Zero to 180 – Three Minute Magic
*Musical personnel info updated January 2023 Of course, no discussion about Cincinnati in song would be complete without a reference to the city’s storied indie label that helped give birth to rock & roll music – King Records. September 14, 1967 may not be a date that registers strongly in
<Spotify LINK to Prince Buster Mix> Previous Zero to 180 posts have highlighted the strong cultural connections between Kingston Jamaica and Cincinnati, Ohio, as evidenced by — (a) the radical rocksteady funk of Prince Buster‘s 1966 tip of the hat to “The Cincinnati Kid” himself, James Brown, as well as
From the liner notes of the Ace CD compilation, King Rockabilly: Delbert Barker was born on a farm in Frenchberg, Kentucky on 3 December 1932 and moved to Middletown, Ohio, near Cincinnati, in 1943. During his teens, he began participating in amateur talent contests and eventually gained sufficient confidence to turn
Thanks to Dave Sax, whose liner notes from King Hillbilly Bop ‘n’ Boogie provide the back story on Louis Innis, a member of the “dream band” at King Records who had cut his first tune with the label in late 1947. Prior to joining King, Innis had been a member
Really nice toe-tapper of a tune from Ferlin Husky during a brief period in the dawning Rocket Age when he was on Cincinnati’s King Records: “Electrified Donkey” Ferlin Husky (1959) “Electrified Donkey” was the album closer on Ferlin’s 1959 King LP, Ferlin Husky, as well as the A-side of a
King Records’ first year of existence – 1943 – produced exactly one recording session that yielded two singles recorded by Grandpa Jones and Merle Travis using aliases, since they were under contract to WLW. King’s inaugural recording session took place, according to Merle Travis biographer, Deke Dickerson, “in a room
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
“We Did” by Herb And Kay sure sounds like an A-side to me: “We Did“ Herb And Kay (1955) And yet, this song – recorded on August 19, 1955 at Cincinnati’s King Studios – ended up as the B-side to “I’ve Got a Right to Be Jealous.” (photo courtesy of
Six of the eight songs on the debut album by The Grodeck Whipperjenny were recorded in Cincinnati’s King Studios on February 5, 1970. “Sitting Here on a Tongue” is the album’s kick-off track: “Sitting Here on a Tongue” The Grodeck Whipperjenny (1970) Jimmy Madison – Drums Michael Moore – Bass
It would appear that Roy Redmond recorded two 45s — both on Loma, a Warner Brothers subsidiary — and then, mysteriously, nothing more. Redmond’s inspired and soulful take on “Good Day Sunshine” from The Beatles‘ startling and forward-thinking Revolver, named in 2010 as the best pop album of all time
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