By Jon Hartley Fox
King of the Queen City is the 1st accomplished heritage of King documents, some of the most influential self reliant list businesses within the heritage of yank track. based through businessman Sydney Nathan within the mid-1940s, this small outsider checklist corporation in Cincinnati, Ohio, attracted a various roster of artists, together with James Brown, the Stanley Brothers, Grandpa Jones, Redd Foxx, Earl Bostic, invoice Doggett, Ike Turner, Roy Brown, Freddie King, Eddie Vinson, and Johnny "Guitar" Watson. whereas different list businesses focused on one kind of song, King was once energetic in almost all genres of vernacular American tune, from blues and R & B to rockabilly, bluegrass, western swing, and country.
A revolutionary corporation in a reactionary time, King used to be led by means of an interracial inventive and government employees that redefined the face and voice of yankee track in addition to how it used to be recorded and offered. Drawing on own interviews, examine in newspapers and periodicals, and deep entry to the King information, Jon Hartley Fox weaves jointly the weather of King's good fortune, concentrating on the dynamic personalities of the artists, manufacturers, and key executives resembling Syd Nathan, Henry Glover, and Ralph Bass. The booklet additionally incorporates a foreword by way of mythical guitarist, singer, and songwriter Dave Alvin.
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King of the Queen urban is the 1st complete heritage of King documents, the most influential self sustaining checklist businesses within the heritage of yank tune. based through businessman Sydney Nathan within the mid-1940s, this small outsider list corporation in Cincinnati, Ohio, attracted a various roster of artists, together with James Brown, the Stanley Brothers, Grandpa Jones, Redd Foxx, Earl Bostic, invoice Doggett, Ike Turner, Roy Brown, Freddie King, Eddie Vinson, and Johnny "Guitar" Watson.
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Extra resources for King of the Queen City: The Story of King Records
He n r y gl ov e r • 27 One day in 1940 Glover was telling his A&M mentor, bandmaster James Wilson, about a concert he had played with white musicians the preceding summer back in Hot Springs. Wilson kidded him about playing with “Ofay,” a phrase for white people that Wilson explained was the “pig latin” word for foe. He also had some advice for Glover. “He said, ‘You can’t be afraid of the foe. You can’t fear the foe. ’ And that’s what I did my whole career. ”2 Glover received his degree in education in 1943 and enrolled in a master’s program at Wayne State University in Detroit.
A few years later, Raney met Lonnie “Buck” Glosson, a harmonica player twelve years his senior who would be Raney’s mentor and musical partner off and on into the 1980s. The two began working on radio as a twin-harmonica act in Arkansas in 1938, and later spent many years at WCKY in Cincinnati. Raney had a successful and enduring (if intermittent) relationship with WCKY from 1941 until 1960, gaining fame as an influential DJ and on-air salesman of considerable repute; he sold several million “talking harmonicas” over the air in the late 1940s.
Nathan launched Queen Records in August with the express purpose of recording black musicians. The new label had its first release within a few weeks—a cover of Joe Liggins’s big hit “The Honeydripper” by singer/saxophonist Bull Moose Jackson. Thirteen more Queen releases followed in the next six months, including sides by singer Walter Brown, jazz hepcat Slim Gaillard, and the Chubby Jackson Sextet. Nathan met Bull Moose Jackson at a gig by the Lucky Millinder Orchestra in the Cincinnati area.