeroto180

Roy Orbison (is) The Fastest Guitar Alive

For a modest sum, I picked up this Roy Orbison soundtrack for the 1967 motion picture – Fastest Guitar Alive – and was surprised by the quality of songs from start to finish. Cover art by Frank Frazetta All ten songs on the album are Roy Orbison originals – seven

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