Zero to 180 – Three Minute Magic

Discoveries of a Pop Music Archaeologist

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Category: Moog +/- synthesizer

“Untamed World”: Top TV Theme

Unless you were a nature nerd in the late 1960s to mid-1970s, chances are you have never heard Mort Garson‘s mysterious and exotic instrumental theme for the CTV television series, Untamed World. “Untamed World Theme”     Mort Garson     196? Uncanny emulation of steel drums that is/are undergirded by a

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"Come Back to Me"
Zeroto180

Streisand’s “Experimental” LP

Just for fun, find a casual fan of Barbra Streisand‘s music, and study her/his reaction closely when you play a fairly obscure track – “Come Back To Me” – for his/her virgin ears: “Come Back to Me”     Barbra Streisand     1973 Believe me, Zero to 180 is just as stunned as

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The Dead: In the Twilight Zone

For those keeping count, today’s piece is (gulp) the 666th posted since Zero to 180 began December 12, 2012.  What better way to face down this (meaningless) milestone by paying tribute to a classic television series – and also a musical ensemble – that bravely broke the bounds of conformist

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Paul Beaver Played Clavinet, Too (plus Emil Richards Tribute)

Remember last month when I was hot on the trail of identifying the first recording of a clavinet, thanks to a tip from Jim Kimsey: “Six O’Clock” by John Sebastian & The Lovin’ Spoonful?  Was John Sebastian‘s “electric harpsichord” (as he referred to the instrument), in fact, a clavinet?  Sebastian

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Larry Fast: Digital, Experimental

Tip of the hat to my old tennis partner and high school music rival. Ed Goldstein [he was in The Head Band with future “Smooth” songwriter, Itaal Shur, and one-time-bassist-for-Sleepy-Labeef-turned-sociology-professor, Adam Moskowitz, while I was in The Max, formerly Max & the Bluegills], who recently paid tribute to Peter Gabriel and

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“Capricorn Flight”: It’s the Bass II

As with Waylon Jennings‘ deeply-felt “Abilene” or Ruby Wright’s surprisingly bass-centric  “Adios Aloha,” one cannot but feel alarmed by the depth of bottom in the opening synth notes of this charmingly analog production – recorded at Cincinnati’s Counterpart Studios, with Shad O‘Shea and Wes Boatman at the helm (get it?):

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“Space Funk”: Groovy Synths

Is Cincinnati aware the degree to which Manzel‘s two 45s “Space Funk” (from 1977) & “Midnight Theme” (1979) have become revered dance tracks around the globe?  Note the trippy backwards drumming intro that immediately draws in the listener on “Space Funk”: “Space Funk”     Manzel     1977 The number of times Dopebrother

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“Chef d’Oeuvre”: Negative Radio Plays?

I am reading the memoir of music industry legend, Bob Thiele — producer at Coral Records who “discovered” Buddy Holly and would later work with Louis Armstrong, Duke Ellington, Count Basie, John Coltrane, Sonny Rollins, Albert Ayler, Joe Turner, Otis Spann, Gil Scott-Heron, and Bernard “Pretty” Purdie & the Playboys,

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“Nashville Moog”: Synth-a-billy

Tennessean synthesist, Gil Trythall, creates his own one-man electronic bluegrass band when he and his Moog synthesizer pay a visit to the Grand Ole Opry to shake up the Nashville musical establishment on “Nashville Moog” from 1973: “Nashville Moog”     Gil Trythall     1973 “Nashville Moog” – from Trythall’s second album, Nashville Gold:

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“Little Boy Blue”: Name That Opening Instrument

YouTube contributor, RoswellReptilian, tells us that Tim Dawe‘s “Little Boy Blue” was “used as bumper music for WMMS’s Cleveland Buzzard Morning Zoo in the 1970-80s.”  Can you name the electronic musical instrument that you hear at the opening of the song, as well as during each repeated instrumental passage leading

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