Zero to 180 – Three Minute Magic
As George Lipsitz points out in the introduction to Johnny Otis‘s memoir Upside Your Head! Rhythm and Blues on Central Avenue, Otis was a central organizing figure in the Los Angeles rhythm & blues scene of the late 1940s and early 1950s — thus, a shrewd move on Syd Nathan’s
This other one-off recording from 1957 – released on King subsidiary label, Federal – establishes a Cincinnati-New Orleans connection via musical artist, Little Mummy (i.e., Marvin Gauthreaux): “Where You At Jack” Little Mummy (1957) “Where You At Jack” and its flip side “Oh Baby Please” were both recorded in New
[For an update on the perilous status of the original King Records site, click here] A recent Cincinnati visit allowed me the chance to verify that the former King Records complex is still standing. But for how long? Polly Lucke, Zero to 180’s West Coast correspondent, recently brought to my
On March 12, 1956 drummer and vocalist, Billy Gayles, recorded “I’m Tore Up” at Cincinnati’s King Studios backed by Ike Turner and His Rhythm Rockers: “I’m Tore Up” Billy Gayles (1956) “I’m Torn Up” received a B from Cash Box (“an okay deck”), who characterized the song as a “middle
The song that launched a national dance craze – “The Twist” – cast an unbelievably long shadow. Even though Hank Ballard’s original version of the song was released on King in 1959, groups were putting out twist songs well into 1962.* I was reminded of this fact recently when listening
We all know that 1954 was the year of Elvis Presley’s famous and influential Sun recordings, but 1954 was also highly noteworthy for the combined impact of these three particular tunes – all instrumentals: 1. “Stratosphere Boogie” by Speedy West & Jimmy Bryant – Phenomenal, blazing twin guitar work — rock
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