Zero to 180 – Three Minute Magic
This piece chronicles ten years in the life of a young public radio station beginning in 1970, the year my mother was hired as a member of its professional staff. University of Cincinnati’s WGUC-FM – a charter member of National Public Radio – underwent remarkable growth and technological advancement during
From Wax of Stacks — David Bottoms‘ expansive history of Cincinnati’s record labels including, most prominently, King — we learn that recording engineer Lee Hazen generously provided the author a copy of an audio recording of a meeting that had been convened at King Records‘ Cincinnati headquarters by its founder/owner,
The Pleasant Valley Boys were considered country music’s first “A Team” of session players, whose services were highly sought by two of the top country artists in Nashville between 1947 and 1948 at the very dawn of that city’s ascendance as one of the world’s great recording capitals. When you
The City of Cincinnati might want to consider a lawsuit – what is the statute of limitations on liner notes from an album released 54 years ago? I understand that Hal Halverstadt was merely playing up the difference between “small town” provincialism and “big city” sophistication for dramatic emphasis, but
In early 1967, a promising 45 by a Northern Kentucky band got called up to the big leagues, as reported by Billboard in its February 11, 1967 edition: * “Col. Buys ‘That Girl’ Disk by New Lime“ NEW YORK — Columbia Records has bought a new single, “That Girl,” by
What a revelation to find out that World Radio History‘s website not only allows access to a comprehension collection of music trade publications, including Billboard, Cash Box, and Record World, but also the ability to search all back issues simultaneously! What’s especially helpful is how the search results often show
Note: Spotify playlist at the end of this piece Music writer/historian, Randy McNutt, in King Records of Cincinnati, points out the irony of “How You Gonna Get Respect (When You Haven’t Cut Your Process Yet)” – a Hank Ballard single “obviously aimed at the R&B market” – being voiced by mostly white
The two-volume King Labels recording sessions discography (i.e., “the red books“) compiled by Michael Ruppli with assistance from Bill Daniels, can be frustratingly incomplete, especially with regard to musician credits. Although this reference source is a great starting point, scholars of James Brown funk are forced to do quite a bit of digging on
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