Zero to 180 – Three Minute Magic
This chronology of recordings issued on King Records and its associated labels documents the various Latin-American musical influences on King’s collective output, beginning in the late 1940s. .While Latin sounds have never been a driving force at King, it is nevertheless surprising to see the range of Latin musical styles
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
I am liberating a special series of “maxi-tweets” tied to King Records‘ lesser known jazz legacy – part of 2018’s King 75th Birthday Celebration – that were otherwise buried in a PDF file attachment. The following research was conducted primarily by scanning the index of Ruppli‘s 2-volume King recording session
Philip Paul‘s stellar stick work really drives this “killer” instrumental version of “Fever” that features organ (Milt Buckner), bass (Bill Willis), and vibes (Gene Redd) — recorded at Cincinnati’s King Studios on March 5, 1963: “Fever” Milt Buckner (1963) Organ: Milt Buckner Drums: Philip Paul Bass: Bill Willis Vibes: Gene
Lowman Pauling (a.k.a., “El Pauling“) exchanges vocal lines with Royal Abbit (i.e., “The Royalton“), while also taking the time to squeeze off some stinging guitar licks on “Solid Rock” — recorded June 9, 1960 in Cincinnati at the King Studios: “Solid Rock” by El Pauling & the Royalton (1960) Lowman
How fun and fulfilling to see Philip Paul (as well as Bootsy Collins and Otis Williams) included in the official photograph taken on the day when Jack White was awarded the key to the city on June 4, 2018 by Cincinnati mayor, John Cranley, while strategically positioned outside the original
Catchy King instrumental — and what is that instrument, exactly? Sounds like a blend of organ and harmonica, most likely: “New Annie Laurie” by Gene Redd (1960) [streaming audio unavailable on YouTube, sadly] “New Annie Laurie” seems an obvious attempt by King to “cash in” on the fresh organ retooling
The Five Keys, during their short stint with King Records, carried out three recording sessions between 1959 and 1960 that yielded two long-playing releases for the label. King would release both albums — the group’s self-titled album (King 688) and Rhythm & Blues Hits – Past and Present (King 692)
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